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Journal articles on the topic 'Eye-sockets Senses and sensation'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Shakya, Sudha. "COLOR VISION DEFECT: COLOR BLINDNESS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3619.

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Humans have many types of sensations such as sight, hearing, touch, smell, taste etc. They originate from stimulants, which a person receives from their external environment, stimulate the stimulating senses i.e. eye, ear, skin, nose and tongue, and produce different sensations. According to Eiseneck (1972), "sensation is a mental process that is no longer divisible." It is produced by external stimuli that affect the senses, and its intensity depends on the stimulus, and its properties depend on the nature of the senses. Apart from these five sensations, there are other sensations such as inc
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2

Ionescu, Vlad. "Deleuze's Tensive Notion of Painting in the Light of Riegl, Wölfflin and Worringer." Deleuze Studies 5, no. 1 (2011): 52–62. http://dx.doi.org/10.3366/dls.2011.0006.

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Deleuze's Logique de la sensation is not a canonical art historical interpretation of Francis Bacon's painting and even less an illustration of Deleuze's philosophy. It is better read as a prolegomena to a semiotics of plastic art in which the visual image is related to the dialectics of touch and vision. These issues feature strongly in the art theories of Aloïs Riegl, Wilhelm Worringer and Heinrich Wölfflin. This article presents a comparative approach to the relation between Deleuze's and these writers’ conception of the image and attempts to answer the following questions: does a painting
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Gupta, Sunita. "ART, ARTISTS AND CONDOLENCES." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 277–80. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3753.

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English: Beauty, love, sensation, feeling and consciousness are social rites. With the continuous development of the developing living beings, they also evolved, rising above the category of human, monkey and forest man and became great human beings. His mind, mind, aesthetic consciousness and love continued to develop on the strength of his intellect and is still happening today. Man has always been a necessity of society and due to the desire for sociality, he has an attitude of love and love. Charles Darwin has accepted aesthetic consciousness even among non-human beings, but aesthetic cons
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Magee, Joseph. "Sense Organs and the Activity of Sensation in Aristotle." Phronesis 45, no. 4 (2000): 306–30. http://dx.doi.org/10.1163/156852800510243.

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AbstractAmid the ongoing debate over the proper interpretation of Aristotle's theory of sense perception in the De Anima, Steven Everson has recently presented a well-documented and ambitious treatment of the issue, arguing in favor of Richard Sorabji's controversial position that sense organs literally take on the qualities of their proper objects. Against the interpretation of M. F. Burnyeat, Everson and others make a compelling case the Aristotelian account of sensation requires some physical process to occur in sense organs. A detailed examination of the interpretation by Everson and Sorab
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Murti, Ghanesya Hari. "MELAMPAUI REZIM OPTIC: PANDANGAN YANG MENUBUH DAN EROTISME ALICE EVE DALAM “STARTER FOR 10”." Lakon : Jurnal Kajian Sastra dan Budaya 5, no. 1 (2016): 45. http://dx.doi.org/10.20473/lakon.v5i1.2777.

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Cinematic capability in the movie "Starter For 10" is to remind that eroticism or intimacy is able to surpass the optical regime or gaze as initiated by Mulvey‟s feminist film theory. Deleuze purposes haptic vision, which later on developed by Marks into Haptic Visuality as cinematic ability to dismantle subject-object relation within Mulvey‟s idea that assumed women body only as pleasure.Eroticism offered in the film is able to perform haptic visuality where the audience has a sense of being touched when the eye is no longer able to accommodate the information and the optical has loss its con
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Belok, Fatima, Mostafa Rabea, Mohamed Hanafi, and Ibtihal El Bastawissi. "Facades for Achieving Visual Comfort: High Performance Computing." International Journal of Environmental Science & Sustainable Development 4, no. 1 (2019): 1. http://dx.doi.org/10.21625/essd.v4i1.486.

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Within the last few decades, many digital technologies have been integrated to the field of architecture. This in turn has developed a number of architectural trends based on these revolutionary changes. Kinetic skin is one of these trends that is directly related to visual performance and comfort, an important aspect. The feeling of comfort is related to the sense organs network; i.e. the eyes, ears, nose, tactile sensors, heat sensors and brain. Visual sensation is the most dominant one in human perception since the eye contains two thirds of the nerve fibers within human central nervous sys
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Chang, Vanessa. "Catching the ghost: the digital gaze of motion capture." Journal of Visual Culture 18, no. 3 (2019): 305–26. http://dx.doi.org/10.1177/1470412919841022.

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Created with digital motion capture, or mocap, the virtual dances Ghostcatching and as.phyx.ia render movement abstracted from choreographic bodies. These depictions of gestural doubles or ‘ghosts’ trigger a sense of the uncanny rooted in mocap’s digital processes. Examining these material processes, this article argues that this digital optical uncanny precipitates from the intersubjective relationship of performer, technology, and spectator. Mocap interpolates living bodies into a technologized visual field that parses these bodies as dynamic data sets, a process by which performing bodies a
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8

Idesawa, Masanori. "Special Issue on Vision and Mechatronics." Journal of Robotics and Mechatronics 13, no. 6 (2001): 567–68. http://dx.doi.org/10.20965/jrm.2001.p0567.

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The amount of information human beings obtain from the external world through their visual senses exceeds 80% of the total amount of information they take in. Robots and similar automatons must thus be provided with visual functions equivalent to those of human beings, enabling them to grasp external conditions accurately and to move appropriately based on such conditions. Computer and machine vision systems technologically and practically realize such visual functions, and studies of these vision systems have drawn attention and research since the 1970s. Studies on the human and other biologi
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Fear, Daniel R., C. Bruce MacDonald, and L. Clarke Cox. "150 The Auditory and Vestibular Manifestations of Charcot Marie-Tooth Disease." Otolaryngology–Head and Neck Surgery 113, no. 2 (1995): P203. http://dx.doi.org/10.1016/s0194-5998(05)81025-3.

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Objective: To present the auditory-vestibular manifestations of Charcot Marie-Tooth Disease (CMT). Case Report: A 53-year-old woman complained of progressive imbalance over 1 year. Imbalance was described as the sense that she was about to fall to one side, was exacerbated by rapid head acceleration, and had no relation to postural changes. Symptoms were continuous, and she fell multiple times. She used a cane for 1 year, but for the last month required a walker. Bilateral tinnitus and hearing loss developed over the last year. CMT had been diagnosed about 20 years earlier, with progressive di
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Vlaykov, Atanas N. "Application of SNOT-22 test and visual analogue scale in quality of life evaluation in patients with allergic rhinitis." Folia Medica 63, no. 3 (2021): 337–47. http://dx.doi.org/10.3897/folmed.63.e55256.

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Introduction: Chronic nasal congestion in patients with allergic rhinitis can lead to sleep disorders and to sleep apnoea which, in combination with fatigue, can induce systemic effects, including irritability, weakness, malaise, and decreased appetite, growth retardation in adolescents, resulting in severe worsening of quality of life. Also, allergic rhinitis can affect social life, school performance, and productivity, especially in patients with severe disease. Aim: The aim of the present case-control study was to investigate the impact of quality-of-life impairment and the main contributin
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Nayati, Jasir T., Fizah S. Chaudhry, Tajinder Parhar, Ather M. Ali, and Alan R. Hirsch. "24 CerefolinNAC Therapy-Induced Dysgeusia." CNS Spectrums 24, no. 1 (2019): 186. http://dx.doi.org/10.1017/s109285291900018x.

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AbstractIntroductionCerefolinNAC (CFLN-NAC) is a prescription medical food reported to help with mild to moderate cognitive impairment [Pamlab 2017]. It contains L-methylfolate calcium (6mg), methylcobalamin (2mg), Schizochytrium (90.3mg), and N-acetylcysteine (NAC) (600mg) [Pamlab 2017]. However, dysgeusia secondary to CFLN-NAC therapy has not heretofore been described.MethodsA 64 year-old female presented with an eight year history of progressively decreased ability to smell and taste of unknown origin. CFLN-NAC was prescribed off-label to treat her hypogeusia and hyposmia. Three days after
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Carstens, E., Nicole Kuenzler, and H. O. Handwerker. "Activation of Neurons in Rat Trigeminal Subnucleus Caudalis by Different Irritant Chemicals Applied to Oral or Ocular Mucosa." Journal of Neurophysiology 80, no. 2 (1998): 465–92. http://dx.doi.org/10.1152/jn.1998.80.2.465.

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Carstens, E., Nicole Kuenzler, and H. O. Handwerker. Activation of neurons in rat trigeminal subnucleus caudalis by different irritant chemicals applied to oral or ocular mucosa. J. Neurophysiol. 80: 465–492, 1998. To investigate the role of trigeminal subnucleus caudalis in neural mechanisms of irritation, we recorded single-unit responses to application of a variety of irritant chemicals to the tongue or ocular mucosa in thiopental-anesthetized rats. Recordings were made from wide dynamic range (WDR) and nociceptive-specific units in superficial layers of the dorsomedial caudalis (0–3 mm cau
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Rybalov, O. V., M. G. Skikevych, O. Yu Andriyanova, and P. I. Yatsenko. "RESIDUAL PHENOMENA OF THE TRANSFERRED COVID-19 IN THE MAXILLOFACIAL REGION OR ITS COMPLICATIONS." Ukrainian Dental Almanac, no. 2 (June 29, 2021): 64–67. http://dx.doi.org/10.31718/2409-0255.2.2021.12.

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Today, the issues of the incidence of the Covid-19 virus and its complications are extremely relevant. Much attention in the scientific literature is paid to possible complications such as sufferings of the lungs, heart. Along with this, it became known that the coronavirus can affect the brain, nasopharynx, eyes, blood vessels, liver, kidneys and intestines. Interesting data from clinicians and morphologists has been received. Those who have had Covid-19 note the long-term effects of scarring of the lung tissue and kidney failure, inflammation of the heart muscle, arrhythmias, liver damage, c
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Gaikwad, Ashwini. "“Comparative study of role of Yashthimadhu Siddha Ghruta Tarpan and Anutail Nasya in Shushkakshipaka”." Ayurline: International Journal of Research in Indian Medicine 5, no. 01 (2021). http://dx.doi.org/10.52482/ayurline.v5i01.470.

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ABSTRACT:-
 Eye is considered as the most important & delicate sense organ of human body. The eye, an organ of sight is of most importance as far as ones existence is concerned. Eyes hold special status among all the senses. Eyes are the most specious gift of the God to the living beings. Good vision is crucial for social and intellectual development of a person. So to protect this organ is not only a necessity but also a responsibility of every individual.
 The symptom of dry eye like pain, blurry vision, foreign body sensation,burning sensation ,sensitivity to light are similar
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15

Cruikshank, Lauren. "Synaestheory: Fleshing Out a Coalition of Senses." M/C Journal 13, no. 6 (2010). http://dx.doi.org/10.5204/mcj.310.

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Everyone thinks I named my cat Mango because of his orange eyes but that’s not the case. I named him Mango because the sounds of his purrs and his wheezes and his meows are all various shades of yellow-orange. (Mass 3) Synaesthesia, a condition where stimulus in one sense is perceived in that sense as well as in another, is thought to be a neurological fluke, marked by cross-sensory reactions. Mia, a character in the children’s book A Mango-Shaped Space, has audition colorée or coloured hearing, the most common form of synaesthesia where sounds create dynamic coloured photisms in the visual fi
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Lindecke, Oliver, Richard A. Holland, Gunārs Pētersons, and Christian C. Voigt. "Corneal sensitivity is required for orientation in free-flying migratory bats." Communications Biology 4, no. 1 (2021). http://dx.doi.org/10.1038/s42003-021-02053-w.

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AbstractThe exact anatomical location for an iron particle-based magnetic sense remains enigmatic in vertebrates. For mammals, findings from a cornea anaesthesia experiment in mole rats suggest that it carries the primary sensors for magnetoreception. Yet, this has never been tested in a free-ranging mammal. Here, we investigated whether intact corneal sensation is crucial for navigation in migrating Nathusius’ bats, Pipistrellus nathusii, translocated from their migratory corridor. We found that bats treated with corneal anaesthesia in both eyes flew in random directions after translocation a
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Qian, Kun, Tomoki Arichi, Anthony Price, et al. "An eye tracking based virtual reality system for use inside magnetic resonance imaging systems." Scientific Reports 11, no. 1 (2021). http://dx.doi.org/10.1038/s41598-021-95634-y.

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AbstractPatients undergoing Magnetic Resonance Imaging (MRI) often experience anxiety and sometimes distress prior to and during scanning. Here a full MRI compatible virtual reality (VR) system is described and tested with the aim of creating a radically different experience. Potential benefits could accrue from the strong sense of immersion that can be created with VR, which could create sense experiences designed to avoid the perception of being enclosed and could also provide new modes of diversion and interaction that could make even lengthy MRI examinations much less challenging. Most cur
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Moorthy, Moses P., A. V. Srinivasan, and S. Balasubramaniyan. "CENTRAL MYELIN AND DEMYELINATION." INTERNATIONAL JOURNAL OF SCIENTIFIC RESEARCH, March 1, 2021, 77–79. http://dx.doi.org/10.36106/4328531.

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INTRODUCTION:CNS demyelinating disorders are common neurological illness that affects the brain. This causes signicant disability and mortality if not properly identied and treated. CNS demyelinating diseases includes multiple sclerosis, acute disseminated encephalomyelitis, NMO spectrum disorders and transverse myelits. Here we are reporting a case of central demyelination. CASE SUMMARY: 44yrs female admitted with subacute onset of weakness of all four limbs, more on left side and sensory disturbance in the form of numbness and tingling in all four limbs, more on left side, associated with
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Brockington, Roy, and Nela Cicmil. "Brutalist Architecture: An Autoethnographic Examination of Structure and Corporeality." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1060.

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Introduction: Brutal?The word “brutal” has associations with cruelty, inhumanity, and aggression. Within the field of architecture, however, the term “Brutalism” refers to a post-World War II Modernist style, deriving from the French phrase betón brut, which means raw concrete (Clement 18). Core traits of Brutalism include functionalist design, daring geometry, overbearing scale, and the blatant exposure of structural materials, chiefly concrete and steel (Meades 1).The emergence of Brutalism coincided with chronic housing shortages in European countries ravaged by World War II (Power 5) and g
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Juckes, Daniel. "Walking as Practice and Prose as Path Making: How Life Writing and Journey Can Intersect." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1455.

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Through my last lengthy writing project, it did not take long to I realise I had become obsessed with paths. The proof of it was there in my notebooks, and, most prominently, in the backlog of photographs cluttering the inner workings of my mobile phone. Most of the photographs I took had a couple of things in common: first, the astonishing greenness of the world they were describing; second, the way a road or path or corridor or pavement or trail led off into distance. The greenness was because I was in England, in summer, and mostly in a part of the country where green seems at times the onl
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Harley, Ross. "Light-Air-Portals: Visual Notes on Differential Mobility." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.132.

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0. IntroductionIf we follow the line of much literature surrounding airports and urban mobility, the emphasis often falls on the fact that these spaces are designed to handle the mega-scale and super-human pace of mass transit. Airports have rightly been associated with velocity, as zones of rapid movement managed by enormous processing systems that guide bodies and things in transit (Pascoe; Pearman; Koolhaas; Gordon; Fuller & Harley). Yet this emphasis tends to ignore the spectrum of tempos and flows that are at play in airport terminals — from stillness to the much exalted hyper-rapidit
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Gibson, Prue. "Body of Art and Love." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.474.

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The phenomenological experience of art is one of embodied awareness. Now more than ever, as contemporary art becomes more interactive and immersive, our perceptions of embodiment are useful tools to gauge the efficacy of visual art as a stimulus for knowledge, new experience and expression. Art has a mimetic and interactive relationship with the world. As Schopenhauer said, “The world is my representation” (3). So which takes effect first: the lungful of excited breath or the synapses, is it the miasmic smell of dust on whirring video projectors or the emotion? When we see great art (in this i
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Mussari, Mark. "Umberto Eco Would Have Made a Bad Fauve." M/C Journal 5, no. 3 (2002). http://dx.doi.org/10.5204/mcj.1966.

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"The eye altering, alters all." - Blake In his essay "How Culture Conditions the Colours We See," Umberto Eco claims that chromatic perception is determined by language. Regarding language as the primary modeling system, Eco argues for linguistic predominance over visual experience: ". . . the puzzle we are faced with is neither a psychological one nor an aesthetic one: it is a cultural one, and as such is filtered through a linguistic system" (159). Eco goes on to explain that he is 'very confused' about chromatic effect, and his arguments do a fine job of illustrating that confusion. To Eco'
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Radywyl, Natalia. "A Moment's Daydreaming." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.118.

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Drift: An IntroductionEntering into Drift is akin to entering—or becoming ensnared by—a hum. Projected across one wall, the work uses abstract visual forms to draw visitors into its meditational folds. Quadraphonic sound circulates in smooth, heavy pulses, like the steady rumble of a train running over deep-set tracks. A succession of vibrating lines occupy the screen, much like the horizontal static of a poorly-tuned television. Gradually, the ambient timbre darkens, the hum becomes more persistent and atmospheric undulations more frequent, until room and body expand with intensity. Throbbing
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Liu, Peng. "Cultural Technique in Creative Practice: Exploring Cultural Embodiment in the Movement of the Body in a Studio Space." M/C Journal 18, no. 2 (2015). http://dx.doi.org/10.5204/mcj.959.

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Figure 1: Peng Liu, Body Techniques. Photograph. (2014).As an academic researcher as well as practicing artist, I am interested in my bodily movement/techniques in the actions of painting which inevitably reflects the institutions enacted upon my body as representation of Chinese culture/society, and also highlight my individual practice as an artist in response to the world. According to Shilling (10-12), Turner (197), Douglas (68-78) and Mauss (75), the body is historically inherited and culturally embodied. My bodily experience of wandering in the space of the Forbidden City is mediated by
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Dewsbury, John-David. "Still: 'No Man's Land' or Never Suspend the Question." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.134.

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“Say a body. Where none. No mind. Where none. That at least. A place. Where none. For the body. To be in. Move in. Out of. Back into. No out. No back. Only in. Stay in. On in. Still” (Beckett, Short Fiction 471). 1. Introduction – Wherefore to ‘still’?HIRST: As it is?SPOONER: As it is, yes please, absolutely as it is (Pinter, 1971-1981 77). These first lines of Harold Pinter’s play No Man’s Land are indeed the first lines: they were the first lines that came to Pinter, existing as the spark that drove the play into being. Pinter overhead the words ‘As it is’ whilst in a taxi cab and was struck
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Munster, Anna. "Love Machines." M/C Journal 2, no. 6 (1999). http://dx.doi.org/10.5204/mcj.1780.

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A new device, sure to inspire technological bedazzlement, has been installed in Hong Kong shopping malls. Called simply The Love Machine, it functions like a photo booth, dispensing on-the-spot portraits1. But rather than one subject, it requires a couple, in fact the couple, in order to do its work of digital reproduction. For the output of this imaging machine is none other than a picture of the combined features of the two sitters, 'morphed' together by computer software to produce a technological child. Its Japanese manufacturers, while obviously cashing in on the novelty value, neverthele
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Allmark, Panizza. "Photography after the Incidents: We’re Not Afraid!" M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.26.

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This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of these images operates
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Allmark, Panizza. "Photography after the Incidents." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2719.

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 This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of t
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Adey, Peter. "Holding Still: The Private Life of an Air Raid." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.112.

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In PilsenTwenty-six Station Road,She climbed to the third floorUp stairs which were all that was leftOf the whole house,She opened her doorFull on to the sky,Stood gaping over the edge.For this was the placeThe world ended.Thenshe locked up carefullylest someone stealSiriusor Aldebaranfrom her kitchen,went back downstairsand settled herselfto waitfor the house to rise againand for her husband to rise from the ashesand for her children’s hands and feet to be stuck back in placeIn the morning they found herstill as stone, sparrows pecking her hands.Five Minutes after the Air Raidby Miroslav Holu
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Smith, Royce W. "The Image Is Dying." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2172.

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The whole problem of speaking about the end…is that you have to speak of what lies beyond the end and also, at the same time, of the impossibility of ending. Jean Baudrillard, The Illusion of the End(110) Jean Baudrillard’s insights into finality demonstrate that “ends” always prompt cultures to speculate on what can or will happen after these terminations and to fear those traumatic ends, in which the impossible actually occurs, may only be the beginning of chaos. In the absence of “rational” explanations for catastrophic ends and in the whirlwind of emotional responses that are their after-e
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Esposito, Paola. "Thread: Somatic Lives of a Thing." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1062.

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IntroductionOn a sunny afternoon in early spring 2014, five researchers were strolling through the streets of Old Aberdeen. They had known each other for only a few days since an event had brought them together. The event was Performance Reflexivity, Intentionality and Collaboration: A Sourcing Within Worksession, convened by anthropologist Caroline Gatt and performer Gey Pin Ang, as part of the ERC Advanced Grant project “Knowing from the Inside,” at the department of Anthropology, University of Aberdeen. This workshop aimed to explore aspects of creative decision-making in performance to ass
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Drummond, Rozalind, Jondi Keane, and Patrick West. "Zones of Practice: Embodiment and Creative Arts Research." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.528.

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Introduction This article presents the trans-disciplinary encounters with and perspectives on embodiment of three creative-arts practitioners within the Deakin University research project Flows & Catchments. The project explores how creative arts participate in community and the possibility of well-being. We discuss our preparations for creative work exhibited at the 2012 Lake Bolac Eel Festival in regional Western Victoria, Australia. This festival provided a fertile time-place-space context through which to meet with one regional community and engage with scales of geological and histori
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Morley, Sarah. "The Garden Palace: Building an Early Sydney Icon." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1223.

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IntroductionSydney’s Garden Palace was a magnificent building with a grandeur that dominated the skyline, stretching from the site of the current State Library of New South Wales to the building that now houses the Sydney Conservatorium of Music. The Palace captivated society from its opening in 1879. This article outlines the building of one of Sydney’s early structural icons and how, despite being destroyed by fire after three short years in 1882, it had an enormous impact on the burgeoning colonial community of New South Wales, thus building a physical structure, pride and a suite of memori
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Banks, John. "Controlling Gameplay." M/C Journal 1, no. 5 (1998). http://dx.doi.org/10.5204/mcj.1731.

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Computer and video games are one of the primary uses of personal computer technologies, and yet despite an increasing interest in cultural practices that are organised around computer and information technologies cultural studies has paid very little attention to this phenomenon. In the War of Desire and Technology Allucquére Roseanne Stone comments "that there seems no question that a significant proportion of young people will spend a significant and increasing proportion of their waking hours playing computer-based games in one form or another, and so far the implications of this trend have
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Dernikos, Bessie P., and Cathlin Goulding. "Teacher Evaluations: Corporeal Matters and Un/Wanted Affects." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1064.

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Introduction: Shock WavesAs I carefully unfold the delicate piece of crisp white paper, three rogue words wildly jump up off the page before sinking deeply into my skin: “Cold and condescending.” A charge of anger surges up my spine, as these words begin to now expand and affectively resonate: “I found the instructor to be cold and condescending.” Somehow, these words impact me both emotionally and physiologically (Brennan 3): my heart beats faster, my body temperature rises, my stomach aches. Yet, despite how awful I feel, I keep on reading, as if compelled by some inexplicable force. It is n
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Mullen, Mark. "It Was Not Death for I Stood Up…and Fragged the Dumb-Ass MoFo Who'd Wasted Me." M/C Journal 6, no. 1 (2003). http://dx.doi.org/10.5204/mcj.2134.

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I remember the first time I saw a dead body. I spawned just before dawn; around me engines were clattering into life, the dim silhouettes of tanks beginning to move out in a steady grinding rumble. I could dimly make out a few other people, the anonymity of their shadowy outlines belied by the names hanging over their heads in a comforting blue. Suddenly, a stream of tracers arced across the sky; explosions sounded nearby, then closer still; a tank ahead of me stopped, turned sluggishly, and fired off a couple of rounds, rocking slightly against the recoil. The radio was filled with talk of Ge
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Morse, Nicole Erin. "Authenticity, Captioned: Hashtags, Emojis, and Visibility Politics in Alok Vaid-Menon’s Selfie Captions." M/C Journal 20, no. 3 (2017). http://dx.doi.org/10.5204/mcj.1240.

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IntroductionWithin social media visibility campaigns, selfie captions usually work to produce coherent identity categories, linking disparate selfies together through hashtags. Furthering visibility politics, such selfie captions claim that authentic identities can be made visible through selfies and can be described and defined by these captions. However, selfie captions by the trans artist Alok Vaid-Menon challenge the assumption that selfies and their captions can make authentic identity legible. Through hashtags, emojis, and punning text, Vaid-Menon’s selfie captions interrogate visibility
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Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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 1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the
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Kuppers, Petra. "“your darkness also/rich and beyond fear”: Community Performance, Somatic Poetics and the Vessels of Self and Other." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.203.

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“Communicating deep feeling in linear solid blocks of print felt arcane, a method beyond me” — Audre Lorde in an interview with Adrienne Rich (Lorde 87) How do you disclose? In writing, in spoken words, in movements, in sounds, in the quiet energetic vibration and its trace in discourse? Is disclosure a narrative account of a self, or a poetic fragment, sent into the world outside the sanction of a story or another recognisable form (see fig. 1)?These are the questions that guide my exploration in this essay. I meditate on them from the vantage point of my own self-narrative, as a community pe
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