Search Results

You are looking at 1 - 10 of 171 items :

  • "Sensuality" x
Clear All
Wahrnehmung und Imagination der Architektur
Choreographie, Improvisation, Exploration. Jahrbuch TanzForschung 2016

suppressive ideas of origins and the Oriental stereotype. However, their love crashes against reality, because it collides with her open views on sexuality in the third section of the story, as already shown. This ironic subversion of that dream of Arabia is even more powerful as it is corroborated by an ironic juxtaposing in opposition that is contained in the third phase. That is to say, Özdamar juxtaposes the exotic sensuality of the Ori- ental body in the second phase to the brutal reality of tortured and dead bodies in the third (and first) phases. She does it

suggests otherwise. Much like the challenge that aesthesis presents to mathesis, Luigi Russolo advanced synesthesia as a promising method for disrupting the increasing rationalization of human experience (Chessa 2012). By calling upon and privileging a disori- ented or spectral order of sensuality, the sensorium divorced from the direct excitations of experience, the artists interviewed effectively named the nameless Figure 5: Sterling Crispin, Data Masks (2013-Ongoing). Interpreting an Improper Materialism 125 (digital materiality  – the submedial) through a sense

return to Heidegger’s philosophy. The metaphor of an oscillation between two static poles, no matter how irregular the movement between them is imagined, betrays Gumbrecht’s indebtedness to a form of thinking he initially sets out to overcome: as oscillation, the dynamics between presence and meaning remains controlled by the schematic binarism of a Cartesian coordinate system. Hence, the strategy of establishing presence next to meaning mirrors the Romantic effort of elevating sensuality to an equally important status as reason. In fact, one of the most

natürlicher Körperlichkeit entgegen und zwar in Gestalt eines durchaus »unnatürli- chen« Akts der schieren Sinnlichkeit: »It was not really love. It was not voluptuousness. It was sensuality sharp and searing as fire, burning the soul to tinder. Burning out the shames, the deepest, oldest shames, in the most secret places. It cost her an effort to let him have his way and his will of her. She had to be a passive, consenting thing, like a slave, a physical slave. […] The refinements of passion, the extravagances of sensuality! And necessary, forever necessary, to

the highest forms of reasoning. Freud links this “advance” to the Mosaic prohibition against graven images, an interdiction that resulted in the fact “that a sensory perception was given second place to what may be called an abstract idea – a triumph over intellectuality over sensuality, or, strictly speaking, an instinctual renunciation, with all its necessary psychological consequences” (Freud 1964: 113). Moses and Monotheism is an unusual book for Freud, not only in its subject matter, but also in its form. In contrast to previous works, like The

able to smile, an ironic commentary on Schwarzenegger’s alleged lack of acting skills, his deficient mimetic qualities. When he attempts to smile the face of the shape shifter (who can turn into anything from a doorknob to a police officer) twists into a disfigured grimace—perhaps similar to Adorno’s facial expression in the presence of the man with the artificial limb. If one juxtaposes these two scenarios (though this is admittedly unfair to both), it is possible to conceive them as modern and late modern versions of the relationship between sensuality

we need music for in our lives? Maybe the question can be refined: Why do we think of the musical practice as a form of life? Together or alone, we do something meaningful for ourselves with sounds; we would like to repeat the actions or the activity. A meaning arises 3 | A. Beuger/S. Vriezen: Asking questions, trying answers, 36. 4 | Ibid. 5 | Ibid. Preface 11 for us through the activities and events in their corporeality and sensuality; this meaning does not need to be verbalized. We understand the world and understand each other in non

first two parts are like ordinary films, but in the third part, there is no conventional narration. It’s the bodies, the movements and the behaviour of the actors that begin to ‘speak’. At one point you see girls working in a rice field and their work is wordlessly dem- onstrated by their bodies, gestures and movements. Things themselves—for instance, work—are shown directly, become visible. Not talking, but sensuality, emotion: that can signify beauty. Film happens. When you want to start filming and you just have a very gen- eral idea/memory that is not yet