New PDF release: Aesthetics in Present Future: The Arts and the Technological

The topic of Aesthetics in current Future issues the recent possibilities the humanities have and the deep adjustments they're present process, a result of new media, and the electronic global during which we're growingly immersed.

That this global is to be understood from a cultured viewpoint, develop into transparent if we expect of the way a lot of what we produce, and discover and learn is available via pictures specifically and perceptual capability more often than not.

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9. Benjamin, “The Work of Art in the Age of Its Technological Reproducibility” (Third Version), 265. Benjamin, “The Work of Art in the Age of Its Technological Reproducibility” (Third Version), 267ff. ” (Second Version, 1939), 306. Samuel Weber, Benjamin’s -abilities (Cambridge, MA/London: Harvard University Press, 2008), 113. Miriam Hansen, Babel and Babylon: Spectatorship in American Silent Film (Cambridge, MA: Harvard University Press, 1991), 2. Marks, Touch: Sensuous Theory and Multisensory Media (Minneapolis/London: University of Minnesota Press, 2002), 3.

Second Version, 1939), 306. Samuel Weber, Benjamin’s -abilities (Cambridge, MA/London: Harvard University Press, 2008), 113. Miriam Hansen, Babel and Babylon: Spectatorship in American Silent Film (Cambridge, MA: Harvard University Press, 1991), 2. Marks, Touch: Sensuous Theory and Multisensory Media (Minneapolis/London: University of Minnesota Press, 2002), 3. Joseph Mai, Jean-Pierre and Luc Dardenne (Urbana/Chicago: University of Illinois Press, 2010), 72. Luc Dardenne, Au dos de nos images (Paris: Seuil, 2005), 175.

This envisioning mode of perception arises from the isolated and fragmented presentation of both characters’ gestures of approaching the other. Then, we see Rosetta raising her gaze and apparently looking at Riquet. Thus, the changes in the relationship between Rosetta and Riquet are doubled—and displayed—by a particular development of the film’s visual expressions. This new sense of connection includes the camera work as well, which leads to stabilized stances toward the figures and carefully framed views.

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