By Vivian Sobchack

ISBN-10: 0520241282

ISBN-13: 9780520241282

In those leading edge essays, Vivian Sobchack considers the main position bodies play in making feel of today's image-saturated tradition. Emphasizing our corporeal instead of our highbrow engagements with movie and different media, Carnal innovations exhibits how our event consistently emerges via our senses and the way bodies will not be simply obvious gadgets but in addition sense-making, visible topics. Sobchack attracts on either phenomenological philosophy and a large diversity of well known resources to discover physically event in modern, moving-image tradition. She examines how, during the conflation of cinema and surgical procedure, we've all "had our eyes done"; why we're "moved" through the flicks; and the several ways that we inhabit photographic, cinematic, and digital area. Carnal suggestions presents a full of life and fascinating problem to the mind/body cut up via demonstrating that the method of "making sense" calls for an irreducible collaboration among our suggestions and our senses.

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Introduction
1 technological know-how and man
2 technological know-how and phenomenology
3 The plan of this work
4 'Geographical phenomenology'
5 The disciplinary context

PART I GEOGRAPHY and standard METAPHYSICS
Geographical discourse and its important themes
6 simple thoughts of technology and the strategy acceptable to ontology
7 Objectivism and subjectivism
8 Positivism and naturalism
8a The a-historical nature of positivism
8b The Enlightenment and positivism
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9 Kantian ontology of fabric nature
10 Conceptions of actual house and geography
10a The emergence of geography as an summary, theoretical science
10b Social physics
11 actual area, cognitive behaviouralism and the flip to subjectivity
12 The mode of being attribute of geographical objects

PART II GEOGRAPHY AND PHENOMENOLOGY
The interpretation of phenomenology in geography
13 The phenomenological foundation of geography
14 Geographical phenomenology
14a Phenomenology and sensible research
15 techniques to geographical phenomenology
15a the mandatory contrast among humanism and geography
15b Existentialism
16 The view of science
16a Phenomenology as criticism
16b Phenomenology as anti-science
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20b Individualism
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2od Idealism
21 Geographical phenomenology: its inner critique
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Husserlian phenomenology: the foundational project
23 what's phenomenology?
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25a Sciences of truth and sciences of essence
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26 Phenomenology, technological know-how and lifeworld
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A few others mark disorientation against an American landscape of vast empty spaces and featureless freeways: Marion Crane losing her way in the rain on the interstate until she stops forever at the Bates Motel in Psycho (Alfred Hitchcock, 1960); amnesiac Travis wandering aimlessly in the desert looking for home in Paris, Texas (Wim Wenders, 1984); narcoleptic Mike awakening from his seizures “on the road” and unsure of his bearings or how he got there in My Own Private Idaho (Gus Van Sant, 1991); a host of characters appearing and disappearing in the spatially and temporally uncoordinated road trip on Lost Highway (David Lynch, 1997); and, most recently, two young men named “Gerry” who get fatally lost in Death Valley in the eponymous Gerry (also Gus Van Sant, 2003).

Like the . . caravan earlier, they appeared not to be moving. Not until we passed them did they seem to accelerate into action, roaring by a mile away. Or was it 2 miles? Or even 10? 12 Asher also remarks on the difficulties of orienting oneself and moving against the featureless landscape: I watched Marinetta once as she ran away from our caravan. . She zig-zagged crazily over the sand. . When I tried it myself I realized that without anything to fix on, it was impossible to run in a direct line.

Anyone who has tried to get the address of a brothel in a strange city and has received the most long-winded directions, everything but the name of the street and the house number, will understand what is meant here. (207) My gratitude to Marc Siegel for bringing this passage to my attention. 20. Also informed by male desire and its frustration in the comic mode, a provocative companion film relating the spatial disorientation of going round in circles to its literal counterpart in temporal disorientation is Groundhog Day (Harold Ramis, 1993).

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Carnal Thoughts: Embodiment and Moving Image Culture by Vivian Sobchack


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