Video haptics and erotics

Screen

Volumn 39, Issue 4, 1998, Pages 331-348

  Marks, Laura U ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0006043714     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/39.4.331     Document Type: Article

References (41)

1. Jennifer Fisher has proposed a haptic aesthetics that involves not tactile visuality so much as a tactile, kinaesthetic and proprioceptive awareness of the physicality of the art object. 'Relational sense: towards a haptic aesthetics', Parachute, no. 87 (July-September 1997), pp. 4-11
2. David Antin, 'Video: the distinctive characteristics of the medium', in John Hanhardt (ed.), Video Culture (Rochester, NY: Visual Studies Workshop, 1986)
3. For one example among many, consider the Canadian artist, Janet Cardiff's installation 'To Touch' (at The Power Plant, Toronto, 1995). In a dim room, visitors touch a worn, old table in order to activate various sounds from speakers around the walls: music, environmental sounds, whispers, dialogues, fragments of stories. The effect mimics the power of memory to arise from combinations of sensory experience
4. Walter Benjamin, 'The work of art in the age of mechanical reproduction', in Hannah Arendt (ed. and trans.), Illuminations (New York: Schocken, 1958), pp. 217-52
5. See, also: Susan Buck-Morss, 'Aesthetics and anaesthetics: Walter Benjamin's Artwork essay reconsidered', October, no. 62 (1992), pp. 3-41
6. Michael Taussig, Mimesis and Alterity: a Particular History of the Senses (New York: Routledge, 1992)
7. See, for example: Jonathan Crary, Techniques of the Observer: on Vision and Modernity in the Nineteenth Century (Cambridge, MA: MIT Press, 1990)
8. Martin Jay. Downcast Eyes (Berkeley: University of California Press, 1993)
9. See, for example: Constance Classen, Worlds of Sense: Exploring the Senses in History and Across Cultures (London and New York: Routledge, 1993)
10. David Howes (ed.), Varieties of Sensory Experience (Toronto: University of Toronto Press, 1991)
11. and Vishvajit Pandya, 'Movement and space: Anadamanese cartography', American Ethnologist, vol. 17, no. 4 (1990), pp. 775-97
12. See, for example: Luce Irigaray, Speculum of the Other Woman, trans. Gillian C. Gill (Ithaca, NY: Cornell University Press, 1985)
13. Cathryn Vasseleu, Textures of Light: Vision and Touch in Irigaray, Levinas and Merleau-Ponty (London and New York: Routledge, 1998)
14. Miriam Hansen, 'Benjamin, cinema and experience: 'the blue flower in the land of technology"', New German Critique, no. 40 (1987)
15. Margeret Iversen, Alois Riegl (Cambridge, MA: MIT Press, 1993), pp. 78-9
16. Alois Riegl, Late Roman Art Industry, trans. Rolf Winkes (Rome: Giorgio Bretschneider Editore, 1985)
17. Riegl, Late Roman Art, p. 13
18. Gilles Deleuze and Félix Guattari, '1440: the smooth and the striated', in 1000 Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (Minneapolis, MN: University of Minnesota, 1987), p. 493
19. Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century (Chicago: University of Chicago Press, 1983)
20. Norman Bryson, 'The gaze and the glance', in Vision and Painting (New Haven, CT: Yale University Press, 1983)
21. Naomi Schor, Reading in Detail: Aesthetics and the Feminine (New York and London: Methuen, 1987)
22. Mieke Bal, Reading 'Rembrandt': Beyond the Word-Image Opposition (New York: Cambridge University Press, 1991)
23. Luce Irigaray, This Sex Which Is Not One, trans. Catherine Porter and Carolyn Burke (Ithaca, NY: Cornell University Press, 1985), p. 26
24. Gilles Deleuze, Cinema 2: the Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis, MN: Minnesota University Press, 1989), p. 12
25. Noöl Burch, 'Primitivism and the avant-gardes: a dialectical approach', in Philip Rosen (ed.), Narrative, Apparatus, Ideology (New York: Columbia University Press, 1987)
26. Antonia Lant, 'Haptical cinema', October, no. 75 (1995), pp. 45-73
27. Jacinto Lejeira, 'Scenario of the untouchable body', trans. Brian Holmes, Public, no. 13 (1996), pp. 32-47
28. As Michael James Stock demonstrates, the 'blot' effect has the power to arouse desire by obscuring the place where desire ought to reside. Stock's argument rests on a psychoanalytic definition of desire as the longing for an impossible, obliterating encounter with an absolute other. In this essay I attempt to define an erotic encounter in which union does not obliterate the self so much as fray its boundaries - a sort of soft-core erotics perhaps. Michael James Stock, "Bodies and the "blot": electronic obscuration in reality TV', Spectator, vol 16, no. 2 (1996), pp. 90-97
29. Maurice Merleau-Ponty, The Primacy of Perception, trans. James M. Edie (Chicago: Northwestern University Press, 1964), p. 16
30. Vivian Sobchack, The Address of the Eye: a Phenomenology of Film Experience (Princeton, NJ: Princeton University Press, 1992), pp. 10-15
31. See Jessica Benjamin, The Bonds of Love: Psychoanalysis, Feminism and the Problem of Domination (New York: Pantheon, 1988)
32. Ron Burnett, 'Video space/video time: the electronic image and portable video', in Janine Marchessault (ed.), Mirror Machine: Video and Identity (Toronto: YYZ/Center for Research on Canadian Cultural Industries and Institutions, 1995), pp. 142-96
33. John Belton, 'Looking through video: the psychology of video and film', in Michael Renov and Erika Suderberg (eds), Resolutions: Contemporary Video Practices (Minneapolis, MN: Minnesota University Press, 1996), p. 71
34. Wulf Herzogenrath, 'Notes on video as an artistic medium', in Douglas Davis and Alison Simmons (eds). The New Television (Cambridge, MA: MIT Press, 1997), p. 90
35. This definition is central to Linda Williams's description of pornography in Hard Core: Power, Pleasure, and the 'Frenzy of the Visible' (Berkeley, CA: University of California Press, 1989)
36. Stanley Cavell, The World Viewed: Reflections on the Ontology of Film (Cambridge, MA: Harvard University Press, 1979)
37. See Gaylyn Studlar, In The Realm of Pleasure: Von Stemberg, Dietrich, and the Masochistic Aesthetic (Urbana, IL: University of Illinois Press, 1988)
38. Parveen Adams, 'Per os(cillation)', in Constance Penley and Sharon Willis (eds), Male Trouble (Minneapolis, MN: University of Minnesota Press, 1993), pp. 3-26
39. Emmanuel Levinas, Collected Philosophical Papers (Dordrecht: Martinus Nijhoff, 1987), p. 118
40. Paul Davies, 'The face and the caress: Levinas's ethical alterations of sensibility', in David Michael Levin (ed.), Modernity and the Hegemony of Vision (Berkeley, Los Angeles and London: University of California Press, 1992), p. 269
41. Taussig, Mimesis and Alterity, p. 45