This book contends that the haptic sense - combining touch, kinaesthesis and proprioception - was first fully conceptualised and explored in the modernist period, in response to radical new bodily experiences brought about by scientific, technological and psychological change. How does the body's sense of its own movement shift when confronted with modernist film? How might tra...(展开全部)

"The Tactile Eye" expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile - a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the s...(展开全部)

"The Tactile Eye" expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile - a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the s...(展开全部)

New developments occur when boundaries are crossed. Today, the most progressive designers are working at the intersection of various creative disciplines. They are challenging existing design principles and defining them anew. Many designers from different areas are choosing to no longer work exclusively in two dimensions and are instead dealing intensively with space...(展开全部)

New developments occur when boundaries are crossed. Today, the most progressive designers are working at the intersection of various creative disciplines. They are challenging existing design principles and defining them anew. Many designers from different areas are choosing to no longer work exclusively in two dimensions and are instead dealing intensively with space...(展开全部)

During the early twentieth century, Shanghai was the center of China's new media culture. Described by the modernist writer Mu Shiying as "transplanted from Europe" and “paved with shadows,” for many of its residents Shanghai was a city without a past paradoxically haunted by the absent past’s traces. In Shadow Modernism William Schaefer traces how photographic practices in Sha...(展开全部)

During the early twentieth century, Shanghai was the center of China's new media culture. Described by the modernist writer Mu Shiying as "transplanted from Europe" and “paved with shadows,” for many of its residents Shanghai was a city without a past paradoxically haunted by the absent past’s traces. In Shadow Modernism William Schaefer traces how photographic practices in Sha...(展开全部)

During the early twentieth century, Shanghai was the center of China's new media culture. Described by the modernist writer Mu Shiying as "transplanted from Europe" and “paved with shadows,” for many of its residents Shanghai was a city without a past paradoxically haunted by the absent past’s traces. In Shadow Modernism William Schaefer traces how photographic practices in Sha...(展开全部)