... will be illuminated. Copyright 2012 by Duke University Press 2012 Contrasting femininities on the streets of Hanoi. Photo by Christina Schwenkel Figure 1 Renova “makeover.” Photo by Erik Harms Ho Chi Minh City’s Beauty Regime: Haptic Technologies of the Self in the New Millennium Nina Hien...

... of the intimately embodied vision, haptic camera, reflexive performances, as well as subjectivized editing strategies manifest in their works, I demonstrate that Shi and Cui not only present alternative perspectives on identity issues from inside the queer communities but, more significantly, they practice a boldly...

... with her affective, nondual consciousness, which (perhaps ironically) resembles scientific eyes that capture the everyday’s physical textures. Second, for this reason, the images are almost always sensual (affective) (e.g., embodied with a sense of touch and proprioception) or “haptic” (Laura Marks...

... in Chinese, Hong Kong, and Philippine cinema are explored here, each demonstrating differing inflections in relation to digitization, finance capital, gender performativity, and generic style. Haptic mapping, the rapidly oscillating gender of the “female” martial artist, the transcendent “male” virtuosic...

... notions of imaginary community of print capitalism rests on Tausig’s insistence that we accept corporeal, haptic affect. Sympathetic resonances to the social divi- sions (class, probably gender, no doubt regional) that sound conveys are part...

... 2015 122 power of the hateful visual images — could only fall flat in a world where digitalization makes representation fundamentally contextless. In a situa- tion in which haptic commitment...

... narratives. Commodity saturation is attended by a reinvigorated naturalism as reality is brought close to haptic perception rather than presented through perspective-­based templates. Ranjani Mazumdar in her study of Bombay...

... that normalize existing power structure. The screen intervention responds to the children's imputed physical deficit by re-including their “abnormality” (as determined by reason) through subjective shots of their acoustic, visual, and haptic perception (based on affectivity) in the world we together cohabitate...

..., super- imposed layers of tombstones crowd the frame. While the Malipo tomb- stones are uniform in height and shape and laid out in straight, uniform rows, Lei digitally varied their size to create an overlapping pattern of haptic replication. Some recede into the background and others rise...

... body: beaded with sweat, he is perfectly balanced while doing a one- arm vertical pushup ( g. 2). Elongated to frame his ideal body shape, the panel encourages additional scrolling or screen touching. Intensifying the viewers voyeuristic gaze, the image also facilitates their haptic response. At once...

.... 69. Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” in Illumina- tions, ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1969), 222; Antonia Lant, “Haptical Cinema,” October 74 (Fall 1995): 72; Giuliana Bruno, Atlas...

..., to acquire a distracted gaze, and demands an intensely corporeal and haptic form of consumption. The primacy of tactility and corporeality in modern perceptual experi- ence inaugurates the reinstallment of the “mimetic faculty” as an essential...

... of a haptic space. Daily (2009, 400 × 30 × 280 cm) is a public art piece. More than 2,000 glass bricks were inserted with daily objects collected from local residents, Lai Potentialities of Women Art- Makers 265 set up on Prince Boulevard, Chiayi, Taiwan. The work was a permanent installation commissioned...