Life as Screen? Or: How to Grasp the Virtuality of the Body?
Abstract
New Technology has challenged the traditional conceptions of the central subject. Within a discourse on New Technology, some theories liken the screen to Lacan’s „mirror”, or the stage of primal misrecognition of the subject in an image of „the other”, treating cyberspace as a materialization of that stage. Angerer argues, however, that the conceptions make excessive generalizations. Considering such categories as a dialectical relation between the eye and a look, the body, sexual differences, she stresses the need for a more profound definition of the concept of the subject in question. She says that media apparatus is the way of hiding emptiness, which raises the question about ways a line between the subject and the user is blurred by New Technology.
Keywords:
subjectivity, cyberspace, screenReferences
Nie dotyczy / Not applicable
Google Scholar
Authors
Marie-Luise Angererkwartalnik.filmowy@ispan.pl
Kunsthochschule für Medien Germany
Profesor w dziedzinie mediów i Gender w Kunsthochschule für Medien w Kolonii. Zajmuje się feministyczną i psychoanalityczną teorią filmu, telewizji, nowych technologii i sztuki. Opublikowała Body Options. Körper. Spuren, Medien, Bilder, Vienna 2000.
Statistics
Abstract views: 0PDF downloads: 0
License
Copyright (c) 2001 Marie-Luise Angerer
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.
In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
