1998

DOI: 10.1093/screen/39.4.331

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Video haptics and erotics

Laura U. Marks¹

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Writing As Sense-able1

City Dweller1

Haptic Theory and Queer Embodiment1

Engagement1

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Cited by 60 publications

(24 citation statements)

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“…‘Haptic visuality’ describes filmmaking’s transcendence of the visual sense, extending the representation of sensation within the bodies of characters on screen, towards evocation of experience within the viewer. Referring to Jennifer Fisher (1997), Laura U. Marks (1998) speaks of haptic techniques as means of communicating a ‘combination of tactile, kinaesthetic, and proprioceptive functions, the way we experience touch both on the surface of and inside our bodies’ (p. 332).…”

Section: Writing As Sense-ablementioning

confidence: 99%

Writing as skin: Negotiating the body in(to) learning about the managed self

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2018

Management Learning

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We draw on the notion of 'skin' to discuss the ways in which writing in management and organisation studies wrestles with two drives in its endeavour to represent the reality of our 'organised' lives: the drive to share internal lived experience, and the drive to externalise and abstract. Through exploring skin as a metaphor for a negotiating interface between these forces in our writing, we (a) argue that both are critical parts of writing, needed in order to learn about management and organisation and (b) explore different ways in which they might be brought into contact. Reviewing, synthesising and building on critiques of 'scientific' writing that have been made from within management and organisation studies, and on creative commentary from the arts, we think reflexively about the ways in which writing mediates learning by being both representative of experience and an experience in itself. A collaboration between management scholar and creative writer, the text of this article is a critical-creative experiment that outlines the experiential 'skin-text' while simultaneously producing an example of such a text.

“…‘Haptic visuality’ describes filmmaking’s transcendence of the visual sense, extending the representation of sensation within the bodies of characters on screen, towards evocation of experience within the viewer. Referring to Jennifer Fisher (1997), Laura U. Marks (1998) speaks of haptic techniques as means of communicating a ‘combination of tactile, kinaesthetic, and proprioceptive functions, the way we experience touch both on the surface of and inside our bodies’ (p. 332).…”

Section: Writing As Sense-ablementioning

confidence: 99%

Writing as skin: Negotiating the body in(to) learning about the managed self

¹

,

²

2018

Management Learning

View full text Add to dashboard Cite

We draw on the notion of 'skin' to discuss the ways in which writing in management and organisation studies wrestles with two drives in its endeavour to represent the reality of our 'organised' lives: the drive to share internal lived experience, and the drive to externalise and abstract. Through exploring skin as a metaphor for a negotiating interface between these forces in our writing, we (a) argue that both are critical parts of writing, needed in order to learn about management and organisation and (b) explore different ways in which they might be brought into contact. Reviewing, synthesising and building on critiques of 'scientific' writing that have been made from within management and organisation studies, and on creative commentary from the arts, we think reflexively about the ways in which writing mediates learning by being both representative of experience and an experience in itself. A collaboration between management scholar and creative writer, the text of this article is a critical-creative experiment that outlines the experiential 'skin-text' while simultaneously producing an example of such a text.

“…In other words, the very materiality at work in this house entails a way of seeing that is a haptic rather than a purely optical process. As Marks (1988, page 332, cited in Gregory, 2000) has written,``Because haptic visuality draws upon other senses, the viewers body is more obviously involved in the process of seeing than is the case with optical visuality.'' What this opens up, I suggest, is the question of how human^material relations function in the urban environment, and what these relations reveal is the urban as a process of dwelling-through-construction öof the city as multiple, unfolding habitation.…”

Section: City Dwellermentioning

confidence: 99%

The City as Assemblage: Dwelling and Urban Space

¹

2011

Environ Plan D

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IntroductionIn an afternoon in August 2008 I accompanied Gabriella, a social worker, as she visited projects sites in Sa¬ o Paulo's large favela, Paraiso¨polis. Paraiso¨polis is a settlement of some 70 000 people located on the steep hills of southern Sa¬ o Paulo. Adjacent to the settlement is Morumbi, an elite gated suburb that towers above the red brick neighbourhood (Caldeira, 2000). Late in the afternoon Gabriella took a detour to show me what she described as an entirely unique house. She was not exaggerating. The man who came to the spectacular arched doorway knew Gabriella and narrated the story of how he built the house through amalgamating coloured stone and just about any object that came to hand, constructing the house from the sea of everyday life. The roof was made up, amongst other things, of discarded pieces of plastic, old shoes, an iron, children's toys, mugs, kitchen utensils, and all manner of other materials, cemented into an intricate arrangement of decorative, coloured stones. He patted the walls and ceiling proudly and gestured over his shoulder, revealing an interior that was even more impressive than the exterioröa rabbit warren of smoothed and angular stones and archways assembled through a wide range of materials, generating a prism of light and dark as the sun shone here and there. On the roof is a garden used by his children that continues the theme. The house was in constant construction, he said, and the project had taken years so far. Figures 1 and 2 show some of this complex assortment.I should say at this point that I do not wish to romanticise this house. The house, creative as it is, is nonetheless situated within a poor, precarious neighbourhood where people struggle to make a safe and sustainable livelihood and are sometimes victims of appalling abuse and violence. I want to use this example as a heuristic that opens a wider ontological argument about the city: the city as assemblage. If this remarkable house offers a vivid and particular example of sociomaterial assembly, it nonetheless prompts the question of what a more general conception of the city as assemblage might afford, of what these practices of gathering, composition, alignment, and reuse might bring to how urbanism is conceived. What might such a conceptualisation Abstract. In this paper I consider what`assemblage' might offer a conception of the city. Although assemblage is gaining currency in geography and beyond, there has been little effort to consider how it might be conceptualised and what its specificity might be. In offering a conceptualisation of assemblage, I bring assemblage into conversation with particular debates around dwelling and argue, first, that assemblage provides a useful basis for thinking of the city as a dwelling process and, second, that it is particularly useful for conceiving the spatiality of the city as processual, relational, mobile, and unequal. Despite their distinct intellectual histories, I suggest there is a productive debate to be had by bringing assemblage and dwelling into ...

“…Haptic visuality is a cinematic method used to subvert the power dynamic of the traditional cinematic gaze. When watching haptic cinema, the viewer's “eyes themselves function as organs of touch” (Marks, “Video Haptics” 336). By using imagery that emphasizes the textile, haptic films encourage the viewer to “feel” instead of only “see” the film.…”

Section: Haptic Theory and Queer Embodimentmentioning

confidence: 99%

“Did You Just Smell Me?”: Queer Embodiment inNBC'sHannibal

2018

The J of Popular Culture

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