Beschreibung Warped Space: Art, Architecture, and Anxiety in Modern Culture (Mit Press). How psychological ideas of space have profoundly affected architectural and artistic expression in the twentieth century.Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experienceâperhaps even the subject itselfâof architecture.
Warped Space / The MIT Press ~ Anthony Vidler is Dean and Professor of the Irwin S. Chanin School of Architecture at The Cooper Union, New York. He is the author of Warped Space: Art, Architecture, and Anxiety in Modern Culture (2000), and The Architectural Uncanny: Essays in the Modern Unhomely (1992), both published by The MIT Press, and other books.
Warped Space: Art, Architecture, and Anxiety in Modern ~ Warped Space: Art, Architecture, and Anxiety in Modern Culture Springer Berlin Heidelberg / Decemb er 28, 2009 / ISBN-10: 3642094317 / 444 pages / File type: PDF / 6.9mb Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as .
Warped Space: Art, Architecture, and Anxiety in Modern ~ Anthony Vidler is Dean and Professor of the Irwin S. Chanin School of Architecture at The Cooper Union, New York. He is the author of Warped Space: Art, Architecture, and Anxiety in Modern Culture (2000), and The Architectural Uncanny: Essays in the Modern Unhomely (1992), both published by The MIT Press, and other books.
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Anthony Vidler / The MIT Press ~ Anthony Vidler is Dean and Professor of the Irwin S. Chanin School of Architecture at The Cooper Union, New York. He is the author of Warped Space: Art, Architecture, and Anxiety in Modern Culture (2000), and The Architectural Uncanny: Essays in the Modern Unhomely (1992), both published by The MIT Press, and other books.
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Anthony Vidler - ~ Warped Space: Art, Architecture, and Anxiety in Modern Culture 01.12.2000. von Anthony Vidler Gebundene Ausgabe. EUR 23,95. Taschenbuch. 31,50 ⏠Nur noch 2 auf Lager (mehr ist unterwegs). ( 3 ) Antony Gormley: Blind Light 01.05.2007. von Antony Gormley , Anthony Vidler , Susan Stewart , W. J. T. Mitchell , Ralph Rugoff Gebundene Ausgabe. EUR 18,12 ( 3 ) The Writing on the Walls .
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Situated Anxiety: A Phenomenology of Agoraphobia ~ Anxiety is sometimes thought of as either a state of mind, lacking a thick spatial depth, or otherwise conceived as something that individuals undergo alone. Such presuppositions are evident both conceptually and clinically. In this paper, I present a contrasting account of anxiety as being a situated affect. I develop this claim by pursuing a phenomenological analysis of agoraphobia. Far from .
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