The article investigates two seemingly conflicting critical approaches of haptic and transgressive cinema, which emerged along with the corporeal turn in film studies, in the late 1990s and early 2000s. While haptics operates with undistinguishable figures and demands extreme closeness and an active caressing gaze, transgression is usually seen from a distance and subverts the social, political and ethical order. The paper attempts an examination of the Austrian avant-garde filmmaker Kurt Kren’s Actionist films and enlightens how these two opposing strategies can be present together. Giving a detailed analysis of the films, the article describes an expanded definition of Linda Williams’s body genres, in order to create a new category of horror: the horror of materiality.
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2. Frankel J.G. (2004), Development of a Haptic Backhoe Testbed, MS thesis , The Georgia Institute of Technology, G.W. Woodruff School of Mechanical Engineering.
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its application to passive force display. Journal of Intelligent Material Systems and Structures , 13 (7/8), 425-430.
 Choi, S.B., Lee, D.Y. (2005). Rotational motion control of a washing machine using electrorheological clutches and brakes. Proceedings of the Institution of Mechanical Engineers, Part C: Mechanical Engineering Science , 219 (7), 627-638.
 Han, Y.M., Kim, C.J., Choi, S.B. (2009). A magnetorheological fluid-based multifunctional haptic device for vehicular instrument controls. Smart Materials & Structures , 18 (1), 015002.
The winner of many prestigious prizes (Oscar for the best foreign language film, Grand Prize of the Cannes Film Festival, and the Golden Globe among them), the Hungarian film, Son of Saul – according to most critics – represents the Holocaust trauma in a completely new and intriguing way. The filmmakers have invented a special form in order to tackle the heroic task of showing the unwatchable, representing the unthinkable. In this essay I analyse the representational strategy of the film from a phenomenological point of view, and position it in the theoretical framework of haptic sensuality formulated by Vivian Sobchack and Laura U. Marks, among others. I mainly focus on the use of sound, in particular the role of sound design in the creation of haptic space. With the help of the analysis of the representation and artistic invocation of the different bodily senses in the film, I demonstrate how traditional artistic formal elements (characteristic of highly artistic, even experimental productions) are combined with high impact effects often present in popular film forms. I argue that the successful combination of these two factors makes the film an example of artistic immersive cinema.1
for Haptic Interaction in Virtual Environments, WHC 2005, First Joint Eurohaptics Conference and Sym- posium on Haptic Inter-faces for Virtual Environment and Teleoperator Systems, 2005, 195-201.
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 Lee, S., S. Park, M. Kim, C.-W. Lee. Design of a Force Reflecting Master Arm and Master Hand using Pneumatic Actuators, IEEE
This article investigates how, in her documentary The Gleaners and I (Les Glaneurs et la glaneuse, 2000), French director Agnès Varda relies on the establishment of haptic vision in order to merge the experience of her own body with the representation of another “body,” that of people living at the margins of society and gleaning for food. In so doing, the article will bring out the director’s social and aesthetic concerns by positing that Varda turns to a sensuous depiction based on the textural properties of the image to deter any form of instrumental vision regarding the representation of the body and its connections to pre-determined norms of conduct. The article will show that, in its portrayal of a socially and economically alienated group of people, as well as in the rendering of her aging body, Varda’s miseen- scène brings forth a tactile form of knowledge that calls for a humanistic approach, thus defusing any form of mastery of the gaze over the image.
Kajetan Slomka, Grzegorz Juras, Grzegorz Sobota, Mariusz Furmanek, Marian Rzepko and Mark L. Latash
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Todorov E, Jordan MI. Optimal feedback control as a theory of motor coordination. Nat. Neurosci, 2002; 5(11): 1226-1235 van der Wel RPRD, Knoblich G, Sebanz N. Let the force be with us: dyads exploit haptic
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The paper examines the figures of ‘sensable’ intermediality in Péter Nádas’s book, Own Death (2006), an autobiographical account of the author’s heart failure and clinical death and in the screen adaptation of the book by Péter Forgács with the same title (Own Death, 2007). The book and the film problematize the cultural, discursive, and medial (un)representability of a liminal corporeal experience (illness, death) in which the very conditions of self-perception, bodily sensation, and conceptual thinking appear as “other.” In the film corporeal liminality and its medial translatability are not only thematized (e.g. through the untranslated German word umkippen ‘tip over,’ ‘fall over’), but shape the embodied experience of viewing through the use of photo-filmic imagery, still frames, fragmented close-ups, slow motion, or medially textured images. These do not only foreground the foreign, undomesticable experience of the body and “own death” as other, but also expose the medium, the membrane of the film, and confer the moving image a “haptic visuality” (Marks). The haptic imagery directs the viewer’s attention to the sensuality of the medium, to the filmic “body,” enabling a “sensable” (Oosterling) spectatorship, an embodied reflection on the image, on the “sensual mode” (Pethő) of becoming intermedial