Le più recenti riflessioni di Visual, Cultural e Media Studies mostrano come la società contemporanea si caratterizzi per una tendenza a costruire la propria conoscenza e la propria cultura sfruttando la crescente proliferazione di immagini, molte delle quali a base filmica. Intercettando il dibattito sul post-cinema, la ricerca prova a prendere atto di questa dinamica adottando un approccio di tipo esperienziale, indagando le forme che l’istanza cinematografica assume nel momento in cui, lasciati i suoi luoghi classici, si fa presente negli spazi di vita. Proprio questo sorgere, costituisce il punto di partenza per ripercorrere i meccanismi attraverso cui l’istanza filmica viene in contatto con gli elementi essenziali perché possa modellarsi come conformazione esperienziale. L’esito di questo processo conduce alla costituzione di una forma esperienziale particolare, definita spazio-immagine. Il concetto assunto come chiave di lettura di questa categoria e dei suoi processi strutturali (abitare, costruire, arredare) è quello di design, inteso come possibilità di trasformazione dei tratti che definiscono le forme esperienziali. Ragionare in termini di spazio-immagine significa allora inquadrare l’idea di esperienza filmica in uno schema di presenza ed emersione, secondo una prospettiva organica di integrazione e tessitura che conduce all’identificazione di quelli che sono i neoluoghi del filmico. / Recent acquisitions in Visual, Cultural, and Media Studies emphasize the trend to use the contemporary proliferating images – mainly screen-based – in order to build knowledge and culture. Intercepting the current debate dealing with the post-medial condition involving cinema, the research project aims to detect this process. While assuming an experiential approach, it attempts to explore the forms of cinematic experience as it leaves its own precincts and finds new expressing solutions within everyday encounters. Starting from the emergence of original image-patterns in different contexts and situations of daily life, the observation focusses on the mechanisms which lead to a modelling of filmic experience into particular shapes and configurations. The result of these operations represents what is to be called 'space-image'. The interpretation key-concept of this category and of its structural processes (dwelling, projecting, furnishing) is design: this is intended here as transfomation options able to inform and re-inform experiential materials. Setting the study of cinematic experience under the sign of space-image means thus to reframe the presence and rising of moving images in a perspective of organic integration and texture, which permits to identify the new places of cinema in our time.

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This thesis examines strategies of anticipation in contemporary post-cinematic art. In the Introduction and the first chapter, I make the case for anticipation as a cultural technique for the construction of and adjustment to future scenarios. This framing allows analysis of constructions of futures as culturally and media-historically specific operations. Via anticipation, constructions of futures become addressable as embedded in specific performative and material economies: as regimes of prediction. The hypothesis is that cultural techniques of anticipation do not only serve to construct particular future scenarios, but also futurity, the very condition for the construction of futures. Drawing upon the philosophical works of, in particular, Vilem Flusser, Jacques Derrida and Elena Esposito, and the theory of cultural techniques, I conceptualize anticipation through the analysis of post-cinematic strategies. I argue that post-cinematic art is particularly apt for the conceptualization of anticipation. The self-reflexive multi-media interventions of post-cinematic art can expose the realisms that govern regimes of prediction. Three cultural techniques of anticipation and their use as artistic strategies in post-cinematic art are theorized: enactment, soft montage and rendering. Each of these techniques is examined in its construction of futures through performative and material operations in art gallery spaces. The second chapter examines strategies of enactment in post-cinematic installations by Neïl Beloufa. My readings of Kempinski (2007), The Analyst, the Researcher, the Screenwriter, the CGI tech and the Lawyer (2011), World Domination (2012) and Data for Desire (2014) propose that enactment allows for an engagement with futures beyond extrapolation. With Karen Barad's theory of agential realism, the construction of futures becomes graspable as a political process in opposition to a mere prolonging of the present into the future. The third chapter focuses on the strategy of soft montage in works by Harun Farocki. I interpret Farocki's application of soft montage in the exhibition Serious Games I-IV (2009-2010) as a critical engagement with anticipatory forms of organizing power and distributing precarity. His work series Parallel I-IV (2012-2014) is then analyzed as a speculation on the future of image production technologies and their role in constructing futures. The final chapter analyses the self-referential use of computer-generated renderings in works by Hito Steyerl. The installations How Not To Be Seen (2013), Liquidity Inc. (2014), The Tower (2015) and ExtraSpaceCraft (2016) are read as interventions in the performative economies of contemporary image production. I argue that these works allow us to grasp the reality-producing and futurity-producing effects of rendering as anticipatory cultural technique. My thesis aims to contribute to the discussions on a 'turn towards the future' in contemporary philosophy and cultural criticism. My research thus focuses on the following set of questions. What can we learn about the operations of future construction through encounters with post-cinematic art? How are futures and future construction framed in such art? What realisms do future constructions rely on? And how can anticipation as a cultural technique be politicized and democratized?