LEADER 04287nam 22007453u 450 001 9911098725303321 005 20251117092040.0 010 $a0-203-94239-6 010 $a9786611136055 010 $a1-135-87886-2 010 $a1-281-13605-0 010 $a1-283-64335-9 010 $a1-135-87887-0 010 $a9780203942390 024 7 $a10.4324/9780203942390 035 $a(CKB)2670000000259398 035 $a(EBL)1039319 035 $a(OCoLC)815654000 035 $a(SSID)ssj0000789851 035 $a(PQKBManifestationID)12301734 035 $a(PQKBTitleCode)TC0000789851 035 $a(PQKBWorkID)10733169 035 $a(PQKB)11521384 035 $a(MiAaPQ)EBC291873 035 $a(MiAaPQ)EBC1039319 035 $a(MiAaPQ)EBC5120145 035 $a(OCoLC)135044478 035 $a(FlBoTFG)9780203942390 035 $a(EXLCZ)992670000000259398 100 $a20130418d2012|||| u|| | 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBodies in Code $eInterfaces with Digital Media 210 $aHoboken $cTaylor and Francis$d2012 215 $a1 online resource (330 p.) 300 $aDescription based upon print version of record. 311 08$a0-415-97015-6 327 $aFront Cover; Bodies in Code; Copyright Page; Contents; The Author; Preface; Introduction: From the Image to the Power of Imaging:Virtual Reality and the "Originary" Specularity ofEmbodiment; 1. All Reality Is Mixed Reality; 2. The Power of Imaging and the Privilege of the Operational; 3. Virtual Reality as Embodied Power of Imaging; Part I: Toward a Technics of the Flesh; 1. Bodies in Code, or How Primordial Tactility Introjects Technics into Human Life; 1. "Make Use of What Nature Has Given Us!"; 2. Body Schema As Potentiality; 3. Technics and the Dissolution of the Body Image 327 $a4. Specularitybeyond the Mirror-Image5. All Exteriorizations Are Exteriorizations of the Skin; 6. Primordial Tactility; 7. Seeing through the Hand; 8. Worldskin; 9. The Tele-Absent Body; Part II: Locating the Virtual in Contemporary Culture; 2. Embodying Virtual Reality: Tactility andSelf-Movement in the Work of Char Davies; 1. The Primacy of Self-Movementin Conferring Reality on Perception; 2. Beyond the Body-Image:Embodying Psychasthenia; 3. Digitizing the Racialized Body, or the Politics of Common Impropriety; 1. Beyond Symbolic Interpellation: Understanding Digital Performativity 327 $a2. Beyond Visibility: the Generalization of Passing3. "Corporeal Malediction" and the "Racial- Epidermal Schema"; 4. From Negrophobia to Negrophilia; 5. Mobilizing Affectivity beyond the Image; 6. Forging the Affection-Body; 4. Wearable Space; 1. Encountering the Blur; 2. The Architectural Body; 3. The"Interiority" of Architecture; 4. Internal Resonance; 5. A New Organicism; 6. Wearing the Blur; 5. The Digital Topography of House of Leaves; 1. The Digital; 2. Media; 3. Body; Notes; References; Bibliography; Index 330 $aBodies in Code explores how our bodies experience and adapt to digital environments. Cyberculture theorists have tended to overlook biological reality when talking about virtual reality, and Mark B. N. Hansen's book shows what they've been missing. Cyberspace is anchored in the body, he argues, and it's the body--not high-tech computer graphics--that allows a person to feel like they are really ""moving"" through virtual reality. Of course these virtual experiences are also profoundly affecting our very understanding of what it means to live as embodied beings. Hansen draws up 606 $aBody schema 606 $aHuman figure in art 606 $aVirtual reality in art 606 $aPhilosophy$2HILCC 606 $aPhilosophy & Religion$2HILCC 606 $aSpeculative Philosophy$2HILCC 615 4$aBody schema. 615 4$aHuman figure in art. 615 4$aVirtual reality in art. 615 7$aPhilosophy 615 7$aPhilosophy & Religion 615 7$aSpeculative Philosophy 676 $a006.8 700 $aHansen$b Mark B. 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Sundance to Sarajevo is a tour of the world's film festivals by an insider whose familiarity with the personalities, places, and culture surrounding the cinema makes him uniquely suited to his role. Kenneth Turan, film critic for the Los Angeles Times, writes about the most unusual as well as the most important film festivals, and the cities in which they occur, with an eye toward the larger picture. His lively narrative emphasizes the cultural, political, and sociological aspects of each event as well as the human stories that influence the various and telling ways the film world and the real world intersect. Of the festivals profiled in detail, Cannes and Sundance are obvious choices as the biggest, brashest, and most influential of the bunch. The others were selected for their ability to open a window onto a wider, more diverse world and cinema's place in it. Sometimes, as with Sarajevo and Havana, film is a vehicle for understanding the international political community's most vexing dilemmas. Sometimes, as with Burkina Faso's FESPACO and Pordenone's Giornate del Cinema Muto, it's a chance to examine the very nature of the cinematic experience. But always the stories in this book show us that film means more and touches deeper chords than anyone might have expected. No other book explores so many different festivals in such detail or provides a context beyond the merely cinematic. 606 $aFilm festivals 606 $aPerforming arts festivals 615 0$aFilm festivals. 615 0$aPerforming arts festivals. 676 $a791.43/079 676 $a791.43 686 $aAP 42200$qBVB$2rvk 700 $aTuran$b Kenneth$01020855 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9911135352203321 996 $aSundance to Sarajevo$92416376 997 $aUNINA