ABSTRACT
The expression “digital light” in the title of my chapter is one that I first encountered when I was invited to contribute a paper on the topic to a conference at the University of Melbourne. The paper I gave on that occasion, on which I base these remarks, was in part my attempt to make sense of the expression. My perspective on digital light is that of someone who trained as a painter, who later became a photographer, then a video maker, and who now works with virtual cameras in computer-generated space. I shall be remarking upon what I see as the currently evolving nature of the camera and the camera image in the environment of electronic computation. As I situate my art practice not only in relation to its genealogy but also by reference to the flux of images in contemporary life, I shall begin with some observations about this general image environment. 1 From the various possible points of entry into this environment I choose cinema.
