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Haptic Transgression. The Horror of Materiality in Kurt Kren’s Films

Abstract

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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Investigation of Electrohydraulic Drive Control System with the Haptic Joystick

REFERENCES 1. Adams R.J., Hannaford B. (1999), Stable haptic interaction with virtual environments, IEEE Transactions on Robotics and Automation , 15(3), 465-474. 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. 3. Harward V. (2006), Haptic synthesis, Proc. 8th International IFAC Symposium on Robot Control , SYROCO, 19-24. 4. Kontz M.E. (2002), Haptic Enhancement of Operator Capabilities in Hydraulic Equipment

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Torque Measurement of 3-DOF Haptic Master Operated by Controllable Electrorheological Fluid

its application to passive force display. Journal of Intelligent Material Systems and Structures , 13 (7/8), 425-430. [10] 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. [11] 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. [12] Choi

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The Phenomenology of Trauma. Sound and Haptic Sensuality in Son of Saul

Abstract

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

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New Exoskeleton Arm Concept Design And Actuation For Haptic Interaction With Virtual Objects

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. [4] Frisoli, A., F. Salsedo, M. Bergamasco, B. Rossi, M. C. Carboncini. A Force-feedback Exoskeleton for Upper-limb Rehabilitation in Virtual Reality. Applied Bionics and Biomechanics, 6 (2009), No. 2, 115-126. [5] Lee, S., S. Park, M. Kim, C.-W. Lee. Design of a Force Reflecting Master Arm and Master Hand using Pneumatic Actuators, IEEE

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Haptic Vision and the Experience of Difference in Agnès Varda’s Les Glaneurs et la glaneuse (2000)

Abstract

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.

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Intra-Personal and Inter-Personal Kinetic Synergies During Jumping

-83 Strang AJ, Funke GJ, Russell SM, Dukes AW, Middendorf MS. Physio-behavioral coupling in a cooperative team task: contributors and relations. J. Exp. Psychol. Hum. Percept. Perform, 2014; 40(1): 145-58 Ting LH, Macpherson JM. A limited set of muscle synergies for force control during a postural task. J.Neurophysiol, 2005; 93(1): 609-13 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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Avoid Contact with the Eyes and Skin, May Cause Irritation: Agnès Varda’s La Pointe courte (1954)

. Deleuze, Gilles. 1989. Cinema 2: The Time-Image, trans. H. Tomlinson and B. Habberjam. Minneapolis: University of Minnesota Press. Flitterman-Lewis, Sandy. 1996. To Desire Differently: Feminism and French culture. New York: Columbia University Press. Freud, Sigmund. 2003 [1919]. The Uncanny, trans. by David McLintock. London: Penguin. Marks, Laura U. 2010. Enfoldment and Infinity: An Islamic genealogy of new media art. Cambridge and London: The MIT Press. -. 2004. Haptic Visuality: Touching with the eyes

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Paradoxes of Visibility

. Tarnay László. 2015. Learning and Re-learning Haptic Visuality. In Cinema of Sensations , ed. Ágnes Pethő, 43–55. Cambridge: Cambridge Scholars Publishing. Wollheim, Richard. 1968. Art and its Objects . An Introduction to Aesthetics. New York, Evanstown, London: Harper & Row.

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‘Own Deaths’ – Figures of the Sensable in Péter Nádas’s Book and Péter Forgács’s Film

Abstract

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

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