Index

• Accursed Share, The (Bataille), 16, 161, 200, 248, 278n50, 303n9. See also Ambrosino, Georges; General economy
  • on energy, 207
  • and utopia, 216
• Actor-network theory (ANT), 224, 251, 308n71. See also Latour, Bruno; Law, John
• Ad Infinitum (Mouraud), 258–259
• Agrupación de Familiares de Ejecutados Políticos, 261. See also Calama, women of
• Algeria, 67, 79, 81, 172
• ALMA, 261–262
• Ambrosino, Georges, 201, 208–209, 249, 251
• American National Exhibition (Moscow, 1959), 128, 217
• Animation
  • Disney, 57–59
  • at Festival of Britain, 118, 120, 122–124
  • at National Film Board, 15, 117, 151, 287n95
  • sound, 120, 144
• Ant Farm, 17, 206, 216–228, 306n53, 309n78, 309n85, 312n116. See also Bluestar; Dolphin Embassy; Lord, Chip; Michels, Doug; WORKac
  • and language, 243, 251, 257
  • time capsules of, 239, 244
• Anthro-obscene, 159, 294n5
• Anthropocene, 1, 18, 159–160
  • and architecture, 168
  • and archives, 207, 236
  • and media, 250–251
• Anthropocentrism, 2, 61, 64, 166, 225, 235–236. See also Haraway, Donna; Posthumanism; Transhumanism
  • of Disney, 55–57
  • overcoming of, 251
  • and photography, 46
• Anthropomorphism, 58–59
• Aqualung. See Scuba
• Arab Spring, 168
• Archigram, 186, 214, 300n63
• Architecture, 15, 18, 28, 33, 43. See also Congrès International d’Architecture Moderne; Giedion, Sigfried; Humanism; Modern Architectural Research Group; Modernity; Process; United Kingdom; Utopias
  • of archives, 237
  • cinematic, 145, 147, 154 (see also Labyrinth/Labyrinthe; Screens)
  • and ecology, 99, 102, 159, 165, 219, 225, 229
  • of festivals, 87–89, 97, 105–108, 112, 131–140, 180, 285n67, 300n64, 304n31 (see also Expo 67; Festival of Britain; Film festivals; Tyrwhitt, Jaqueline; Urban planning)
  • of futurity, 86, 127, 168, 210, 216 (see also Fuller, Buckminster)
  • sustainable, 182, 183, 185, 191, 194, 196, 300n63, 301n79 (see also Cinema Mobile; Pneumatic structures; Stevens, Graham; Sustainability)
• Archives, 2, 6, 7, 15. See also Anthropocene; Architecture; Process
  • digital, 17, 311n111 (see also Constant; Digital media)
  • and film, 199, 202, 293n79 (see also Video)
  • geologic, 205–206, 217, 229, 246–247, 312n117 (see also People’s Archive of Sinking and Melting, A; World of Matter)
  • living, 231–233, 236–244 (see also Fuller, Buckminster; Future Is Not What It Used to Be, The; Kurenniemi, Errki)
  • photographic, 30, 41, 44, 50, 55, 172, 173 (see also “Family of Man”)
• Arnheim, Rudolf, 74–75, 120. See also World without Sun
• Around Is Around (McLaren and Lambart), 114, 117, 121–123
• Arthur, Paul, 135–136
• Artists’ International Association, 88
• Atacama Desert, 259–261
• Athens Charter, 109, 186, 269n31. See also Architecture; Congrès International d’Architecture Moderne; Le Corbusier
• Atom bomb, 10, 39, 55. See also Hydrogen bomb
  • danger of, 85, 213
  • photographs of, 11, 13, 23, 40–41, 245
• Atomic age, 57, 90, 127, 129, 209
• Auerbach, Erich, 50
• Ayer, A. J., 249, 264

• Barry, Gerald, 88, 119
• Barthes, Roland, 22, 24, 40, 54
• Bataille, Georges, 3, 5, 163, 249, 251, 303n9. See also Accursed Share, The; Ambrosino, Georges; Phenomenology; Tears of Eros; Vernadsky, Vladimir I.
  • and ecology, 16, 18, 159, 161, 200–201, 206–209, 212, 214, 216, 244, 248, 278n10 (see also Biosphere; General economy)
  • on ecstasy, 1, 8, 10, 172–173
  • on festivals, 177–180
• Baudrillard, Jean, 3, 5, 171–172, 301n79
  • on ecstasy, 170
• Bauhaus, 105, 112, 138, 271n32. See also Bayer, Herbert; Coates, Wells; Gropius, Walter
  • design, 33–35, 43, 128, 136
  • New Bauhaus, 6
• Bayer, Herbert, 33–36, 41, 47–48, 128
  • “World Geo-graphic Atlas,” 272n44
• Bazin, André, 3, 11, 166
  • on Cousteau, 68, 70, 80–82
  • on Disney, 57–60, 62–63
  • on 3D, 123–124
• Beath, Linda, 191–192
• Benjamin, Walter, 43, 45, 94, 180
• Biosphere, 7, 72–74, 129, 165, 229, 231, 234. See also Vernadsky, Vladimir I.
  • Bataille on, 5, 207–208, 248, 278n50
• Bland, John, 137, 147. See also Labyrinth/Labyrinthe
• Bloch, Ernst, 166
• Bluestar, 206, 225–227, 231, 243, 309n78. See also Ant Farm; Dolphin Embassy; Michels, Doug
• Braidotti, Rosi, 3, 17, 235–236, 242. See also Posthumanism
• Brand, Stewart, 6, 214, 218. See also Whole Earth Catalog
• Britain. See United Kingdom
• British Broadcasting Corporation (BBC), 89, 129, 156, 261, 286n75, 288n5
• British Empire, 14, 51, 95, 102, 213, 305n33. See also Empire; Imperialism
• British Film Institute (BFI), 112, 114–117, 119, 121, 124, 183, 286n82
• British Petroleum (BP), 55, 76, 80, 81, 83
• Bureau of Surrealist Research, 91–92
• Burroughs, William, 176, 188
• Bute, Mary Ellen, 122

• Calama, women of, 260–261, 263
• Calypso, 55, 65, 69, 275n5, 281n86. See also Cousteau, Jacques
  • as film studio, 12, 55, 67, 76, 80–82
• Camera obscura, 101–102, 165, 251. See also Outlook Tower
• Canada 67 (Barclay), 140, 289n20
• Canadian Broadcasting Corporation (CBC), 143, 156
• Carpenter, Edmund, 111, 297n22, 300n75. See also Explorations Group; McLuhan, Marshall
• Carson, Rachel, 77, 280n73, 280n76
• Cartier-Bresson, Henri, 31, 143
• Chakrabarty, Dipesh, 160–161, 205. See also Climate change
• “Chiasm,” 5, 62, 70, 75, 79, 163, 258, 264. See also “Flesh”; Merleau-Ponty, Maurice
• Chile, 259, 261, 314n34, 315n42
• Chronophotography, 61, 67
• CineCycle, 15–16, 181–182, 196–200. See also Heath, Martin
• Cinema, 1–2, 6, 11, 21. See also Architecture; CineCycle; Cinema Mobile; Expanded cinema; Imperfect cinema; Microcinema; Mobile cinema; Screens; Third Cinema
  • experience of, 15, 48, 74, 87, 112–114, 118–124, 199, 214, 287n95 (see also Ecstasy; Environment; Film festivals; Spectatorship; 3D film)
  • technology of, 13, 58, 64, 78, 144–145, 166, 220, 251 (see also CinemaScope; Cousteau, Jacques; Expo 67; Sound; Telekinema; 3D film)
  • theories of, 44–46, 49, 51, 60, 62, 136 (see also Eisenstein, Sergei; Kracauer, Siegfried; Mannheim, Karl; Merleau-Ponty, Maurice)
  • and urban planning, 86, 115–116
• Cinema Mobile, 193. See also Heath, Martin
• CinemaScope, 56
• Citizenship, 1, 97, 134. See also “Spectator-citizen”
• Clifford, Chris, 193
• Climate change, 1, 182, 207, 246–247, 309n85. See also Environment; Malabou, Catherine; People’s History of Sinking and Melting, A; “Postsustainable economy”
  • and energy, 208, 215, 229 (see also General economy)
  • and the global, 41, 159–161, 216 (see also “Digital earth”; Globalization)
• Coates, Wells, 4, 124, 286n75
  • and Festival of Britain, 88, 104, 105
  • and Telekinema, 15, 98, 112, 116
• Cold War
  • contexts, 44, 52, 57, 83, 90, 127, 212–213
  • media of, 4, 6, 21, 23–24, 31, 40, 78
• Collage, 95, 203, 237, 242
  • visual, 39, 42, 92–94, 128, 185, 186, 218
• Collingwood, R. G., 141–142
• Commodity culture, 41, 221
  • American, 12, 85, 128, 135, 239
  • and waste, 169
• Congrès International d’Architecture Moderne (CIAM), 15, 98, 105, 291n34. See also Giedion, Sigfried; Gropius, Walter; Le Corbusier; Modern Architectural Research Group; Tyrwhitt, Jaqueline
  • Chapter for Relief and Postwar Planning, 106
  • and city planning, 107–109, 137, 156 (see also Athens Charter; Festival of Britain; Urban planning)
• Constant, 242, 311n111
• Consumerism. See Commodity culture
• Contemporary Films, 183–185. See also Cooper, Charles; Heath, Martin
• Cooke, Theodore Andrea, 28
• Cooper, Charles, 16, 183–185
• Cousteau, Jacques-Yves, 4, 11–13, 210, 250, 275n5, 279n64, 281n86. See also Calypso; Cousteau Society; Dumas, Frédéric; France; Malle, Louis; Ocean World of Jacques Cousteau, The; Television; Undersea World of Jacques Cousteau, The
  • ecology of, 62–68, 75–79, 129
  • films, 53–55, 68–72, 74, 80–83, 172, 252, 279n68, 307n66, 308n75 (see also Silent World, The; Station 307; World without Sun)
  • and World War II, 14, 85, 304n25
• Cousteau Society, 72, 82

• Daly, Tom, 146, 151
• “Death of the Planet” (Kurenniemi), 17
• Deep time, 244–245, 250, 260
• Deleuze, Gilles, 74, 166, 252
• Derrida, Jacques, 206, 236–237, 239, 243, 254. See also Archives
• Desert Cloud (Stevens), 187
• “Digital earth,” 2, 216
• Digital media, 2, 131, 167, 177, 216, 223
  • archives, 17, 233, 237–238, 242, 311n111 (see also Kurenniemi, Erkki)
  • images, 3, 7, 169, 175, 247
  • storytelling, 232
• Disney, Walter Elias, 55–60, 63–64, 127–128, 140, 308n75. See also Animation; Anthropocentrism; Bazin, André; CinemaScope; Disneyland; Eisenstein, Sergei; True-Life Adventures; True-Life Fantasy: Perri, A; 20,000 Leagues under the Sea
• Disneyland, 127
• Documentary, 83, 131, 140, 179, 191, 283n25
  • at Expo 67, 154, 155
  • at Festival of Britain, 90, 92–93, 113, 117, 119, 282n16
  • film, 13, 50–51, 60, 63, 81, 127, 142, 157, 202 (see also Bazin, André; Jennings, Humphrey; Kracauer, Siegfried; Varda, Agnès)
  • in photography, 32, 45, 47 (see also “Family of Man”; Realism)
• Do-it-yourself (DIY), 155, 167, 175, 182, 305n36
  • magazines, 196
  • videos, 220 (see also SA-Life)
• Dolphin Embassy, 17, 216, 222–225, 227, 243, 257. See also Ant Farm; Bluestar; Lilly, John C.; Michels, Doug
  • revisions of, 229–231, 308n71, 309n85 (see also 3.C.City; WORKac)
• Dumas, Frédéric, 63, 65–66, 76–80
• Duncan, David Douglas, 30
• Durkheim, Émile, 177–178
• Dymaxion Air-Ocean World Map, 139, 212, 272n44, 304n22, 304n29
• Dymaxion Dwelling Machine

• Eames, Ray and Charles, 128–129
• Eastman Kodak, 67, 131, 156–157, 272n37
• Eco, Umberto, 132–133
• Ecology, 6, 10, 73, 202, 228–229. See also Biosphere; Environment; Guattari, Félix; Merleau-Ponty, Maurice; Noosphere; Process
  • and architecture, 90, 98–99, 186, 288n7 (see also Geddes, Patrick; Tyrwhitt, Jaqueline; Urban planning)
  • cultural, 43
  • global, 2, 132, 159, 162, 185, 200, 210, 213–215, 241, 252, 265 (see also Bataille, Georges; Fuller, Buckminster; Media ecology; Umwelts; Whole Earth Catalog)
  • of images, 12, 16, 169, 181
  • of oceans, 82 (see also Cousteau, Jacques)
• Ecstasy, 1, 8, 10, 172, 225, 259. See also Bataille, Georges; Baudrillard, Jean; Eisenstein, Sergei
  • in cinema, 15, 55, 57–58, 117, 121, 262
  • experience of, 177, 218, 220, 225, 229, 253, 259
  • in festivals, 133
  • and images, 170, 173
• Edgerton, Harold, 67
• Edinburgh, 101–102, 104, 165. See also Geddes, Patrick; Outlook Tower
  • Film Festival, 50, 298n48
• Eisenstein, Sergei, 60, 120, 183
  • on cinema, 124
  • on Disney, 57–58
  • on ecstasy, 225
• Elahi, Hasan, 232–233
• Electric Cinema Club, 184–185, 191
• Electronic music, 120, 150, 241–242
• Elemental media, 5, 251–252. See also Media ecology
• Empire, 13, 40, 168, 213, 215. See also British Empire; Imperialism; United States
• England. See United Kingdom
• Environment. See also Biosphere; Ecology; Noosphere
  • and activism, 41, 82, 168, 217, 280n76, 296n9, 312n116
  • built, 28, 86, 94, 98, 106, 110–111, 186–190, 194–195, 210, 219–221 (see also Architecture; Pneumatic structures; Urban planning)
  • and/of cinema, 54–55, 62–63, 83, 143, 154 (see also Cousteau, Jacques; Labyrinth/Labyrinthe)
  • destruction of, 213 (see also Climate change)
  • experiences of, 60–62, 67, 70–72, 235, 241, 243, 259, 271n32 (see also “Chiasm”; “Flesh”; Gestalt; Merleau-Ponty, Maurice; Process; Umwelts)
  • of Expo 67, 129, 134, 136–138
  • and media, 5, 17, 85, 111, 124, 161–163, 165–166, 169–170, 173, 179, 224, 250–254 (see also Elemental media; Guattari, Félix; McLuhan, Marshall; Media ecology; Photography)
  • and photography, 45–46 (see also Kracaucer, Siegfried)
  • as resource, 76–77, 208 (see also Climate change; General economy)
• Espinosa, Julio García, 175, 177. See also Imperfect cinema; Third Cinema
• Eventstructure Research Group, 185
• Expanded cinema, 131, 139–140, 144, 167. See also Expo 67; Screens; Youngblood, Gene
  • “University,” 139, 191, 300n73 (see also Rochdale College)
• Explorations Group, 15, 133, 172, 297n22. See also McLuhan, Marshall; Tyrwhitt, Jaqueline
• Expo 70. See Osaka, Japan World Exposition
• Expo 67, 2, 4–5, 14–15, 86, 127, 129–133, 289n8, 289n14. See also Environment; Language; McLuhan, Marshall; World expositions
  • and architecture, 133–138, 196, 206, 211, 213, 281n6, 288n7, 300n67, 304n29, 304n31 (see also Fuller, Buckminster; Otto, Frei; Safdie, Moshe; Urban planning)
  • and film, 6, 138–158, 180, 182, 251 (see also Documentary; Do-it-yourself; Expanded cinema; Labyrinth/Labyrinthe; Screens)

• Fabrique, La (Mouraud), 254–257
• “Faces of Korea” (Steichen), 30, 46
• “Family of Man” (Steichen), 11–13, 14, 17, 21–22, 30–32, 128–129
  • criticisms of, 22–24, 38–40, 54, 171, 214
  • design of, 33–38, 40–42, 272n44, 273n45 (see also Bayer, Herbert; Miller, Wayne)
  • themes, 46–52, 85, 134, 146, 166, 257 (see also Humanism; Imperialism)
• Family Portrait (Jennings), 90, 94–98, 121
• Ferguson, Graeme, 131, 140–141, 158, 220. See also IMAX; Polar Life
• Festival of Britain, 2, 14–15, 86, 87–90, 130, 133, 209. See also United Kingdom
  • film at, 90, 95, 112–125, 151, 166, 180, 183 (see also Animation; Around Is Around; Documentary; Family Portrait; Jennings, Humphrey; Lambart, Evelyn; McLaren, Norman; Now Is the Time; Telekinema; 3D film)
  • “live architecture” exhibit, 98, 104, 105–112, 137, 186, 285n67 (see also Architecture; Coates, Wells; Modern Architectural Research Group; Process; Tyrwhitt, Jaqueline; Urban planning)
• Film festivals, 131, 168, 177–181, 192, 298n48. See also Ecstasy; Edinburgh; Expo 67; Festival of Britain; Toronto International Film Festival
• Finland, 4, 230, 241
• “Flesh,” 5, 13, 17, 49, 70–72. See also “Chiasm”; Merleau-Ponty, Maurice; Visible and the Invisible, The
  • as human-centered, 250
  • and perception, 163, 258–259
• France, 4, 11, 73, 224, 258
  • cinema, 179
  • and Cousteau, 13, 55, 281n86
  • pneumatic art in, 195, 218
  • power and politics, 75, 85, 158
  • and war, 27, 78
• Frank, Robert, 31, 47, 274n64
• Frye, Northrop, 146, 148. See also Labyrinth/Labyrinthe
• Fuller, Buckminster, 3, 6, 17, 127, 205, 291n34, 299n61, 303n8
  • architecture, 128, 137, 138–139, 196, 300n63 (see also Dymaxion Dwelling Machine; Expo 67; Geodesic dome)
  • chronofile of, 240
  • and ecology, 185, 188–189, 207, 209–211, 214–217, 218, 288n7, 305n36
  • utopianism, 132, 135, 159, 214, 221, 229, 244
  • “World Game,” 206, 211–213, 216–217, 304n29, 304n31 (see also Dymaxion Air-Ocean World Map; Geoscope)
• Fun Palace, 185, 189–191, 198, 220, 300n72. See also Littlewood, Joan; Phun City; Price, Cedric
• Future Is Not What It Used to Be, The (Taanila), 232, 237–244. See also Kurenniemi, Erkki

• Geddes, Patrick, 3, 6, 159, 212. See also Camera obscura; Outlook Tower
  • ecology of, 165–167
  • influence, 90, 105–106, 108, 109–110, 287n95
  • theories, 15, 98–104, 113, 163, 251, 295n3
• General economy, 16, 18, 177, 200–201, 248, 249. See also Accursed Share, The; Bataille, Georges; “Postsustainable economy”
  • and energy, 208, 214
• Geodesic dome, 128, 129, 135, 137, 139, 211
• Geoscope, 17, 212–213, 251, 304n31
• Gestalt, 33, 74, 271n32
• Giedion, Sigfried, 94, 134
  • on anonymous history, 42–43
  • on architecture and urban planning, 99, 101, 105–106, 111, 137–138
• Glaneurs et la glaneuse, Les (Varda), 16, 201–203
• Glimpses of the USA (Eames), 128, 131
• Globalization, 4, 9–11. See also Mondialisation
  • and climate change, 160
  • in festivals, 15, 86, 132, 178
  • and media, 47, 52, 177, 216
• Global warming. See Climate change
• Godard, Jean-Luc, 185
• Google, 216, 232, 233
• Great Britain. See United Kingdom
• Great Depression, 14, 29
• Great Exhibition (1851), 112, 132
• Grierson, John, 114, 117, 282n16
• Gropius, Walter, 33, 105–106, 136
• Guattari, Félix, 3, 179, 250, 252
  • on ecology, 161–163, 165, 166, 241. See also Three Ecologies, The
• Guzmán, Patricio, 180, 253, 259–265, 314n38, 315n43. See also Nostalgia de la luz

• Hammid, Alexander, 140, 155, 157
• “Haptic visuality,” 15, 123, 287n96
• Haraway, Donna, 1, 3, 16, 17–18, 159, 235–236
• Harrison, Tom, 91–94
• Hayles, N. Katherine, 235
• Heath, Martin, 4, 16, 182–185
  • and inflatables, 185–196, 301n77 (see also Cinema Mobile; Pneumatic structures; Stevens, Graham; Walking on Water)
  • and microcinema, 17, 196–199 (see also CineCycle; Taylor, Deanne)
• Heidegger, Martin, 7, 9, 60, 76, 166, 255–258
• Humanism, 3, 5, 10, 17. See also Anthropocentrism; Posthumanism; Transhumanism
  • anti-anthropocentric, 236
  • and architecture, 133–138
  • in “Family of Man,” 13, 22–24, 40, 54, 85
  • and film, 51
  • global, 18, 41, 253 (see also Universe: and humanity)
  • technological, 4, 55, 132, 214–215
• Hydrogen bomb, 38, 41–42, 127. See also Atom bomb

• Ideology and Utopia (Mannheim), 2, 109
• Idle No More, 168, 296n9
• IMAX, 38, 118, 131, 144, 158, 220
• Imperfect cinema, 175–177, 179–180, 183–184, 203, 301n82. See also Espinosa, Julio García; Third Cinema
• Imperialism, 10–11, 54–55, 135, 160. See also British Empire; Empire
  • American, 4, 52, 215 (see also United States)
  • of “Family of Man,” 21, 23, 39 (see also Cold War)
  • French, 13, 85 (see also France)
• Independent Group, 185–186, 189, 299n61. See also Architecture; McHale, John
• Inflatables. See Pneumatic structures
• Initiation Room (Mouraud), 253–256
• Initiation Space no. 2 (Mouraud), 253
• Institut des Hautes Études Cinématographiques, 69, 74
• Institute of Contemporary Arts (London) (ICA), 185–186
• Internet, 17, 93, 158, 233, 243, 253. See also Social media

• Jennings, Humphrey, 4, 90–98, 113, 121, 251, 257, 282n16. See also Family Portrait; Mass Observation; Pandaemonium

• Kenović, Ademir, 174. See also SaGA; SA-Life
• Kino-Automat (Cincera), 131, 140
• Kracauer, Siegfried, 3, 5, 21, 241, 274n69. See also Theory of Film
  • on documentary, 49–52, 143
  • on film and photography, 11, 23, 25, 40, 41–49, 172
• Kroitor, Roman, 4, 15, 131, 143, 145–146, 158. See also IMAX; Labyrinth/Labyrinthe
• Kurenniemi, Erkki, 17, 206, 229–234, 310n87. See also “Death of the Planet”; Future Is Not What It Used to Be, The; Taanila, Mika
  • and archives, 236–244
• Kurzweil, Ray, 17, 233–236, 310n91, 310n93. See also Transhumanism

• Labyrinth/Labyrinthe, 14, 15, 131, 289n20. See also Daly, Tom; Expo 67; Kroitor, Roman; Low, Colin
  • design of, 137, 143–150, 152–155 (see also Architecture: cinematic; Screens: multiple)
• Ladies’ Home Journal, 31
• Lambart, Evelyn, 4, 15. See also Festival of Britain; McLaren, Norman; Telekinema
  • films, 114, 117, 119–124, 166, 286n82
• Lange, Dorothea, 32, 39, 47
• Language, 3, 72, 267n6. See also Translation
  • at Expo 67, 136–137, 155
  • and festivals, 177
  • and film, 44, 123, 131, 142, 152–153, 179, 214
  • and media, 300n75, 310n89
  • universal, 11, 17, 23, 222, 243–244 (see also Ant Farm; Dolphin Embassy)
• Last Pictures, The (Paglen), 7, 206, 244, 246
• Latour, Bruno, 168, 224, 229, 252
• Law, John, 224, 308n71
• Law of the seas, 12, 54, 75, 81–83
• Le Corbusier, 109, 137, 186, 269n31. See also Athens Charter; Congrès International d’Architecture Moderne
• Le Roy, Édouard, 73. See also Noosphere
• Life (magazine), 31, 38, 56, 63, 90, 139
  • and photography, 29, 78
• Lilly, John C., 222, 226, 307n66, 308n75, 309n77
• Littlewood, Joan, 185, 188–189, 198, 220, 300n72
• Look (magazine), 29, 78, 186
• Lord, Chip, 217–219, 309n85
• Low, Colin, 4, 15, 131, 157–158
  • and Labyrinth/Labyrinthe, 143–148, 151, 154, 289n20 (see also Kroitor, Roman)
• Lowe, Paul, 171
• LSD, 219, 222
• Lumière Brothers, 26, 118
• Lye, Len, 117

• Madge, Charles, 91–93
• Magnum Group, 31–32
• Maker culture, 182, 203
• Malabou, Catherine, 3, 160–163, 205, 250
• Malle, Louis, 11, 54, 56, 63, 68–69, 71, 252. See also Cousteau, Jacques; Silent World, The
  • as director, 76–77 (see also Station 307)
  • use of violence, 80–81
• Mannheim, Karl, 11, 114, 285n67. See also Ideology and Utopia
  • theory of utopias, 2, 87, 109–110, 132, 216
• Marden, Luis, 76, 279n68
• Marshall Plan, 14, 208
• Mass Observation, 91–94. See also Harrison, Tom; Jennings, Humphrey; Madge, Charles
• MAXMSP, 233, 310n89
• McHale, John, 186, 211, 214–216, 229, 299n61, 305n35. See also Fuller, Buckminster
• McLaren, Norman, 4, 15, 151, 287n95. See also Lambart, Evelyn; Low, Colin
  • films, 114, 117–125, 166, 286n82 (see also Around Is Around; Now Is the Time)
• McLuhan, Marshall, 3, 15, 111, 170, 212. See also Carpenter, Edmund; Tyrwhitt, Jaqueline
  • on the electric environment, 161–163, 221, 224, 250–252, 299n59
  • influence, 17, 129, 132, 133, 141, 176, 191, 218, 220, 295n11
  • on media, 4–5, 137–138, 142–143, 152, 156, 159, 172, 288n5, 288n6, 301n75
• Media ecology, 7, 17, 165–166, 206, 251. See also Elemental media; McLuhan, Marshall; Peters, John Durham; Postman, Neil
• Merleau-Ponty, Maurice, 3, 5, 13, 17, 49, 60. See also Phenomenology; Visible and the Invisible, The
  • on cinema, 74–75, 123
  • on environments, 62, 70–72, 76, 163, 166, 208, 258–259, 260 (see also “Chiasm”; “Flesh”; Media ecology; Umwelts)
  • influence, 159, 169
  • on perception, 249–251, 264
• Michels, Doug, 206, 217–228, 243, 306n53, 309n78. See also Ant Farm
• Microcinema, 2, 15, 17, 169, 181–182. See also CineCycle; Cinema Mobile; Heath, Martin
• Miller, Wayne, 31, 39, 41–42
• Mobile cinema, 184, 194, 196. See also Microcinema
• Modern Architectural Research Group (MARS), 15, 88, 98, 105, 112. See also Coates, Wells; Congrès International d’Architecture Moderne; Tyrwhitt, Jaqueline
• Modernity
  • and architecture, 108
  • experience of, 23, 49, 94–95, 247
  • in images, 7, 44, 179
• Monde du silence, Le. See Silent World, The
• Mondialisation, 9–10, 132. See also Globalization
• Montage, 36, 57–59, 93–95, 258
• Montreal Film Festival, 131, 174
• Mouraud, Tania, 253–259. See also Fabrique, La; Initiation Room; Initiation Space no. 2
• Museum of Modern Art (New York) (MoMA), 6, 12, 22, 32, 35, 42

• Nancy, Jean-Luc, 8–10, 13–14, 252
• National Aeronautics and Space Administration (NASA), 187, 216, 218, 261, 305n36, 308n75
• National Film Board (Canada) (NFB), 15, 117, 131, 148, 151, 153. See also Animation; Kroitor, Roman; Labyrinth/Labyrinthe; Lambart, Evelyn; Low, Colin; McLaren, Norman
  • Challenge for Change, 158
  • innovations, 119, 143–144
• National Geographic (magazine), 29, 64. See also Marden, Luis
• National Geographic Society, 55, 76, 279n68
• New York World’s Fair (1964), 131, 140, 142
• Noosphere, 5, 73–74, 129, 142. See also Biosphere; Teilhard de Chardin, Pierre
• Nostalgia de la luz (Guzmán), 253, 259–265
• Now Is the Time (McLaren and Lambart), 114, 117, 119–123, 166

• Ocean World of Jacques Cousteau, The, 72, 82
• Oil crisis (1970s), 16, 182
• One Plus One (Godard), 185
• On Photography (Sontag), 169
• Orwell, George, 137, 283n25
• Osaka, Japan World Exposition (Expo 70), 131, 157, 219–220, 281n6
• Otto, Frei, 134–135, 137, 196, 300n67
• Our World, 156, 288n5
• Outlook Tower, 102–104, 165. See also Camera obscura; Geddes, Patrick

• Paglen, Trevor, 206, 244–246, 312n116. See also Last Pictures, The
• Painlevé, Jean, 65
• Pandaemonium (Jennings), 94–95
• Paris, Exposition Universelle (1889), 140
• Paris, Exposition Universelle (1900), 104, 212
• Paris-Match, 63–64
• People’s Archive of Sinking and Melting, A (Balkin, Roloff, and Thornton), 207, 216, 244, 246–247
• Peters, John Durham, 5, 251–252
• Phenomenology, 3, 79, 241, 250–251, 264. See also “Chiasm”; “Flesh”; Merleau-Ponty, Maurice; Phenomenology of Perception; Process; Umwelts
  • of film, 13, 50, 52, 74, 85, 254 (see also Auerbach, Erich; Kracauer, Siegfried; Spectatorship)
  • of media, 4, 7, 11, 48, 72, 143, 170
  • of place, 108, 167
• Phenomenology of Perception (Merleau-Ponty), 249
• Photography, 2, 3, 11, 91, 155. See also Anthropocentrism; Do-it-yourself
  • and environment, 85, 173
  • exhibiting, 35, 39, 46–49 (see also “Family of Man”)
  • technologies of, 55–56, 61, 62, 64, 67, 128–130
  • uses of, 12, 21, 23, 24–30, 32–33, 43–46, 53 (see also Documentary; Kracauer, Siegfried; Photojournalism)
• Photojournalism, 29, 47, 171
• Photo-Secession, 25–27, 270n9
• Phun City, 188–189. See also Littlewood, Joan; Price, Cedric
• Pinochet, Augusto, 260–264, 314n34, 315n42
• Place to Stand, A (Chapman), 140–141, 289n20
• Pneumatic structures, 16, 225, 251, 281n6, 300n67, 301n79, 301n80. See also Eventstructure Research Group; Otto, Frei; Stevens, Graham; “Structures gonflables”
  • environments of, 183, 185–196, 199, 218–221, 301n77 (see also Ant Farm; Cinema Mobile; Heath, Martin)
• Polar Life (Ferguson), 140, 289n20
• Posthumanism, 17, 235–236. See also Braidotti, Rosi; Haraway, Donna; Hayles, N. Katherine; Kurzweil, Ray; Transhumanism
• Postman, Neil, 165
• “Postsustainable economy,” 16, 182–183, 200. See also Stoekl, Allan
• Potlatch, 177–178, 200
• “Power in the Pacific” (Steichen), 24, 30, 46
• Pratt, Mary Louise, 3, 5, 98, 253
• Price, Cedric, 185, 188–191, 196, 220, 300n63, 300n67, 301n80. See also Fun Palace; Littlewood, Joan; Phun City; Pneumatic structures
• Process
  • architecture as, 107, 189, 191, 220
  • archives as, 236, 239–241, 244 (see also Kurenniemi, Erkki)
  • art as, 254, 256–257
  • environment as, 162–163, 200, 221, 228, 250 (see also Guattari, Félix; Umwelts)
  • film as, 262
  • history as, 43 (see also Giedion, Sigfried)
  • perception as, 48–49, 70, 258, 264 (see also “Chiasm”; “Flesh”; Kracauer, Siegfried; Merleau-Ponty, Maurice; Phenomenology; Spectatorship; Whitehead, Alfred North)
  • process-oriented, 2, 62, 110, 132, 139, 216 (see also Mannheim, Karl)
  • translation as, 3 (see also Language)
• Public sphere, 51, 175, 179–180, 203

• Quebec, 127, 132, 140, 154–155. See also Expo 67

• Radar, 10, 12, 55, 70, 95, 128, 210
• Realism, 110, 250
  • in film, 59–60, 92, 120, 123–124 (see also Disney, Walter Elias; Mass Observation; 3D film)
  • in photography, 24–25, 50 (see also “Family of Man”; Kracauer, Siegfried)
• “Road to Victory” (Steichen), 24, 30, 35, 46
• Rochdale College, 191–192
• Rouch, Jean, 78
• Rowse, E. A. A., 109
• Roy, Gabrielle, 134
• Russia, 16, 36, 83, 184, 208. See also Soviet Union

• Safdie, Moshe, 137, 154
• SaGA, 174–175. See also Kenović, Ademir; Sarajevo Ground Zero
• Saint-Exupéry, Antoine de, 54, 130
• SA-Life, 174. See also Kenović, Ademir; Sarajevo Ground Zero
• Sandburg, Carl, 23, 31, 42
• Sarajevo, 170–171, 174, 297n28. See also Lowe, Paul; SaGA
• Sarajevo Ground Zero (SaGA), 174
• Schneemann, Carolee, 239–240
• Schreier, Curtis, 218, 222, 223, 229, 306n53, 309n85
• Screens
  • cinema, 119, 176, 192, 193, 199
  • ecstatic, 170–171
  • multiple, 6, 15, 128–129, 138–148, 151–158, 191, 220, 232, 251 (see also Expanded cinema; Expo 67; IMAX; Labyrinth/Labyrinthe; McLuhan, Marshall; Youngblood, Gene)
  • new, 179, 181
  • television, 86, 112, 116, 118, 143, 254, 291n49 (see also Telekinema)
  • wide, 56, 118
• Scuba, 64, 66, 68–69, 77, 307n66
• Sea around Us, The (Carson), 77, 280n73
• Silent World, The, 11, 12, 54–55, 65, 68–72, 76–83. See also Cousteau, Jacques
  • book, 77–79, 307n66
  • film technology of, 67, 74–75, 120
  • and the natural world, 63, 252, 279n68, 308n75
• Singularity, 230–231, 233–234, 252, 310n93. See also Kurenniemi, Erkki; Kurzweil, Ray; “Singular plural”; Universe: and humanity
• “Singular plural,” 13, 252. See also Nancy, Jean-Luc; Singularity
• Social media, 93, 162, 179, 181, 231
• Solanas, Fernando, 179. See also Third Cinema
• Sonar, 10, 12, 55, 64, 67, 251
• Sontag, Susan, 23, 169–177, 180
• Sound, 137, 187, 222–223, 245, 254, 257
  • in cinema, 80, 117–123, 143–145, 147, 150, 151–153, 155, 238, 258
  • collage, 95, 237, 242
  • and computers, 241
  • stereophonic, 112, 116, 157
• Soviet Union, 75, 128, 183
• “Spectator-citizen,” 106, 108, 166. See also Urban planning
• Spectatorship, 86, 87, 181
  • active/participatory, 2, 113, 123, 237, 251, 253 (see also 3D film; Urban planning)
  • mobile, 167
  • theory of, 45, 49, 52
  • at world expositions, 130–131, 155
• Spottiswoode, Raymond and Nigel, 116–117
• Sputnik, 127–129, 143, 185, 299n59
• Station 307 (Malle, 1955), 76
• Steichen, Edward, 2, 4, 11–13. See also “Family of Man”
  • as curator, 21, 23–24, 30–43, 46–49, 52, 55, 127–128, 214, 257, 272n37
  • as photographer, 24–30, 270n9
  • and war, 14, 53, 85, 129–130, 210, 246, 304n25
• Stengers, Isabelle, 3, 228–229, 252, 265
• Stereoscopic film. See 3D film
• Stevens, Graham, 4, 16, 218, 300n67, 301n80
  • and inflatable structures, 185, 187–191, 194–196, 199 (see also Desert Cloud; Heath, Martin; Pneumatic structures; “Structures gonflables”)
• Stevens, Wallace, 146
• Stieglitz, Alfred, 25–27, 44, 270n9. See also Photo-Secession
• Stoekl, Allan, 16, 182–183, 200–202, 207–209
• “Structures gonflables,” 195, 301n79
• Super 8, 156–157, 158, 198
• Surveillance, 12, 52–53, 123, 143, 231–233
• Sustainability, 3, 82, 205, 257, 290n23. See also “Postsustainable economy”
  • of architecture, 196
  • of energy, 187, 207
  • of the future, 97, 236

• Taanila, Mika, 232, 234, 237–238, 240–242, 244. See also Future Is Not What It Used to Be, The
• Tailliez, Philippe, 65–66, 76. See also Cousteau, Jacques
• Taylor, Deanne, 184, 191–192. See also Electric Cinema Club; Heath, Martin; Toronto Women and Film International Festival; VideoCabaret
• Tears of Eros (Bataille), 8, 172–173, 201
• Teilhard de Chardin, Pierre, 5, 73, 234, 288n6
• Telekinema, 14–15, 87, 98, 112–119, 125, 133. See also Cinema: technology of; Festival of Britain; Screens; Television
  • and 3D, 120, 122, 166 (see also Around Is Around; Lambart, Evelyn; McLaren, Norman; Now Is the Time)
  • and town planning, 86 (see also Coates, Wells)
• Television, 50, 55, 220. See also United Kingdom; World without End
  • and Cousteau, 12, 53, 66, 72, 82–83
  • effects of, 112, 127, 142–144, 153, 156, 162, 172, 179 (see also Youngblood, Gene)
  • live, 15, 87, 115–119, 122, 166 (see also Telekinema)
  • technology of, 13, 56, 86, 130, 158, 177, 186, 210, 251, 288n5 (see also Screens)
  • and urban planning, 111, 137
• Theall, Donald, 133–134, 136
• Theory of Film (Kracauer), 21, 23, 44–45, 50–51
• Third Cinema, 175, 179–180. See also Espinosa, Julio García
• Thompson, Francis, 140, 155, 156. See also We Are Young
• 3.C.City, 229–231, 309n85. See also Ant Farm; WORKac
• 3D film, 74, 131, 151–152, 279n64, 286n82, 287n95. See also Lambart, Evelyn; Low, Colin; McLaren, Norman
  • at Festival of Britain, 15, 86, 87, 112, 114, 116–119, 166 (see also Around Is Around; Now Is the Time; Telekinema)
  • viewer experience of, 120–124, 251
• Three Ecologies, The (Guattari), 161, 162, 241
• Time capsules, 6, 7, 243, 244–246. See also Ant Farm; Archives; Last Pictures, The
• Toronto, 15, 182, 191–192, 197–198, 302n83. See also Rochdale College
• Toronto International Film Festival (TIFF), 181, 192–193
• Toronto Women and Film International Festival (WFIF), 192
• Town planning. See Urban planning
• Tracking Transience (Elahi), 232–233
• Transhumanism, 17, 206, 234–235, 236. See also Kurenniemi, Erkki; Kurzweil, Ray; Posthumanism
• Translation, 3, 243, 252, 267n6. See also Kurenniemi, Erkki; Language; Process; Stengers, Isabelle
• True-Life Adventures (Disney), 58–59
• True-Life Fantasy: Perri, A (Kenworthy and Wright), 59–60, 63
• 20,000 Leagues under the Sea (film, Fleischer), 55–56
• Typography, 33, 136
• Tyrwhitt, Jaqueline, 4, 14–15, 98, 104, 159, 285n67. See also Congrès International d’Architecture Moderne; Explorations Group; Modern Architectural Research Group
  • and “Live Architecture,” 105–111 (see also Festival of Britain; Urban planning)
  • and media, 124, 137–138 (see also McLuhan, Marshall)

• Uexküll, Jakob von, 3, 14, 17, 67
  • influence, 13, 65, 71, 166, 223
  • theories, 60–62, 86 (see also Umwelts)
• Umwelts, 14, 60–62, 223. See also Uexküll, Jakob von
  • and media ecology, 17, 65, 169, 199, 245, 252
  • and perception, 13, 67, 71, 76, 79–80, 86, 229, 239, 265
• Undersea World of Jacques Cousteau, The, 82
• UNESCO, 50–51. See also World without End
• United Kingdom, 4, 132, 182, 191. See also Festival of Britain
  • architecture and town planning, 15, 86, 98, 109–110, 112, 185, 286n75
  • cultural events, 87–90, 94, 106, 114–115, 167, 188, 300n72
  • power and politics, 14, 96 (see also British Empire)
  • television and media, 51, 116, 133, 183 (see also British Broadcasting Corporation; British Film Institute; World without End)
• United Nations, 38, 39, 82. See also UNESCO
• United States
  • crisis discourse in, 182–183 (see also Oil crisis)
  • cultural influence, 4, 12, 23, 31, 39, 52 (see also American National Exhibition; Glimpses of the USA)
  • culture, 47, 78, 130, 186, 196, 234, 280n74, 291n49, 293n79, 299n61
  • government, 22–24, 31, 40, 42, 208 (see also Marshall Plan; United States Information Agency)
  • international relations, 11, 52, 128
  • Navy, 24, 308n75
  • power and politics, 14, 21, 22, 30, 40, 75, 83, 85 (see also Imperialism)
• United States Information Agency (USIA), 23, 52, 127
• Universe
  • conceptualizations of, 60, 70, 139, 170, 205, 241, 262, 264 (see also Biosphere; Noosphere; Umwelts)
  • and humanity, 234–235, 263 (see also Singularity; “Singular plural”; Transhumanism)
  • in media, 121, 124, 136 (see also Around Is Around; Universe)
  • “at the scale of,” 16, 178, 201, 206–209, 212, 249 (see also Bataille, Georges)
• Universe (Low and Kroitor), 145
• Urban planning, 186, 285n67, 286n72. See also Architecture; Athens Charter; Cinema; Congrès International d’Architecture Moderne; Modern Architectural Research Group; Television
  • and ecology, 90, 96, 99–101 (see also Environment: built; Geddes, Patrick)
  • and Expo 67, 131, 135–138
  • at Festival of Britain, 14–15, 86, 87–88, 105–113, 133, 300n64 (see also “Spectator-citizen”; Television; Tyrwhitt, Jaqueline)
• USSR. See Soviet Union
• Utopias, 2, 7, 109–110, 127, 166, 216, 312n116. See also Bataille, Georges; Bloch, Ernst; Geddes, Patrick; Mannheim, Karl; Otto, Frei; Rochdale College
  • and architecture, 17–18, 185, 194, 309n85
  • and communication, 11, 225–226, 229, 230, 243–247
  • and consumption, 208–209 (see also Accursed Share, The; Fuller, Buckminster)
  • festivals as, 14–15, 86, 90, 132–133, 154, 182, 300n64
  • and film, 51, 54–55, 119–120, 124, 183, 253, 260 (see also Expanded cinema; 3D film)
  • and urban planning, 87, 98–99

• Varda, Agnès, 16, 201–202. See also Glaneurs et la glaneuse, Les
• Vernadsky, Vladimir I., 72–74. See also Biosphere
  • influence, 16, 129–130, 201, 207–209, 234–235, 278n50, 288n6
• Verne, Jules, 53–57, 64, 81, 258
• Video, 2, 174–175, 181, 191–192, 198. See also CineCycle; Do-it-yourself; Kenović, Ademir; SaGA; VideoCabaret; Videosphere
  • archives, 230, 237, 243 (see also Kurenniemi, Erkki)
  • art, 220, 254–255, 258 (see also Ant Farm; Mouraud, Tania)
  • technologies of, 16, 17, 143, 158, 167, 202, 219, 222, 225, 251, 307n68
• VideoCabaret, 191–192
• Videosphere, 142
• Visible and the Invisible, The (Merleau-Ponty), 5, 62, 70, 72, 75, 163, 258

• Walking on Water (Heath), 194–195
• Warhol, Andy, 41, 139
• We Are Young (Thompson and Hammid), 140, 155, 289n20, 293n78
• Whitehead, Alfred North, 3, 21, 163, 251, 259
  • on aesthetic apprehension, 5, 18, 49
  • on process, 239, 241, 264
• Whole Earth Catalog (Brand), 214, 218, 288n7, 305n36
• Women’s Marches (2017), 168–169
• WORKac, 229–231, 309n85. See also Dolphin Embassy; 3.C.City
• World expositions, 86, 88, 130, 132, 135 (see also Eco, Umberto; Expo 67; Osaka, Japan World Exposition; Spectatorship)
• World of Matter, 7, 217, 229, 233, 306n49
• World War I, 10, 26, 55, 287n95
  • photography in, 27, 30, 129
• World War II, 4, 12, 23, 53, 55, 79
  • and photography, 24, 29, 245
  • technology of, 10, 128 (see also Atom bomb; Radar; Sonar)
• World without End (1953), 50–51
• World without Sun (Cousteau), 74, 120

• Yamahata, Yosuke, 40, 273n45
• Youngblood, Gene, 131, 139, 141–142, 153–154