D Tomas
Biographic Data
| ID | 11327 |
|---|---|
| NAME | D Tomas |
| GIVEN NAMES | D |
| FAMILY NAME | Tomas |
| SIGNATURE | TOMAS D |
| AFFILIATIONS | School of Visual Arts |
| ORCID | 0000-0003-3287-9366 |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 11 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1982 |
| LATEST PUBLICATION YEAR | 1996 |
| H-INDEX | 2 |
Virtual reality and the politics of place
Feedback and Cybernetics
Transcultural Space
Mimesis and the Death of Difference in the Graphic Arts
THE PENCIL IS A MARGINAL TECHNOLOGY in the pantheon of art technologies and in the history of modernism. To this day, it is associated with the world of the artisan, and with antiquarian practices of the hand.' To draw, as its semantic field suggests, includes such actions as to pull or haul, to carry along and to change the shape of as well as to represent in line. Its roots can be traced to the Old English word dragan (akin to) and to the Greek…
From gesture to activity
All writing is an index of law (Pierre Clastres, 1987a: 177) The place of a tactic belongs to the other. Michel de Certeau, 1988: xix)
Manufacturing Vision
Toward an anthropology of sight
From the Photograph to Postphotographic Practice
Since 1839, Western culture has conditioned its constituents to see in terms of photographic images. That conditioning, however, has not been homogeneous. One has only to examine the discourses that permeate photography to become aware of the fissures continually disrupting its practice. Thus, one of the principal dichotomies that continues to influence the historical, practical, and critical debate on the nature of photography involves its 'obje…
The Photographer
A mechanism for meaning
The ritual of photography
The ritual of photography
A mechanism for meaning
The Photographer
Toward an anthropology of sight
From the Photograph to Postphotographic Practice
Since 1839, Western culture has conditioned its constituents to see in terms of photographic images. That conditioning, however, has not been homogeneous. One has only to examine the discourses that permeate photography to become aware of the fissures continually disrupting its practice. Thus, one of the principal dichotomies that continues to influence the historical, practical, and critical debate on the nature of photography involves its 'obje…
From gesture to activity
All writing is an index of law (Pierre Clastres, 1987a: 177) The place of a tactic belongs to the other. Michel de Certeau, 1988: xix)
Manufacturing Vision
Transcultural Space
Mimesis and the Death of Difference in the Graphic Arts
THE PENCIL IS A MARGINAL TECHNOLOGY in the pantheon of art technologies and in the history of modernism. To this day, it is associated with the world of the artisan, and with antiquarian practices of the hand.' To draw, as its semantic field suggests, includes such actions as to pull or haul, to carry along and to change the shape of as well as to represent in line. Its roots can be traced to the Old English word dragan (akin to) and to the Greek…
Feedback and Cybernetics
Virtual reality and the politics of place
Art (9 works) · Computer Science (6 works) · Philosophy (5 works) · Sociology (5 works) · Photography and Visual Culture (4 works) · Visual arts (4 works) · Aesthetics (3 works) · Epistemology (3 works) · History (3 works) · Linguistics (3 works)