Deep Surfaces. A Paleontology of the Screen

  • Michele Cometa Università di Palermo
Keywords: Visual Culture, Paleontology of the screen, Extended mind


Can we resist to the lure of the archaic? Should we resist? Can we really speak of “paleolithic visual cultures”, and therefore of paleolithic screens, displays and so on? My point is that we need a paleontology of the screen. Because we know, it could shed some light to our notions of assemblageapparatusdispositif, but – more important – it can help us to sketch the «cognitive map» of Homo sapiens’ screenology, which is a part of our reflection on the extended mind (no doubt, in fact, that the screen is – among other things – a prosthesis of our mind).


Download data is not yet available.


Achraty, Ahmed, “Body and Embodiment: A Sensible Approach to Rock Art”, Rock Art Research, 24.1 (2007): 47-57.

Azéma, Marc – Rivière, Florent, “Animation in Palaeolithic Art: A Pre-echo of Cinema”, Antiquity, 86.332 (2012): 316–24

Carbone, Mauro, Filosofia-schermi. Dal cinema alla rivoluzione digitale, Milano, Raffaello Cortina, 2016.

Casetti, Francesco, La galassia Lumière. Sette parole chiave per il cinema che viene, Milano, Bompiani, 2015.

Id., “Notes of a Genealogy of the Excessive Screen”, manoscritto inedito (per gentile concessione dell’autore), n.d.

Chateau, Dominique – Moure, José (eds.), Screens. From Materiality to Spectatorship. A Historical and Theoretical Reassessment, Amsterdam, Amsterdam University Press, 2016.

Clark, Andy, Supersizing the Mind. Embodiment, Action, and Cognitive Extension, Oxford, Oxford University Press, 2008.

Cometa, Michele, “Sulle origini del fare-immagini”, Fata Morgana, 26 (2015): 112–32.

Gallese, Vittorio – Guerra, Michele, Lo schermo empatico. Cinema e neuroscienze, Milano, Cortina, 2016.

Herzog, Werner, “Interview. Werner Herzog on the Birth of Art”, Archaeology, 64.2 (2011): 32-38.

Holly, Michael A., The Melancholy Art, Princeton, Princeton University Press, 2013.

Kubler, George, La forma del tempo. La storia dell’arte e la storia delle cose, con una nota di Giovanni Previtali, Torino, Einaudi, 1989.

Lefebvre, Simon, “The Disappearance of the Surface”, Screens. From Materiality to Spectatorship. A Historical and Theoretical Reassessment cit.: 97-106.

Lewis-Williams, J. David – Dowson, Thomas A., “Through the Veil: San Rock Paintings and the Rock Face”, The South African Archaeological Bulletin, 45.151 (1990): 5-16.

Mitchell, W. J. T., The Last Dinosaur Book. The Life and Times of a Cultural Icon, Chicago, The University of Chicago Press, 1998.

Id., “Screening Nature (and the Nature of the Screen)”, New Review of Film and Television Studies, 13.3 (2015): 231-46.

Morin, Edgar, Le cinéma ou l’homme imaginaire (1956), trad. it. Il cinema o l’uomo immaginario, prefazione di Francesco Casetti, Milano, Feltrinelli, 1982.

Smithson, Robert, “A Cinematic Atopia”, The Collected Writings, Ed. Jack Flam, Berkeley – Los Angeles, University of California Press, 1996: 136-42.

Id., “Towards the Development of a Cinema Cavern“,



Cave of Forgotten Dreams, Dir. Werner Herzog, Canada – USA – France – Germany – UK, 2010.

How to Cite
Cometa, M. (2018). Deep Surfaces. A Paleontology of the Screen. Between, 8(16).