The Tactile Eye expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile—a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the skin, and reverberates in the body. Barker combines analysis of embodiment and phenomenological film theory to provide an expansive description of cinematic tactility. She considers feminist experimental film, early cinema, animation, and horror, as well as classic, modernist, and postmodern cinema; films from ten national cinemas; and work by Chuck Jones, Buster Keaton, the Quay Brothers, Satyajit Ray, Carolee Schneemann, and Tom Tykwer, among others.

Today, the most progressive designers are working at the intersection of various creative disciplines. They are challenging existing design principles and defining them anew. Many designers from different areas are choosing to no longer work exclusively in two dimensions and are instead dealing intensively with space, material and physical products. The book Hidden Track investigated this development in 2005 and portrayed it in its breadth for the first time. Now, Tactile shows how graphic design is moving into three-dimensional objects and products and presents graphic design that works with space or the perception of space. The book focuses less on murals than on products, objects, installations and collage that demonstrate how designers are developing and implementing their ideas spatially from the very outset of a given project. Tactile proves that spatial innovation in graphic design is not limited to personal work or artistic endeavours for exhibition, but is being sought out more and more often by commercial clients, for example in store design. With its insight into this experimental field of graphic design, Tactile targets young, progressive designers as well as professionals from the fields of advertising, architecture and interior design. Because its topical content is compiled in a way that highlights the interesting multi-disciplinary interactions between the various works, Tactile also offers inspiration for creatives in fashion, lifestyle and art.

This book investigates the sensuous qualities of narration in the feature-length fiction film.

Cerebral visual impairment (also known as cortical visual impairment, or CVI) has become the most common cause of visual impairment in children in the United States and the developed world. Vision and the Brain is a unique and comprehensive sourcebook geared especially to professionals in the field of visual impairment, educators, and families who need to know more about the causes and types of CVI and the best practices for working with affected children. Expert contributors from many countries represent education, occupational therapy, orientation and mobility, ophthalmology, optometry, neuropsychology, psychology, and vision science, and include parents of children with CVI. The book provides an in-depth guide to current knowledge about brain-related vision loss in an accessible form to enable readers to recognize, understand, and assess the behavioral manifestations of damage to the visual brain and develop effective interventions based on identification of the spectrum of individual needs. Chapters are designed to help those working with children with CVI ascertain the nature and degree of visual impairment in each child, so that they can "see" and appreciate the world through the child's eyes and ensure that every child is served appropriately.

In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself. These critical, theoretical, and personal essays serve as a guide to developments in nonmainstream media art during the past ten years -- sexual representation debates, documentary ethics, the shift from analog to digital media, a new social obsession with smell. Marks takes up well-known artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known film, video, and digital artists. From this emerges a materialist theory -- an embodied, erotic relationship to art and to the world. Marks's approach leads to an appreciation of the works' mortal bodies: film's volatile emulsion, video's fragile magnetic base, crash-prone Net art; it also offers a productive alternative to the popular understanding of digital media as "virtual" and immaterial. Weaving a continuous fabric from philosophy, fiction, science, dreams, and intimate experience, Touch opens a new world of art media to readers.

Corporeality in Early Cinema inspires a heightened awareness of the ways in which early film culture, and screen praxes overall are inherently embodied. Contributors argue that on- and offscreen (and in affiliated media and technological constellations), the body consists of flesh and nerves and is not just an abstract spectator or statistical audience entity. Audience responses from arousal to disgust, from identification to detachment, offer us a means to understand what spectators have always taken away from their cinematic experience. Through theoretical approaches and case studies, scholars offer a variety of models for stimulating historical research on corporeality and cinema by exploring the matrix of screened bodies, machine-made scaffolding, and their connections to the physical bodies in front of the screen.

Ferenczi Dialogues presents the contribution of Sándor Ferenczi to a psychoanalytic theory of trauma and discusses the philosophical, political and clinical implications of Ferenczi’s thinking. To a far greater extent than Freud, Sándor Ferenczi centered his psychoanalytic thought around trauma. Ferenczi's work pluralizes the notion of catastrophe, as being both destructive and a turning point. This book addresses Ferenczi’s work in terms of thinking in times of crises, by considering contemporary situations in constellation with various scenes from the past: the outbreak of the First World War, the crisis of psychoanalysis as an institution, the disastrous final encounter between Ferenczi and Freud, the rise of Fascism and National Socialism, and the impending exile of the founding members of the psychoanalytic movement. Against this backdrop, the authors show how Ferenczi's late work outlines a new metapsychology of fragments. Ferenczi Dialogues situates the legacy of Ferenczi within the broad interdisciplinary landscape of the social sciences, literary theory, psychoanalytic theory, and clinical practice, and highlights Ferenczi’s relevance for contemporary philosophical discussions in poststructuralism, feminism and new materialism.