Archive for the ‘Touch/Tactile Perception’ Category

Vilém Flusser, Gestures, trans. by Nancy Ann Roth (London: University of Minnesota Press, 2014) ‘Towards a General Theory of Gestures’ pp.161-176 p.162 Gesture can be seen as a kind of movement. What separates gestures defined in this way from other movements is their epistemological overdetermination. When I lift my arm, I can explain the movement […]


Tactile Looking

02Feb13

Olin, Margaret. ‘Tactile Looking’ Touching Photographs (London: University of Chicago Press, 2012) 1-21 p.1 Photographs are visible, but photography is not only a “visual” practice. p.2 There is a tension between looking and touching; the two activities seem to alternate like a blinking eye, as though we cannot do both at the same time. Many of us […]


Batchen, Geoffrey. ‘Ere the Substance Fade: Photography and hair jewellery’ Photographs Objects Histories: On the materiality of images ed. by Elizabeth Edwards and Janice Hart (London: Routledge, 2004) 32-46 p.32 [On a photo-locket] Designed to be touched, this object touches back, casually grazing the pores of my skin with its textured surfaces. In this mutual […]


Pallasmaa, Juhani. The Eyes of the Skin (Chichester: Wiley, 2008) p.10 All the senses, including vision, are extensions of the tactile sense; the senses are specialisations of skin tissue, and all sensory experiences are modes of touching and thus related to tactility. pp.10-11 Our contact with the world takes place at the boundary line of […]


Marks, Laura U. ‘The Memory of Touch’ The Skin of the Film (London: Duke University Press, 2000) 127-193 p.162 Haptic perception is usually defined by psychologists as the combination of tactile, kinesthetic, and proprioceptive functions, the way we experience touch both on the surface of and inside our bodies. In haptic visuality, the eyes themselves function like organs of […]


Takvan, Monica. ‘Perception and Knowledge – In Connection to the Eye and the Senses’, Photography & Culture, 3:3, 321-330 Research in Progress p.321 Perception is often connected to knowledge and information gained through the eyes, and when saying we understand something, the term “I see” is often used. Is seeing the equivalent of understanding? And is perceiving the same as […]


Wells, Liz. ‘Sense of Location: Topography, Journey, Memory’ (London: I.B.Taurus, 2011) 261-302 p.261 [describing Jem Southam’s ‘River Hayle January 2000’] However, naturalised, this is a landscape that has been subject to extensive human intervention – the markers are there for our information, whether we are physically present, or viewers of photographs which operate in observational […]


Making Meaning

10Oct11

Willumson, Glenn. ‘Making Meaning: Displaced materiality in the library and art museum’ Photographs Objects Histories: On the materiality of images ed. by Elizabeth Edwards and Janice Hart (London: Routledge, 2004) 62-80 p.62 Although they are initially treasured for their ability to reproduce a person, an event or a location, the passage of time is not […]


Batchen, Geoffrey. ‘Dreams of Ordinary Life: Cartes-de-visite and the bourgeois imagination’ Photography: Theoretical Snapshots (Oxon: Routledge, 2009) p.80-97 p.80 […] the search for imagination in the carte-de-visite must be directed elsewhere, away from the usual focus on photographer and subject, and instead onto the minds eye of their viewers.[?] p.82 Compared to earlier processes such as the daguerrotype, […]


Edwards, Elizabeth ‘Thinking photography beyond the visual?’ Photography: Theoretical Snapshots ed. by Long, J.J., Noble, Andrea, and Welch, Edward (Oxon: Routledge, 2009) pp.31-48 p.31 [Edwards wants] to consider ways in which we might extend our understanding of photography beyond the visual itself and thus extend our theory of photography beyond the dominant semiotic, linguistic and […]


Julian Walker

26Jan10

From his website: http://walkerjulian.tripod.com/id34.html Most of my work is site-specific; where it is not, it is strongly referencing an idea or set of ideas. In this sense it is reactive, exploring how I can understand specific bits of the world, or exploring how other people have done so. Hence my interest in museums, collections and […]


From http://www.claudiaangelmaier.de/index.php The play with the images of art and their history is at the heart of Claudia Angelmaier’s work whereby particular focus lies on the pictures and their mechanical reproduction, material image and contextual situation. The protagonists of Angelmaier’s large-scale photographic works are books, postcards or transparencies and slides which show copies of “the […]


Stewart, Susan. ‘From the Museum of Touch’ Material Memories ed. by Marius Kwint, Christopher Breward, Jeremy Aynsley, (Oxford: Berg, 1999) 17-36  p.31 Of all the senses, touch is most linked to emotion and feeling. To be ‘touched’ or ‘moved’ by words or things implies the process of identification and separation by which we apprehend the […]



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