Immersive experiences as the condition of possibility for affective spacing

References

• Akoury, C. 2017. “’The Dynamics of Weaving and Warping Space-Time’ | LAU School of Architecture & Design.” http://sard.lau.edu.lb/news/2017/the-dynamics-of-weaving-and-warp.php.
   Google Scholar
• Akoury, C. 2018. “Perceptive Destabilizations: Design as Incessant Performance.” The International Journal of Design Education 12 (3): 47–54. doi:10.18848/2325-128X/CGP/v12i03/47-54.
   Google Scholar
• Baker, C. C. 2016. “Intuition and Creative Process Methodologies in Digital Performance.” In Intersecting Art and Technology in Practice, edited by C. C. Baker and K. Sicchio, 11–25. New York: Routledge.
   Google Scholar
• Cache, B., A. Boyman, and M. Speaks. 1995. Earth Moves: The Furnishing of Territories. Cambridge, MA: MIT Press.
   Google Scholar
• Deleuze, G. 1994. Difference and Repetition. New York: Columbia University Press.
   Google Scholar
• Deleuze, G. 1996. Cinema 1; the Movement-Image. Minneapolis: Athlone Press.
   Google Scholar
• Deleuze, G., C. V. Boundas, M. Lester, and C. J. Stivale. 2015. Logic of Sense. London: Bloomsbury Academic.
   Google Scholar
• Deleuze, G., F. Guattari, and B. Massumi. 2004. A Thousand Plateaus. London: Bloomsbury.
   Google Scholar
• Evans, D. 2003. An Introductory Dictionary of Lacanian Psychoanalysis. Hove: Brunner-Routledge.
   Google Scholar
• Hall, M. 2004. Time and the Fragmented Subject in Minority Report. Rhizomes, 8. Spring. Bowling Green State University, Ohio.
   Google Scholar
• Hansen, Mark B. N. New Philosophy for New Media. Cambridge, Mass: MIT Press, 2004
   Google Scholar
• Heidegger, M. 1971. Poetry, Language, Thought, Translated by A. Hofstadter. New York: Harper Colophon.
   Google Scholar
• Heidegger, M. 1977. The Question Concerning Technology and Other Essays. New York: Garland.
   Google Scholar
• Heidegger, Martin. Poetry, Language, Thought. 1st Perennical Classics ed. New York, N.Y: Perennical Classics, 2001
   Google Scholar
• Heywood, I. 2008. “Deleuze on Francis Bacon.” In A Companion to Art Theory, edited by Smith, Paul and Carolyn Wilde, 730-379. 1. Aufl. ed. Oxford: Blackwell Publishing. Smith. doi:10.1002/9780470998434.ch31.
   Google Scholar
• Inwood,M. J. 1999. A Heidegger Dictionary. Malden, Mass: Blackwell Pub, 1999.
   Google Scholar
• Kearney, R. 1994. Modern Movements in European Philosophy. Manchester: Manchester University Press.
   Google Scholar
• Laurel, B. 2014. Computers as Theatre. Upper Saddle River, NJ: Addison-Wesley.
   Google Scholar
• MacMillan, D., and M. Fehsenfeld. 1987. Beckett in the Theater: The Author as Practical Playwright and Director. London: J. Calder.
   Google Scholar
• Martin, S. 2011. Andrei Tarkovsky. Harpenden: Kamera.
   Google Scholar
• McRae, L. n.d. “About - World Renowned Sci Fi Artist and Body Architect.” On the website of Lucy McRae. Accessed 16 October 2019. https://www.lucymcrae.net/about.
   Google Scholar
• O’Sullivan, S. 2001. “The Aesthetics of Affect: Thinking Art beyond Representation.” Angelaki 6 (3): 125–135. doi:10.1080/09697250120087987.
   Web of Science ®Google Scholar
• Pallasmaa, J. 2005. The Eyes of the Skin: Architecture and the Senses. Chichester: Wiley.
   Google Scholar
• Piché, C. 2016. “Kant on the ‘Conditions of the Possibility’ of Experience.” In Transcendental Inquiry, edited by H. Kim and S. Hoeltzel. Cham: Palgrave Macmillan. p. 1-20. doi:10.1007/978-3-319-40715-9_1.
   Google Scholar
• Powrie, P., and K. Reader. 2002. French Cinema: A Students Guide. London: Hodder Education.
   Google Scholar
• Rajchman, J. 1998. Constructions. Cambridge, MA: MIT Press.
   Google Scholar
• Ross, C. 2015. “The Spreadability of Video.” In Abstract Video, edited by G. Jennings, 176–191. California: University of California Press.
   Google Scholar
• Scheirer, J., and R. W. Picard. 1999. “Affective Objects.” MIT Media Laboratory Perceptual Computing Section. https://vismod.media.mit.edu/pub/tech-reports/TR-524.pdf.
   Google Scholar
• Schirmacher, W. 1987. “‘Homo Generator.” The Challenge of Gene Technology.’ Technology and Responsibility 3: 203–225. doi:10.1007/978-94-015-6940-8_10.
   Google Scholar
• Shaw, J., S. Kenderdine, and R. Coover. 2011. “Re-Place: The Embodiment of Virtual Space.” In Switching Codes: Thinking through Digital Technology in the Humanities and the Arts, edited by T. Bartscherer and R. Coover, 218–237. Chicago: University of Chicago Press.
   Google Scholar
• Smith, Daniel, and John Protevi. “Gilles Deleuze.” Stanford Encyclopedia of Philosophy. February 14, 2018. Accessed September 28, 2020. https://plato.stanford.edu/entries/deleuze/
   Google Scholar
• Spielberg, S. dir. 2002. Minority Report.
   Google Scholar
• Tarkovskij, A. A. 2006. Sculpting in Time: Reflections to the Cinema. Austin: University of Texas Press.
   Google Scholar
• Seidel, Jorinde. “Beschouwen, vergapen-verbinden, verdwijnen.” De Witte Raaf, 88, (2000). Quoted in Renee Van De Vall. At the Edges of Vision: A Phenomenological Aesthetics of Contemporary Spectatorship. Aldershot, Hampshire, England: Ashgate, 2008, 133..
   Google Scholar
• Varela, Francisco J. and Jonathan Shear. “First-Person Methodologies: What, Why, how?” Journal of Consciousness Studies 6, no. 3 (1999): 1–14
   Google Scholar
• Yasong, M. 2010. “MAD.” MAD Architects. http://www.i-mad.com/post-art/feelings-are-facts/.
   Google Scholar