Morel_Moreau_Morella. The Metamorphoses of Adolfo Bioy Casares Invention in a (Re) Animating Universe

Adolfo Bioy Casares short novel The Invention of Morel (La invención de Morel, 1940) envisioned the wish of human beings to define themselves through technology, indeed to reanimate the human as a technological double in an environment that gradually becomes virtual. This article develops the relationships connecting The Invention of Morel with three animating forms: the phantasmagoria, the automaton, and the machine-environment, to stress the privileged association they make between invention and (re)animation. With this purpose, the paper examines key contributions to our understanding of simulation and automata in the field of animation theory, such as Alan Cholodenko s Speculations on the Animation Automaton , but also Joubert-Laurencin s La lettre volante. Quatre essais sur le cinema d animation, which directly addresses Bioy Casares story as a metaphor of animated cinema. Sigmund Freud s psychoanalytical approach to the field of aesthetics in The Uncanny , and subsequent theories like Masahiro Mori s The Uncanny Valley , are also taken into consideration.Lorenzo Hernández, MC. (2013). Morel_Moreau_Morella. The Metamorphoses of Adolfo Bioy Casares Invention in a (Re) Animating Universe. Animation: An interdisciplinary journal. 8(2):185-202. doi:10.1177/1746847713485535S18520282Buchan, S. (2011). The Quay Brothers. doi:10.5749/minnesota/9780816646586.001.0001Cholodenko, A. (2013). The Crypt, the Haunted House, of Cinema. Cultural Studies Review, 10(2), 99-113. doi:10.5130/csr.v10i2.3474Crafton, D. (1993). Before Mickey. doi:10.7208/chicago/9780226231020.001.000

Walking the creek: reconnecting place through light projection

In this paper, we explore how a light projection sought to convey a range of qualities:conviviality, a sense of place, playfulness, defamiliarisation, and the affective andsensory capacities that were experienced through walking in the distinctive, liminalrealm of Bendigo Creek in Victoria, Australia. The projection aspired to solicit asensory and affective empathy that chimed with the experiences of an earlier eventin which dozens of pedestrians werefilmed walking in the creek. The projectioncontributed to a local campaign to reappraise the much-maligned creek as a localpublic amenity. We discuss the productive potential of solitary and collectivewalking and, subsequently, the attributes of the projection in its static and mobilemanifestation. In so doing, we suggest that publicly engaged, inclusive, creativepractice can offer potent place-making possibilities

Ogni Pensiero Vola: the embodied psyche in Terrence Malick's The Tree of Life

The Tree of Lifetouches on embodiment of the soul in an early sequence covering courtship, marriage and the first pregnancy of a young couple. In a delicate formal scene, Mrs O'Brien, nearing full term, treads gently along a river's edge summoning infant souls luminous in white linen. She opens a minute book of life to one of them, preparing his entry through the iron gates that open on embodied life. Presently, the infant soul rises up from his underwater home beyond the reach of conscious awareness: Mrs O'Brien gives birth to her first son, Jack. This is the boy who will eventually become a middle-aged man in crisis. Ravaged then by grief for his long-dead younger brother and his own inability to live at peace with his family or himself, his memories, visions and reflections accumulate in a way that makes him a suffering Hermes for the early twenty-first century. The initiating episode of the infant's birth complements the embodied and affective experiences of those in the audience who accept the film's sensual invitation to steep themselves in the immense scale of its gorgeous sounds and images. They then discover on the pulse that, more than the history of one Texan family, it attempts nothing less than the necessary re-creation of the godhead for the early twenty-first century. Contrary to the rigid medieval dogmas of so many orthodox religions,The Tree of Lifeassures us not of a changeless eternity but rather the sacred and ceaseless metamorphosis of numinous energy

E-readers and the death of the book: or, new media and the myth of the disappearing medium

The recent emergence of e-readers and e-books has b rought the death of the book to the centre of current debates on new media. In this article, we a nalyse alternative narratives that surround the possibility of the disappearance of print books, do minated by fetishism, fears about the end of humanism, and ideas of techno-fundamentalist progre ss. We argue that, in order to comprehend such narratives, we need to inscribe them in the br oader history of media. The emergence of new media, in fact, has often been accompanied by narra tives about the possible disappearance of older media: the introduction of television, for in stance, inspired claims about the forthcoming death of film and radio. As a recurrent narrative s haping the reception of media innovation, the myth of the disappearing medium helps us to make se nse of the transformations that media change provokes in our everyday life

Film practice as interdisciplinary research: a case study

Referring primarily to my own doctoral practice-as-research project as a case study, this chapter explores cinematic practice as a mode of interdisciplinary research. The project traces the journey of the Kladovo transport, a large group of Jewish refugees from central Europe, who attempted to flee Nazi persecutions in 1939 via the river Danube. The majority of the passengers never got further than Serbia, where their journey fatally ended in 1941/1942. This failed escape attempt is charged with striking relationships to time, like the long periods of stasis that the Kladovo transport spent on the Danube waters. While drawing from large an interdisciplinary field, including history, Holocaust geographies and archaeology, I explore this journey as a multi-temporal event, with the camera as my main research tool. In this chapter, I will take a closer look at some of the elements of the interdisciplinary encounters as they appeared in my study

Visualising Surfaces, Surfacing Vision: Introduction

In this Introduction to a special section on Visualising Surfaces, Surfacing Vision, we argue that to conceive vision in the contemporary world it is necessary to examine its embedding within, expression via and organisation on the surface. First, we review recent social and cultural theories to demonstrate how and why an attention to surfaces is salient today. Second, we consider how vision may be understood in terms of surfaces, discussing the emergence of the term ‘surface’, and its transhistorical relationship with vision. Third, we introduce the contributions to the special section, which cover written articles and artworks. We make connections between them, including their exploration of reflexivity and recursion, observation, objectivity and agency, ontology and epistemology, relationality, process, and two- and three-dimensionality. Fourth, we consider some implications of an understanding of visualising surfaces/surfacing vision

Masculinities, affect and the (re)place(ment) of stardom in Formula One fan leisure practices

Writing from an autoethnographic perspective, this article explores male leisure practices via the mediated relationships fans enter into with stars. More specifically, my own fandom for Formula One driver Jacques Villeneuve is the locus of study, revealing how this affective investment shapes and furnishes my corresponding leisure practices. Notions of gendered 'performativity' come to the fore, with my own displays evoking, enacting and revealing oscillating performances of masculinity. Moreover, there are interesting gendered dynamics that such fan leisure practices flag in terms of the intersection of female/male relationships and the potential 'fantasy' and/or narcissistic readings that a male fan identifying with and performing as another male sport star afford. Finally, my research reveals paradoxes for contemporary masculinities, with fans reliant upon mediation and commodification to facilitate and sustain their performative roles. © 2011 Taylor & Francis

The empath and the psychopath: ethics, imagination, and intercorporeality in Bryan Fuller’s Hannibal

The long-form television drama series Hannibal (Fuller 2013-2015) thematises the embodied imagination and the elicitation of empathy and ethical understanding at the level of narrative and characterisation as well as through character engagement and screen aesthetics. Using Hannibal as a case study, this research investigates how stylistic choices frame the experiences of screen characters and engender forms of intersubjectivity based on corporeal and cognitive routes to empathy; in particular, it examines the capacity for screen media to facilitate what neuroscientist Vittorio Gallese terms intercorporeality. As a constitutive aspect of intersubjectivity and social understanding that works through embodied simulation, intercorporeality invites a reconceptualisation of empathy and its association with ethical motivation and insight. Hannibal also introduces cannibalism as a dark metaphor for the incorporation of another into oneself, reflecting on empathy's ill-understood potential for negative affect and unethical consequences

Body Image and Prosthetic Aesthetics: Disability, Technology and Paralympic Culture

The success of the London 2012 Paralympic not only revealed new public possibilities for the disabled, but also thrust the debates on the relationship between elite Paralympians and advanced prosthetic technology into the spotlight. One of the Paralympic stars, Oscar Pistorius, in particular became celebrated as ‘the Paralympian cyborg’. Also prominent has been Aimee Mullins, a former Paralympian, who become a globally successful fashion model by seeking to establish a new bodily aesthetic utilizing non-organic body parts. This paper examines how the modern discourse of prosthesis has shifted from the made-up and camouflaged body to the empowered and exhibited body to create a new cultural sensitivity of body image – prosthetic aesthetics. Prosthetic aesthetics oscillates between two polarized sensitivities: attractiveness/’coolness’, which derive from the image of a perfect human-machine synthetic body, and abjection/uncanny which is evoked by the actual materiality of the lived body incorporating a lifeless human-made body part