Abstract
The current theory of “camera presence” derives from ancient and early modern sources in theology, natural philosophy, rhetoric, and eventually science. As music depends on silence, “presence” in these disciplines depends on absence, and authorities framed their understanding of the expressiveness of actors by analogizing their performances to “electrical fire” based on the reciprocal action of positive and negative charges as effected by “phlogiston,” or “the stuff that isn’t there.”
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