In these innovative essays, Vivian Sobchack considers the key role our bodies play in making sense of today's image-saturated culture. Emphasizing our corporeal rather than our intellectual engagements with film and other media, Carnal Thoughts shows how our experience always emerges through our senses and how our bodies are not just visible objects but also sense-making, visual subjects. Sobchack draws on both phenomenological philosophy and a broad range of popular sources to explore bodily experience in contemporary, moving-image culture. She examines how, through the conflation of cinema and surgery, we've all "had our eyes done"; why we are "moved" by the movies; and the different ways in which we inhabit photographic, cinematic, and electronic space. Carnal Thoughts provides a lively and engaging challenge to the mind/body split by demonstrating that the process of "making sense" requires an irreducible collaboration between our thoughts and our senses.
Vivian Sobchack Knihy
Vivian Sobchack je průkopnickou myslitelkou v oblasti filmových a mediálních studií, která se zaměřuje na fenomenologii filmového zážitku. Její práce zkoumá, jak diváci vnímají a prožívají pohyblivé obrazy, a to prostřednictvím pečlivé analýzy filmových žánrů a kulturních studií. Sobchackina vlivná esejistika a publikace prozkoumávají hluboké spojení mezi tělem, vnímáním a filmovou kulturou a osvětlují, jak se naše chápání reality formuje prostřednictvím vizuálních médií. Její eklektický výzkum spojuje filozofii, filmovou teorii a historii, aby nabídl jedinečný pohled na to, jak film odráží a ovlivňuje naše vnímání světa.



Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.
"Flame Wars," the verbal firefights that take place between disembodied combatants on electronic bulletin boards, remind us that our interaction with the world is increasingly mediated by computers. Bit by digital bit we are being "Borged," as devotees of Star Trek: The Next Generation would have it—transformed into cyborgian hybrids of technology and biology through our ever more frequent interaction with machines, or with one another through technological interfaces. The subcultural practices of the "incurably informed," to borrow the cyberpunk novelist Pat Cadigan’s coinage, offer a precognitive glimpse of mainstream culture in the near future, when many of us will be part-time residents in virtual communities. Yet, as the essays in this expanded edition of a special issue of the South Atlantic Quarterly confirm, there is more to fringe computer culture than cyberspace. Within these pages, readers will encounter flame warriors; new age mutant ninja hackers; technopagans for whom the computer is an occult engine; and William Gibson’s "Agrippa," a short story on software that can only be read once because it gobbles itself up as soon as the last page is reached. Here, too, is Lady El, an African American cleaning woman reincarnated as an all-powerful cyborg; devotees of on-line swinging, or "compu-sex"; the teleoperated weaponry and amok robots of the mechanical performance art group, Survival Research Laboratories; an interview with Samuel Delany, and more.Rallying around Fredric Jameson’s call for a cognitive cartography that "seeks to endow the individual subject with some new heightened sense of place in the global system," the contributors to Flame Wars have sketched a corner of that map, an outline for a wiring diagram of a terminally wired world. Contributors. Anne Balsamo, Gareth Branwyn, Scott Bukatman, Pat Cadigan, Gary Chapman, Erik Davis, Manuel De Landa, Mark Dery, Julian Dibbell, Marc Laidlaw, Mark Pauline, Peter Schwenger, Vivian Sobchack, Claudia SpringerContents:Flame wars / Mark Dery --New age mutant Ninja hackers : reading Mondo 2000 / Vivian Sobchack --Techgnosis, magic, memory, and the angels of information / Erik Davis --Agrippa, or, The apocalyptic book / Peter Schwenger --Gibson's typewriter / Scott Bukatman --Virtual surreality : our new romance with plot devices / Marc Laidlaw --Chapter 14, Synners / Pat Cadigan --Feminism for the incurably informed / Anne Balsamo --Sex, memories, and angry women / Claudia Springer --Black to the future: interviews with Samuel R. Delany, Greg Tate, and Tricia Rose / Mark Dery --Compu-sex: erotica for cybernauts / Gareth Branwyn --Virtual environments and the emergence of synthetic reason / Manual de Landa --Survival Research Laboratories performs in Austria / Mark Pauline --Taming the computer / Gary Chapman.