Asbjørn Grønstad and Henrik Gustafsson, editors, Ethics and Images of Pain, Routledge Advances in Art and Visual Studies 1 (London: Routledge, 2012), xxiii + 238 pp. incl. index and contributor bios. Hardcover, $160.00 / £95.00 from publisher. Given today’s world,…
Fifteen years into the 21st century, the once definitive line between screen and world, both topographically and ontologically, is rapidly diffusing. Legitimate virtual reality—something out of the set of the 1983 film Brainstorm—has arrived, blurring the line between our private…
There’s a trend afoot. More and more millennials, among others, are opting to listen to their music the old-fashioned way: on cassettes and on vinyl. While the trend may still be seen as niche, it’s fast-growing and worth watching. However,…
At what point can a work of theatre no longer be called a work of theatre? While definitions may be elusive (springing as they do from ever-changing experience), they serve a useful function: setting one thing apart from another. Sometimes…
In the rehearsal room of Friargate Theatre, York, I sat with my friend and collaborator as we created a piece of theatre; we were both barefoot — and rightly so, for this, like all rehearsal spaces, was ‘holy ground’. Holy…
In his appendix “The Ethos of the Body in Art and Media,” John Paul II begins by saying, in painting or sculpture, man/body always remains a model that is subjected to a specific reworking by the artist. In film and…
Everything we experience has to be embodied. Or, better, every experience we have can only be perceived, received, experienced by a sentient, embodied individual. That doesn’t mean to say that everything which could be experienced is experienced. Trees falling in…
This week, Transpositions turns its attention to ‘Art, Embodiment and the Digital’ and the issues that surround the intersection of these three concepts It is not lost on us that Transpositions is only made possible by the latter; while this…