Page 289 - Cyberculture and New Media

280 Desistant Media
______________________________________________________________

75
Lacoue-Labarthe 1994: 110.
76
Lacoue-Labarthe 1989: 253–260.
77
Ibid., 233-234.
78
Lindberg 1996, 39-40.
79
Lacoue-Labarthe 1990, 82-83.
80
Lacoue-Labarthe 1989, 252-253.
81
Todd 1996, 180.
82
Cf. Buck-Morss 1991, 292.
83
Popper 1993, 172 About Hershman Leeson’s participative art see Dietz
2005, especially about Time and Time Again, see Ibid., 196. In fact the
features like the change of information from participant to participant,
participant as a performer, the changes in signals passing through input and
output devices, from the categorization made by Bell are vigorously present
in contemporary art which has included in itself a variety of forms and
functionalities also from games and plays. The last item in the list also
contain a deliberation upon the faculty of the audience to comprehend the
work of art. Directing the contents of art could happen through familiar
schemas.
84
Krueger 1992, 254.
85
Ibid.
86
Ibid., 245.
87
Ibid., 254.
88
Grau 2003, 350.
89
See Lacoue-Labarthe 1993, 106 and Krueger 1992, 254.
90
Lacoue-Labarthe 1993, 108.
91
Krueger 1991, xiv.
92
Lacoue-Labarthe 1993, 103.
93
Lacoue-Labarthe 1993, 82.
94
Lacoue-Labarthe 1993, 93-95.
95
Cf. Foreword, p. 14.
96
For more details see O’Dell 1990, 139.
97
Graham 2001, 15.
98
We must keep in mind that reflection as re-presentation, with any lack of
mythos, already belongs to the era of the modern and modernity. It is a
rupture in the story (of man) before modern art started to speculate on it –
Cubism, Dadaism, etc.
99
Stemmrich 2004.
100
Dixon 2007, 245.
101
Ropas-Wuilleumier 1994, 66. In his study, Dällenbach concentrates on
couple of pages to the examples of mise-en-abyme in at history: among them
Arnolfini Marriage by Van Eyck, and Las Meninas by Velasquez. Short, and