ŠVANKMAJER, J 2014, Touching and Imagining: An Introduction to Tactile Art, 1, I B Tauris, London.
Vasseleu, C 1998, Textures of Light: Vision and Touch in Irigaray, Levinas and Merleau-Ponty, Routledge, London.
Czech Surrealist and animator Jan vankmajer has experimented with tactility as a sensory modality that can kindle affect by analogy. His approach to tactile experience is also as far removed from the aims and applications of computational theories of haptic perception as one could imagine. This article elaborates on the difference between objects that feel life-like through the incorporation of touch in multimodal tele-interaction, and the way Svankmajer conveys the vitality of objects through touch.
Vasseleu, C 2003, 'What is Virtual Light?', Culture Machine, vol. 5, pp. 1-7.
Vasseleu, C 2002, 'When too many puns are never enough: A response to Wurgaft's and Shaw 'sReviews of Textures of Light', Film Philosophy, vol. 6, no. 11, pp. 1-4.
_Textures of Light_ is a book that has inspired more than its fair share of puns. I am pleased, four years after its publication, to be able to make light of the titles of two reviews that sport a couple more. It is also gratifying to see that the book has received such different treatment by Benjamin Wurgaft and Joshua Shaw -- aside, that is, from their common penchant for titles with dubious puns. It is the *raison d'etre* of book reviews to promote the reading and discussion of books themselves, and Joshua Shaw's review is as boisterous as Benjamin Wurgaft's is generous in their framing along these lines.
Vasseleu, C 2001, 'The Re-Generation', Parallax, vol. 7, no. 1, pp. 92-99.
Vasseleu, C 1999, 'Touch, Digital Communication and the Ticklish', Angelaki: Journal of the Theoretical Humanities, vol. 4, no. 2, Winter, pp. 153-162.
Vasseleu, C 1994, 'Virtual Bodies/Virtual Worlds', Australian Feminist Studies, vol. 19, no. Autumn, pp. 1-4.
Vasseleu, C 1991, 'The Face Before the Mirror-Stage', Hypatia, vol. 6, no. 3, Fall.
Vasseleu, C 2015, 'Simulated Translucency' in Cubitt, S, Palmer, D & Tkacz, N (eds), Digital Light, Open Humanities Press, London, pp. 163-178.
Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms.
Vasseleu, C 2010, 'Levinas's Philosophy of Animation' in Volkan Celebi (ed), Mono Kurgusuz Labirent - Mono Disorganized Labyrinth, MonoKL Publishing House, Turkey, pp. 287-294.
Throughout his philosophical career Emmanuel Levinas never wavers from his assertion that while all living creatures strive for existence, for one species of animal there is another kind of life. This is not a biological development or an evolutionary pinnacle. It is, put simply, a life of the soul that bears no relation to the struggle for life. wetly when such a radically new phenomenon first appears Levinas cannot say, but it is fundamental to his entire philosophy.l An indeterminate moment that "breaks with pure being, which is always a persistence in being" is what marks the difference between animality and the appearance of human life. There is something else which is fundamental to Levinas's philosophy that he doesn't mention. In lieu of an identifiable moment in time, he turns to the language of animation to articulate the unthinkable moment that announces the appearance of the buman. Somehow, the phenomenon that cannot be related to being can be characteriz.ed in terms of movement.
Vasseleu, C 2007, 'Becoming Animated' in Fielding, H, Hiltmann, G, Olkowski, D & Reichold, A (eds), The Other, Palgrave Macmillan, New York, USA, pp. 205-224.
To become animated is to exhibit a capacity for spontaneous movement that is associated with living beings. This association is open to question in technically gl"neraled animation. Modern incarnations of animated states had an unsettling autonomy - an uncanny liveliness associated with the artificially vivified automaton. Factory workers were seen as such by audiences in films like Modem Times; assembly-lines of mechanically-possessed, somnambulant bodies whose actions and gestures were dictated by their machines. Understood as the substitution of robotic machinery for the animus of a governing consciousness, spectacles of mechanical animation called humanist notions of selfdetermination into question. Feminist film theorists have argued that the way audiences viewed these figures was partly prefigured in the form of the doll _ woman-automaton. I Feminist cultural and literary critics have dwelt at length on gendered forms of mechanical animation. The following study begins by comparing the way Rey Chow and Helene Cixous analyse Freud's Interpretation of the woman-automaton In Hoffman'S tale, 'The Sand-Man'.
Vasseleu, C 2002, 'A is for Animatics (Automata, Androids and Animats)' in Living with Cyberspace: Technology and Society in the Twenty First Century, Continuum, London, UK, pp. 83-91.
Vasseleu, C 2002, 'The Moving Image and Spectacular Animation' in Jodi Books (ed), Cinema and the Senses: Visual Culture and Spectatorship, Power Publications, Sydney, Australia.
Vasseleu, C 1998, 'The Mouth and the Clinical Gaze' in Price, J & Shildrick, M (eds), Vital Signs: Feminist Reconfigurations of the Bio/Logical Body, Edinburgh University Press, Edinburgh.
Vasseleu, C 1997, 'Virtual Bodies/Virtual Worlds' in David Holmes (ed), Virtual Politics: Identity and Community in Cyberspace, Sage, London.
Vasseleu, C 1996, 'Illuminating Passion: Irigaray's Transfiguration of Night' in Jay, M & Brennan, T (eds), Vision in Context, Routledge, New York.
Vasseleu, C 1996, 'Patent Pending: laws of invention, animal life-forms and bodies as ideas' in Cheah, P, Frazer, D & Grbish, J (eds), Thinking Through The Body of the Law, Allen & Unwin, Sydney.
Vasseleu, C 1993, 'Not Drowning, Sailing: Women and the Artist's Craft in Nietzsche' in Paul Patton (ed), Nietzsche, Feminism and Political Theory, Routledge, London.
Vasseleu, C 2005, 'Time After Time Capsules', Chimaera Pictures.
Vasseleu, C 1991, 'De Anima', Ronin Films.
16mm, 13mins (Chimaera Pictures/Australian Film Commission). Australian Distributor: Ronin Films (Holdings:ScreenSound Australia).