Final version will go to http://ontheimage.com/journal/

1. The Latent Image
Sean Cubitt
Inaugural International Conference on The Image December 2-3 2010, UCLA

2. In the present go
nor right nor left
nor stay
in the middle, where they’ll get you
Charles Olson, ‘The Song and Dance Of’, The Maximus Poems.
The Unholy Image
The Unstable Image
Latency
Managing Instability
Vector vs Vector Prediction
The Database Economu

3. 3 Thou shalt have no other gods before me.
4 Thou shalt not make unto thee any graven image, or any likeness of any thing that is
in heaven above, or that is in the earth beneath, or that is in the water under the earth:
5 thou shalt not bow down thyself to them, nor serve them: for I the LORD thy God am
a jealous God, visiting the iniquity of the fathers upon the children unto the third and fourth
generation of them that hate me;
6 and showing mercy unto thousands of them that love me, and keep my command-
ments.
Exodus 20
12 Take heed to thyself, lest thou make a covenant with the inhabitants of the land
whither thou goest, lest it be for a snare in the midst of thee:
13 But ye shall destroy their altars, break their images, and cut down their groves:
14 For thou shalt worship no other god: for the LORD, whose name [is] Jealous, [is] a
jealous God:
15 Lest thou make a covenant with the inhabitants of the land, and they go a whoring
after their gods, and do sacrifice unto their gods, and [one] call thee, and thou eat of his
sacrifice;
16 And thou take of their daughters unto thy sons, and their daughters go a whoring
after their gods, and make thy sons go a whoring after their gods.
17 Thou shalt make thee no molten gods.
Exodus 34

4. The Unholy Image

5. Henri Fantin-Latour – Nature morte dite “des fiançailles”, 1869
The Unstable Image

6. Hannah Hoch, 1919, Schnitt mit dem kuchenmesser dada durch die letzte English School, Richard II presented to the Virgin and Child by his Patron
weimarer bierbauchkulturepoche deutschlands (Cut with the Kitchen Knife Saint John the Baptist and Saints Edward and Edmund (The Wilton Dip-
Dada through the Last Weimar Beer-Belly Cultural Epoch of Germany) tych); c. 1395 and 1399

7. Dryden Goodwin, two passages from Wait, video installation, 2000.

8. After 4 to 10 minutes, according to
the period of the day, according to
the season, and to the intensity of
light, the image of immobile objects
from which the lens receives the light,
becomes perfectly imprinted on the
plate, although this image is yet in-
visible and only latent [“seulement
latente”]. Plates should be entirely
renewed so that new objects do not
come to mix their images with any
already exposed on the plate. But this
image, that is yet, so to say in a state
of an unformed chrysalis, what con-
sequently comes to reveal it out of its
swaddling clothes? It is the vapour of
mercury,
“Isid. B”, ‘Renseignemens sur l’exécution des tab-
leaux daguerrotypés ’, Le Constitutionnel, 21 Août
1839, 1–2., cited in R. D. Wood (1996), The Da-
guerreotype and Development of the Latent Image:
“Une Analogie Remarquable”, Journal of Photo-
graphic Science, Sept / Oct 1996, 44 (5), 165–7
Latency

9. Jim Alinder, Ansel Adams in his Darkroom, nd

10. Microphotograph of a fabricated CMOS imager (3.5x3.5mm), University of Western Australia, 2009

11. Compound lens for camera ompound lens from a rear-projection big-screen television
Managing Instability

12. Membership of the MPEG-LA H.264/AVC patent pool.
* Apple Inc.
* DAEWOO
* Dolby Laboratories Licensing Corporation
* Electronics and Telecommunications Research Institute
* France Télécom, société anonyme
* Fraunhofer-Gesellschaft zur Förderung der
angewandten Forschung e.V.
* Fujitsu Limited
* Hitachi, Ltd.
* Koninklijke Philips Electronics N.V.
* LG Electronics Inc.
* Microsoft Corporation
* Mitsubishi Electric Corporation
* NTT docomo
* Nippon Telegraph and Telephone Corporation
* Panasonic Corporation
* Robert Bosch GmbH
* Samsung Electronics Co., Ltd.
* Scientific-Atlanta Vancouver Company
* Sedna Patent Services, LLC
* Sharp Corporation
* Siemens AG
* Sony Corporation
* Ericsson
* The Trustees of Columbia University in the City of New York
* Toshiba Corporation
* Victor Company of Japan, Limited The Database Economu

13. The resolution of each chroma component in a macroblock (Cr
and Cb) is half that of the luminance (luma) component. Each
chroma block is partitioned in the same way as the luma com-
ponent, except that the partition sizes have exactly half the
horizontal and vertical resolution (an 8x16 partition in luma cor-
responds to a 4x8 partition in chroma; an 8x4 partition in luma
corresponds to 4x2 in chroma; and so on). The horizontal and
vertical components of each motion vector (one per partition)
are halved when applied to the chroma blocks.
Example: Figure 2-3 shows a residual frame (without motion
compensation). The AVC reference encoder selects the “best”
partition size for each part of the frame, i.e. the partition size
that minimizes the coded residual and motion vectors. The
macroblock partitions chosen for each area are shown super-
imposed on the residual frame. In areas where there is little
change between the frames (residual appears grey), a 16x16
partition is chosen; in areas of detailed motion (residual ap-
pears black or white), smaller partitions are more efficient.
Iain E G Richardson, (2003), H.264 / MPEG-4 Part 10 White Paper : Pre-
diction of Inter Macroblocks in P-slices Vector Prediction

14. Vector
Sub-nuclear particle tracks observed in
bubble chamber, CERN, c, 1996
Nuclear emulsion print, Nagoya University, c. 2004.

15. Pablo Picasso, L’étreinte, 1972

16. Robert Cahen, L’étreinte, high-definition vicdeo projection,2004, frame grab