Edited By Suzanne Anker and Sabine Flach
This volume focuses on notions of embodiment as they relate to sexuality, aesthetics, epistemology, perception, and fantasy itself.
Approaches to modes of fantasies are explored beyond traditional conceptions to include complex thinking processes, subjectivity and inter-subjective experiences. What function do fantasies and their images possess in relation to art as a form of knowledge production?
2. Sensible Differences
(Dis) Synchronies of Vision and Touch MIKA ELO Our contemporary technological environment is largely built on finger-friendly touch points. From day to day, we finger various manual devices, and today their switches, buttons, levers and adjusters are more and more often digitalised. They are digital icons on some type of display. All we need to control them is a light tap or sweep of our finger. The finger can alone take care of a multiplicity of tasks, even in real time. The status of such an omnipotent finger is, however, ambivalent. As a clearly defined part of the hand, a digit serves as a model for distinct numerical unit. Children learn how to count by counting their fingers. Hereby, they also take into account their bodies, of which the finger is an organic part. Numerical units tend, however, to become autonomous. This is the case in digital code; it does not include any relation between part and whole. The binary combinations of 0’s and 1’s point away from the body. As regards these discrete units, it is customary to speak of the digitalisation of different media. It seems, however, that along with digital technology, even the finger has become “digitalised”. Being digitally omnipotent the finger points away from the embodied experi- ence. It has become an increasingly autonomous unit in relation to the skills of hand and sentience of body and its functions can be modelled and transferred to new contexts. What kind of consequences might this “digitalisation of the...
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