Horn, or The Counterside of Media (Sign, Storage, Transmission) - Softcover
Book 16 of 20: Sign, Storage, Transmission
Synopsis
We regularly touch and handle media devices. At the same time, media devices such as body scanners, car seat pressure sensors, and smart phones scan and touch us. In Horn, Henning Schmidgen reflects on the bidirectional nature of touch and the ways in which surfaces constitute sites of mediation between interior and exterior. Schmidgen uses the concept of "horn"—whether manifested as a rhinoceros horn or a musical instrument—to stand for both natural substances and artificial objects as spaces of tactility. He enters into creative dialogue with artists, scientists, and philosophers, ranging from Salvador Dalí, William Kentridge, and Rebecca Horn to Sigmund Freud, Walter Benjamin, and Marshall McLuhan, who plumb the complex interplay between tactility and technological and biological surfaces. Whether analyzing how Dalí conceived of images as tactile entities during his “rhinoceros phase” or examining the problem of tactility in Thomas Pynchon’s The Crying of Lot 49, Schmidgen reconfigures understandings of the dynamic phenomena of touch in media.
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About the Author
Henning Schmidgen is Professor of Media Studies at Bauhaus-Universität Weimar and author of Bruno Latour in Pieces: An Intellectual Biography and The Helmholtz Curves: Tracing Lost Time.
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Paperback. Condition: New. We regularly touch and handle media devices. At the same time, media devices such as body scanners, car seat pressure sensors, and smart phones scan and touch us. In Horn, Henning Schmidgen reflects on the bidirectional nature of touch and the ways in which surfaces constitute sites of mediation between interior and exterior. Schmidgen uses the concept of "horn"-whether manifested as a rhinoceros horn or a musical instrument-to stand for both natural substances and artificial objects as spaces of tactility. He enters into creative dialogue with artists, scientists, and philosophers, ranging from Salvador DalÍ, William Kentridge, and Rebecca Horn to Sigmund Freud, Walter Benjamin, and Marshall McLuhan, who plumb the complex interplay between tactility and technological and biological surfaces. Whether analyzing how DalÍ conceived of images as tactile entities during his "rhinoceros phase" or examining the problem of tactility in Thomas Pynchon's The Crying of Lot 49, Schmidgen reconfigures understandings of the dynamic phenomena of touch in media. Seller Inventory # LU-9781478017721
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Paperback. Condition: new. Paperback. We regularly touch and handle media devices. At the same time, media devices such as body scanners, car seat pressure sensors, and smart phones scan and touch us. In Horn, Henning Schmidgen reflects on the bidirectional nature of touch and the ways in which surfaces constitute sites of mediation between interior and exterior. Schmidgen uses the concept of "horn"-whether manifested as a rhinoceros horn or a musical instrument-to stand for both natural substances and artificial objects as spaces of tactility. He enters into creative dialogue with artists, scientists, and philosophers, ranging from Salvador Dali, William Kentridge, and Rebecca Horn to Sigmund Freud, Walter Benjamin, and Marshall McLuhan, who plumb the complex interplay between tactility and technological and biological surfaces. Whether analyzing how Dali conceived of images as tactile entities during his "rhinoceros phase" or examining the problem of tactility in Thomas Pynchon's The Crying of Lot 49, Schmidgen reconfigures understandings of the dynamic phenomena of touch in media. Henning Schmidgen reflects on the dynamic phenomena of touch in media, analyzing works by artists, scientists, and philosophers ranging from Salvador Dali to Walter Benjamin, who each explore the interplay between tactility and technological and biological surfaces. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9781478017721
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