![]() ![]() In this errant way, foreshadowed in the prologue, it investigates cinema-the “movies”-as a multiform practice of geopsychic exploration. The work proceeds by making tours and detours, turns and re-turns, opening up on different vistas of the production of space. Woven over the course of several years, it bears the textural layering of a palimpsest. As an act of navigation on a devious course, it implies rambling, roaming, and even going astray.Ītlas-a map of theoretical and emotional itineraries-has developed as an errare. ![]() Error-the deviation from a route, a departure from principles-is bound to such wandering. An error implies a departure from a defined path the semiotics of the term incorporates the notion of erring, or wandering. This book, written by a resident alien, appropriately begins with an “error.” The title of the first chapter is deliberately misspelled. Space … exists in a social sense only for activity-for (and by virtue of) walking … or traveling.įilm’s undoubted ancestor … is-architecture. Here we present an extract from Chapter 1 Site-Seeing: The Cine City, where Bruno locates the history of Film in the study of Architecture. Visually luscious and daring in conception, Bruno’s book opens new vistas and understandings at every turn, and is a key feature on our student reading list.Ītlas of Emotion is 50% off as part of our End of Year sale until January 1. In an evocative blend of words and pictures, Giuliana Bruno emphasizes the connections between “sight” and “site” and “motion” and “emotion.” In so doing, she touches on the art of Gerhard Richter and Louise Bourgeois, the filmmaking of Peter Greenaway and Michelangelo Antonioni, media archaeology and the origins of the museum, and her own journeys to her native Naples. ![]() Atlas of Emotion is a highly original endeavor to map the cultural terrain of spatio-visual arts. ![]()
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