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Horn, or the counterside of media
Verfasser: Schmidgen, Henning <1965->
(DE-588)11483878XSonstige: Schott, Nils F.
978-1-4780-2234-3
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Letzte Änderung: 04.12.2023
MARC-Felder:
- Technische Hochschule Augsburg, Hochschulbibliothek (Sigel: Aug 4)
- Bayerische Staatsbibliothek München (Sigel: 12)
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Zugang für Benutzer von: Bayerische Staatsbibliothek München - Zugang für Benutzer von: Technische Hochschule Augsburg, Hochschulbibliothek
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- Soziologie
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https://gateway-bayern.de/BV047811800
Letzte Änderung: 04.12.2023
| Titel: | Horn, or the counterside of media |
|---|---|
| URL: | https://doi.org/10.1515/9781478022343 |
| URL Erlt Interna: | Verlag |
| URL Erlt Info: | URL des Erstveröffentlichers |
| Erläuterung : | Volltext |
| Von: | Henning Schmidgen |
| ISBN: | 978-1-4780-2234-3 |
| Erscheinungsort: | Durham |
| Verlag: | Duke University Press |
| Erscheinungsjahr: | [2021] |
| Erscheinungsjahr: | © 2022 |
| DOI: | 10.1515/9781478022343 |
| Umfang: | 1 Online-Ressource (320 pages) |
| Serie/Reihe: | Sign, Storage, Transmission : 27 |
| Fußnote : | Description based on online resource; title from PDF title page (publisher's Web site, viewed 10. Jan 2022) |
| Abstract: | 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 a site 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 a space 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 |
| Sprache: | eng |
| RVK-Notation: | PW 9400 |
| Fußnote : | In English |
| Weitere Schlagwörter : | Horns; Mass media; Philosophy; Touch; Philosophy |
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| 520 | |a 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 a site 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 a space 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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