具体描述
读后感
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用户评价
optic-haptic, sight-site, gaze-motion, voyeur-voyageuse. cine-space is rooted in and differs from the real space (both of the objectivity and the subjectivity). many impressive structural elaboration (cine-house-city), and it seems to dilute the problem of identification by peripatetic experience. the spatial- narrative to build the cinema of image
评分haptic-emotion
评分optic-haptic, sight-site, gaze-motion, voyeur-voyageuse. cine-space is rooted in and differs from the real space (both of the objectivity and the subjectivity). many impressive structural elaboration (cine-house-city), and it seems to dilute the problem of identification by peripatetic experience. the spatial- narrative to build the cinema of image
评分haptic-emotion
评分“cinema”来自希腊词根“kinema”(κíνημα)，既包含运动(motion)，又有情绪(emotion)的意思，而运动(motion)产生情绪(emotion)，情绪(emotion)包含动作(movement)。这本书是对“电影和建筑都是视觉媒介”这个常见假设的挑战，Bruno想要定义电影和建筑其实是触觉问题，并沿着触觉路径发展它们的空间联系。 在从视觉(optic)到触觉(haptic)-从视线(sight)到现场(site)的理论转变中，她将这本地图集将观察角度从注视(gaze)转变到了各种建筑运动(architectrual motions)中。一本关注建筑、电影和地理的潜在相互交换以及它们的理论化和在艺术中的位置。
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