Discourse, Bindi 32,Útgáfa 22010 |
From inside the book
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Síða 202
... touch that teaches the eye to see , ” and that " see- ing in perspective necessarily derives from original experiences of touch . " As Benthien explains , " While the visual only shows repre- sentations and can therefore be deceived ...
... touch that teaches the eye to see , ” and that " see- ing in perspective necessarily derives from original experiences of touch . " As Benthien explains , " While the visual only shows repre- sentations and can therefore be deceived ...
Síða 205
... touching oneself leads to knowledge of the self ; the second , via Stelarc , that touch- ing oneself leads to expanded or fuller self - presence - we see that a vision of digital simultaneity can combine the utopian affirmation of the ...
... touching oneself leads to knowledge of the self ; the second , via Stelarc , that touch- ing oneself leads to expanded or fuller self - presence - we see that a vision of digital simultaneity can combine the utopian affirmation of the ...
Síða 210
... touch myself ” ( “ I Touch Myself , " diVINYLS [ London : Virgin Records , 1991 ] ) . A 2004 exhibition in the New York Academy of Art focused on contemporary self- touch , showing among others the digital video Making Out with Myself ...
... touch myself ” ( “ I Touch Myself , " diVINYLS [ London : Virgin Records , 1991 ] ) . A 2004 exhibition in the New York Academy of Art focused on contemporary self- touch , showing among others the digital video Making Out with Myself ...
Efni
Womens Cinema and Contemporary Allegories of Violence | 170 |
Utopian Architecture | 186 |
Ethics Aesthetics and the Future in Alfonso Cuaróns Children | 212 |
Höfundarréttur | |
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aesthetic Alfonso Cuarón American Amores Perros argues Asian audiences Barney's Benthien body Brooks camera characters Children Children of Men contemporary context CREMASTER critical critique Cruz Cruz's Cuarón's cultural Deleuze Derrida digital art digital image Discourse dramatic dystopian Eliot's essay ethical experience figure film film's filmic Foucault Freud function Gary Gilmore Gilles Deleuze Giroux Gledhill global Hansen historical huella and Perfume human Ibid ideas identity Imagination internal limit Iwamura Kwai Chang Caine maître d Matthew Barney Mavor melo melodrama melodramatic mode Mexican Mexico modern moral mother narrative objects Oriental Monk Perfume de Violeta political postmodern problem produced Prosthetic Head queer quotation rape reality Reas representation Sade Sade's scene screen shots Silvano Sin dejar huella Slavoj Žižek social sociopolitical space specific spiritual Stelarc Stella Dallas suffering symbolic Theo theory tion touch trans Transgression University Press utopia viewer virtual virtue and evil visual Waste Land Yessica York