Cathryn Vasseleu
Biographic Data
| ID | 338447 |
|---|---|
| NAME | Cathryn Vasseleu |
| GIVEN NAMES | Cathryn |
| FAMILY NAME | Vasseleu |
| SIGNATURE | VASSELEU C |
| AFFILIATIONS | University of Technology Sydney |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 11 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1991 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 2 |
Resistances of Touch
In the 1960s some feminist artists were drawn to forms of body art or live performance centered on the artist’s physical presence. Defying a primarily visual aesthetic tradition that lent itself to the formal appreciation of women’s bodies by a notional viewing subject, live performance incorporated the materiality and multiple sensory modalities of perceptual experience, touch in particular. Tactile perception offered one possible source of resi…
Tactile Animation: Haptic Devices and the Švankmajer Touch
Czech Šurrealist and animator Jan Švankmajer has experimented with tactility as a sensory modality that can kindle affect by analogy. His approach to tactile experience is also as far removed from the aims and applications of computational theories of haptic perception as one could imagine. This article elaborates on the difference between objects that feel life-like through the incorporation of touch in multimodal tele-interaction, and the way Š…
Textures of Light: Vision and Touch in Irigaray, Levinas and Merleau Ponty
The Re-Generation
Touch, digital communication and the ticklish
Textures of light: Vision and touch in Irigaray, Levinas, and Merleau-Ponty
Virtual bodies/virtual worlds
1994). Virtual bodies/virtual worlds. Australian Feminist Studies: Vol. 9, Women and citizenship, pp. 155-169
The Face Before the Mirror-Stage
Drawing on the work of Irigaray and Levinas, this paper discusses the ethical limitations of Lacan's “mirror-stage” dynamic and interpolates a different interpretation of the material he uses to elaborate his theory. Close attention is paid to the significance of metaphors of vision and touch in the work of the three philosophers. The paper develops into an analysis of bigamy's and Levinas's interpretations of touch as the differential site of et…
Virtual bodies/virtual worlds
1994). Virtual bodies/virtual worlds. Australian Feminist Studies: Vol. 9, Women and citizenship, pp. 155-169
Tactile Animation: Haptic Devices and the Švankmajer Touch
Czech Šurrealist and animator Jan Švankmajer has experimented with tactility as a sensory modality that can kindle affect by analogy. His approach to tactile experience is also as far removed from the aims and applications of computational theories of haptic perception as one could imagine. This article elaborates on the difference between objects that feel life-like through the incorporation of touch in multimodal tele-interaction, and the way Š…
Touch, digital communication and the ticklish
The Face Before the Mirror-Stage
Drawing on the work of Irigaray and Levinas, this paper discusses the ethical limitations of Lacan's “mirror-stage” dynamic and interpolates a different interpretation of the material he uses to elaborate his theory. Close attention is paid to the significance of metaphors of vision and touch in the work of the three philosophers. The paper develops into an analysis of bigamy's and Levinas's interpretations of touch as the differential site of et…
Resistances of Touch
In the 1960s some feminist artists were drawn to forms of body art or live performance centered on the artist’s physical presence. Defying a primarily visual aesthetic tradition that lent itself to the formal appreciation of women’s bodies by a notional viewing subject, live performance incorporated the materiality and multiple sensory modalities of perceptual experience, touch in particular. Tactile perception offered one possible source of resi…
The Face Before the Mirror-Stage
Drawing on the work of Irigaray and Levinas, this paper discusses the ethical limitations of Lacan's “mirror-stage” dynamic and interpolates a different interpretation of the material he uses to elaborate his theory. Close attention is paid to the significance of metaphors of vision and touch in the work of the three philosophers. The paper develops into an analysis of bigamy's and Levinas's interpretations of touch as the differential site of et…
Virtual bodies/virtual worlds
1994). Virtual bodies/virtual worlds. Australian Feminist Studies: Vol. 9, Women and citizenship, pp. 155-169
Textures of light: Vision and touch in Irigaray, Levinas, and Merleau-Ponty
Touch, digital communication and the ticklish
The Re-Generation
Textures of Light: Vision and Touch in Irigaray, Levinas and Merleau Ponty
Tactile Animation: Haptic Devices and the Švankmajer Touch
Czech Šurrealist and animator Jan Švankmajer has experimented with tactility as a sensory modality that can kindle affect by analogy. His approach to tactile experience is also as far removed from the aims and applications of computational theories of haptic perception as one could imagine. This article elaborates on the difference between objects that feel life-like through the incorporation of touch in multimodal tele-interaction, and the way Š…
Resistances of Touch
In the 1960s some feminist artists were drawn to forms of body art or live performance centered on the artist’s physical presence. Defying a primarily visual aesthetic tradition that lent itself to the formal appreciation of women’s bodies by a notional viewing subject, live performance incorporated the materiality and multiple sensory modalities of perceptual experience, touch in particular. Tactile perception offered one possible source of resi…
Computer Science (4 works) · Sociology (3 works) · 20th century (2 works) · Aesthetics (2 works) · Computer graphics (images (2 works) · Emmanuel Levinas (1906-1995) (2 works) · french (2 works) · Human–computer interaction (2 works) · Light (2 works) · Luce Irigaray (1930-) (2 works)