Aqueous Modernism. Issue 1 (May 2015) - Pinney, Christopher
Abstract This response to Castaing‐Taylor and Paravel's Leviathan suggests that it triangulates Robert Gardner's filmic practice with David MacDougall's theorization and the dynamic cubist potential of multiple GoPro cameras. While attempting to preserve in language some aspects of Leviathan's "boiling sea, " the commentary also seeks to explore the film's fascination with "submersibility" as a late modernism idiom that insists on the liquidity of the surface of representation.