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@Amie// haptic visuality (embodied spectatorship)


"A sense of physical touching or being touched engendered by an organization of the film image in which its material presence is foregrounded and which evokes close engagement with surface detail and texture."

One of the possible ways of understanding the relationship between nostalgia and embodied experience is a reflection on haptic cinema and haptic vision in general. Haptic vision refers to the relationship between skin and screen, between the sense of touching and the sense of seeing.

The movement of the camera, within the frame and of the frame itself, the synchronisation (or de-synchronisation) between the visual and auditory image contribute to the creation of the haptic image. Mirror neurons in particular play an important role in the perception of impressions of this type. 

Could it be interesting to observe in the "Deam English Kid", shared by Amie Dodgson for her personal project, the relationship between the concept of haptic vision and the way in which the artist declares and uses video formats as an integral part of the narrative and as sign of the time passing?  




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As artist I use conversation and connective action to explore the public sphere as space of encounter with the political opponent. My work is time-based and results in videos, photos, objects, installations, curatorial projects and books. Vegapunk is an extension of my artistic practice in the domain of curating driven by extemporaneous curiosity. The focus is to highlight artistic practice as both an intellectual and physical process driven by dialogue (between people, formats, disciplines). Vegapunk tends to collaborate with artists whose discourse extends beyond the artistic frame to include researches entangled with the world, also in a social and political sense. From 2013 to 2020 VPK has been also a physical place. In 2021 VPK left the bricks of Via Palazzi 9 (Milan) to sail only into the web.

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