Titlebook: Media Archaeology and Intermedial Performance; Deep Time of the The Nele Wynants Book 2019 The Editor(s) (if applicable) and The Author(s),

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Deep Space or the Re-invention of Scenography: Jozef Wouters on alle des Machines in Paris. Servandoni used the infrastructure to conduct elaborate research on the theatricality of scenography, considering space itself as an autonomous theatrical sign. The work and ideas of Servandoni were a direct source of inspiration for . (2015), a theatre project conducted

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Capturing Bodies as Objects: Stereography and the Diorama at Work in Kris Verdonck’s of ., an installation by Belgian artist Kris Verdonck. The function of stereography, Muybridge’s chronophotography, and the diorama in the political and economic apparatuses of the nineteenth century allows for a deeper understanding of .’ critical and political use of new media. This media-archaeol

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Cinema’s Savoyards: Performativity and the Legacy of the Magic Lanternth key figures of avant-garde cinema. Considering the . of the magic lantern as a template for cinema, we can retrace in their work an unexpected legacy of the . or itinerant magic lanternists. Particularly its verbal and performative aspects are being adopted by filmmakers who want to focus more on

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The Art of Anamorphosis: Subverting Representational Conventions and Challenging the Observering representational conventions and questioning the observer. A study of cylindrical anamorphosis’s deep time signals how other ways of representation and of looking, and another status of the observer were alternative possibilities that did not become part of mainstream media. The analysis of Knoo

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Mediated Visions of Life: An Archaeology of Microscopic Theatreyful enquiry. In the early nineteenth century, with the invention of the projection microscope—a magic lantern combined with a microscope—microscopy developed fully as a public spectacle well suited to show business. The projection microscope brought minuscule presences, invisible to the naked eye,

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