Sensorium

书名：SensoriumEmbodiedExperience,Technology,andContemporaryArt
作者：Jones,CarolineA.编
译者：
ISBN：9780262101172
出版社：TheMITPress
出版时间：2006-10-6
格式：epub/mobi/azw3/pdf
页数：268
豆瓣评分：

书籍简介：

The relationship between the body and electronic technology, extensively theorized through the 1980s and 1990s, has reached a new technosensual comfort zone in the early twenty-first century. In Sensorium, contemporary artists and writers explore the implications of the techno-human interface. Ten artists, chosen by an international team of curators, offer their own edgy investigations of embodied technology and the technologized body. These range from Matthieu Briand's experiment in "controlled schizophrenia" and Janet Cardiff and Georges Bures Miller's uneasy psychological soundscapes to Bruce Nauman's uncanny night visions and François Roche's destabilized architecture. The art in Sensorium–which accompanies an exhibition at the MIT List Visual Arts Center–captures the aesthetic attitude of this hybrid moment, when modernist segmentation of the senses is giving way to dramatic multisensory mixes or transpositions. Artwork by each artist appears with an analytical essay by a curator, all of it prefaced by an anchoring essay on "The Mediated Sensorium" by Caroline Jones. In the second half of Sensorium, scholars, scientists, and writers contribute entries to an "Abecedarius of the New Sensorium." These short, playful pieces include Bruno Latour on "Air," Barbara Maria Stafford on "Hedonics," Michel Foucault (from a little-known 1966 radio lecture) on the "Utopian Body," Donna Haraway on "Compoundings," and Neal Stephenson on the "Viral." Sensorium is both forensic and diagnostic, viewing the culture of the technologized body from the inside, by means of contemporary artists' provocations, and from a distance, in essays that situate it historically and intellectually.

作者简介：

Caroline A. Jones is Professor of Art History in the History, Theory, Criticism section of the Department of Architecture at MIT. She is the editor of Sensorium: Embodied Experience, Technology, and Contemporary Art (MIT Press).

书友短评：

@ 空空大士菇菇叽 把格林伯格的形式主义看作上世纪中期现代主义感官体系的症候。两个特征：各感官的孤立+视觉中心主义。这个感官体系极为social，存在于科研、教学、消费中，但它的作用也非常individuating，通过我们对感官技术的内化实现，体现在感官的个体化定制（如耳机音乐、隔音技术），甚至是变得不可感（美术馆白盒子和除味剂）。Jones对关于视觉的讨论有非常精彩的回应。比如指出很多对视觉中心主义的批评其实也在工具化视觉，忽略了视觉需要其他感官的信息来自我校准，也忽略了我们的视觉意识往往还是基于文本。解答了我关于mcluhan的疑惑：为什么基于文字的印刷技术引发的却是视觉转向；谈纳西索斯的神话也指出，他会错认镜像为人，就是因为没有调动其他感官。把视觉重置于一个整体的sensorium中是最大的启发。 @ 远颂 把格林伯格的形式主义看作上世纪中期现代主义感官体系的症候。两个特征：各感官的孤立+视觉中心主义。这个感官体系极为social，存在于科研、教学、消费中，但它的作用也非常individuating，通过我们对感官技术的内化实现，体现在感官的个体化定制（如耳机音乐、隔音技术），甚至是变得不可感（美术馆白盒子和除味剂）。Jones对关于视觉的讨论有非常精彩的回应。比如指出很多对视觉中心主义的批评其实也在工具化视觉，忽略了视觉需要其他感官的信息来自我校准，也忽略了我们的视觉意识往往还是基于文本。解答了我关于mcluhan的疑惑：为什么基于文字的印刷技术引发的却是视觉转向；谈纳西索斯的神话也指出，他会错认镜像为人，就是因为没有调动其他感官。把视觉重置于一个整体的sensorium中是最大的启发。 @ 空空大士菇菇叽 “Utopian Body.” @ vivian.x Some articles were ok.

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