A Cinema of Disturbance: TheFilms of Michael Haneke in Context “My films are intended as polemical statements against the American

‘barrel down’ cinema and its disempowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.” The Seventh Continent Not beautiful photography, not beautiful pictures, but rather necessary pictures, necessary photography. – Robert Bresson In the 1989 edition of Austrian Film, the Austrian Film Commission’s annual promotional booklet on the national film crop, Haneke describes The Seventh Continent, the first film of his “VergletscherungsTrilogie” (“glaciation trilogy”) (1) as follows: The film is about the life of Georg, his wife Anna and their daughter Eva over a period of three years: It is the story of a successful career, it is the story of the price of conformity, it is the story of mental short-sightedness, it is a family story and it is the story of a lived consequence.

This laconic summary is an apt approximation of the sparse film that premiered at Cannes 1989. The setting is a hopelessly defamiliarized Linz, the city rendered as a wasteland of industry, Autobahn and row houses. The characters populating this world are literally faceless: Haneke avoids shots including faces and instead concentrates on close-ups of hands and objects. There is little “story” to speak of. Father, mother, and daughter have all but stopped talking to each other. One day the daughter claims to be blind, although she isn’t. The mother’s brother comes for dinner and begins crying for an inexplicable reason. The father begins destroying the house and flushes piles of banknotes down the toilet. The

Supermodernity is a paradoxical condition. What reigns there is actuality. In order to understand their creative energies. Jean Baudrillard. On the one hand it implies a proliferation of events. Non-places refer to spaces “which cannot be defined as relational. Haneke has in turn emphasized his intention to leave the work of interpretation to the spectator: “I try to make anti-psychological films with characters who are less characters than projection surfaces for the sensibilities of the viewer. in a larger sense. driver’s licenses and national identity cards with biometric data function to differentiate between individuals. strangles the flow of information in order to compel the spectator to “think with” and “feel with” the film. a surfeit of history and above all an abundance of news and information describing these occurrences. Social Security cards. In the 1980s and 1990s. (5) Supermodernity generates a paradoxical excess and lack of identity. Gilles Deleuze and others were scrutinizing the very perceptual systems (and the environment and conditions fostering them) that Haneke took to task in his “Austria” trilogy. At the same time. instead of simply consuming it. blank spaces force the spectator to bring his own thoughts and feelings to the film. the urgency of the present moment”. Re-viewing Haneke’s early features more than 15 years after their initial release is a strange exercise. Because that is what makes the viewer open for the sensitivity of the character”. or concerned with identity”. At the same time. The films’ address and stance—indeed. All of this transpires with no convincing motives and only scant psychological insight into the characters. Augé investigates what form of obligation we encounter in the anonymous “nonplaces” of modern urban space: hotel rooms. Haneke and these thinkers shared a common perspective: they sought to revive moribund fields with a respective cinematic/theoretical shock therapy. however. In interviews. Marc Augé. this excess means that “there is no room for history unless it has been transformed into an element of spectacle.family commits suicide. PIN codes. ATM machines and other transit points at which we spend an increasing proportion of our lives. bank cards and email addresses. Haneke. roughly translatable as “supermodernity” or “hypermodernity”. One useful reference point for The Seventh Continent and Haneke’s stark dramaturgy is the social theorist Marc Augé. e-mail addresses. or historical. Indeed. Augé argues that although we don’t “rest” or “reside” in non-places but merely pass through. the very aesthetic and moral questions they raise—seem to come from an uncannily distant past. supermarkets. we nevertheless enjoy a contractual relation with the world. These “contracts” are symbolised in train or plane tickets. What to make of a film that reveals so little of itself? One might first turn to the director. Augé infers from such spaces a paradox of what he calls surmodernité. in other words. . this proliferation has made personal identity more rigid and formally interchangeable: everyone can be identified by a “number” and one’s identity can be “stolen”. they need to be read against the contemporary social and cultural theory and the anxieties that these theorists addressed. usually in allusive texts.

com/2010/greatdirectors/michael-haneke/> .This is the diegetic world of The Seventh Continent: supermarket checkout counters and credit cards. The family could be anywhere. most important (and most alienating and destructive) is the dialectic between anonymity and identity. (6) The characters wander aimlessly and seemingly without motivation between Augé’s anonymous transit points and temporary abodes: the home. WEB. References: Frey. coldness. car washes and automatic garage doors. < http://sensesofcinema. on any seventh continent. Senses of Cinema: Great Directors. that traditional point of bourgeois differentiation is a refuge. “A Cinema of Disturbance: The Films of Michael Haneke in Context”. as Amos Vogel describes the film. “anonymity. February 2012. December 2012. but also a prison. Issue 57. Mattias. alienation amidst a surfeit of commodities and comfort”. it is one of many in the suburban development.


7 Wondering whether or not to lend Winnicott a book she has been reading about Bacon – Ronald Alley and John Rothenstein's Francis Bacon: Catalogue raisonné . The phrase may strain our capacity to visualize. It is central to the argument of this essay that psychoanalysis – and. Winnicott turns her sense of awe back onto the mother. this patient turns to discussion of her great interest in Francis Bacon and Jacques Lacan.6 It is no coincidence perhaps that. sees nothing. a reflection that. he writes at the very beginning of ‘Mirror-role of mother and family in child development’. Winnicott and Michael Haneke Vicky Lebeau ‘Wouldn't it be awful’. calls the ‘blindness of the seeing eye’ – become tangible in the imaginary scenario in which a child. a mirror.J. the essay to which Winnicott acknowledges his debt at the beginning of his discussion). Instead there is nothing. Clark succinctly put it in 1973: ‘It takes more than seeing to make things visible. but the patient's sense of its terror draws on an experience of the visual field by no means reducible to the visible. a psychoanalysis oriented towards what André Green has described as the negative: blankness. because it is not there. to the perceptible image. Winnicott's patients in the course of her psychoanalysis with him. as T. first published in 1967. Christian Metz's groundbreaking description of the cinema screen helped to generate the new psychoanalytic theory of film (to which Screen made its essential contribution). craning towards the mirror.5 This is not the domain of misrecognition.’1 The idea of the mirror has been central to the encounter between psychoanalysis and studies in visual culture. ‘the precursor of the mirror is the mother's face. the lure of the image.W. ‘if the child looked into the mirror and saw nothing!’ It is a stark and unsettling vision: a child. that psychoanalysis has done so much to explain. ‘Thus film is like the mirror’: in 1975. emptiness – can help us to explore this aspect of the visual.2 But Winnicott's patient is also giving voice to one of the most productive insights in writing about images in the past three decades – namely. in another context. captivated by the image of his reflection. seeing nothing. ‘In individual emotional development’. in particular.’3 The limits of perception – what Freud. standing before the mirror. I wish to refer to the normal aspect of this and also to its psychopathology.4 We are some way here from Jacques Lacan's fascination with the baby. Introducing his patient's words as an illustration of one of the fundamental insights of his work. after sketching a verbal ‘picture’ of her mother to Winnicott. as such.The arts of looking: D. becomes awful.W. non-presence. to the aesthetics of the visual and to psychoanalysis (she speaks directly of ‘Le stade du miroir’. confides one of D.

psychoanalysis conforms to that very modern impulse to cast the search for self. at the origins of human mind and selfhood. too.and documentation. or willingness. in the glass that protects the painting. of suture and the gaze – concepts crucial to psychoanalytic film theory since the 1970s – but on that ‘nothing’: the image not seen. profoundly ordinary too. ‘Mirror-role of mother and family in child development’ – offers a language through which to think about the alterity of the visual. they might in fact see themselves’. on one level. too. Winnicott insists. At least. as well as into. the gaze between mother and baby – as a form of unmediated. to borrow Lacan's phrasing – as a form of (magical. at the heart of his approach to the question of how a baby comes to life is a mother's capacity. in the form of a quest for the child.8 This is a detail picked up from Rothenstein's Introduction. As Green puts it. To put these points another way: complicating what we think we know about the metaphor of the mirror. his attention to the tension between seen and unseen. Where are we. the infant (as Michael Eigen puts it. or not. recognizing: these are the terms that govern Winnicott's extraordinarily subtle exploration of that wager. illusory) omnipotence.13 The wager is extraordinary but. if we can look out from. of image – is at stake when a child looks in the mirror and sees nothing? Or when a painter does something to the human face (in Winnicott's view. its origins and significance. Winnicott noticed ‘what had been escaping everyone's attention’: the precursor of the mirror is the mother's face. the painter who takes his chance with ours: Winnicott will track the ties between the two back to the earliest responses between mother and baby. one that goes beyond the question of recognizing. its mediation of the modes of looking that have come to structure the experience of everyday life through the twentieth century and beyond..10 Bacon. a privileged means to intimacy.9 But to be reflected. to the idea of reflection as the condition of a selfhood forged through the work of looking and being looked at. of nameless threatened catastrophe’). may want something of that chance encounter with our reflection. to create the setting in which the baby can experience his absolute helplessness – his specific prematurity of birth. and to see there our own afflictions and fears . Bacon ‘forces his way into any present-day discussion of the face and the self’)?15 What happens to the dialogue between psychoanalysis and visual culture if we put our emphasis not on the concepts of fetishism and voyeurism. the catalogue to the retrospective of Bacon's work which opened at the Tate Gallery in May 1962 – the woman draws attention to Bacon's preference for glazing his paintings for exhibition: ‘he likes to have glass over his pictures because then when people look at the picture what they see is not just a picture. is providing a counterpart to the empty mirror with which she begins her session (at the beginning of his discussion of her case. One way or another. Winnicott notes the coincidence between his patient's concerns and his own). looking back at him from the mirror on an open door.14 Looking. What idea of looking – of perception. We may recall Freud's story of being startled by an intruder in his railway carriage: his own reflection. our afflictions in the painted image. Bacon's paintings? Will we recognize ourselves in that person who looks back from behind the glass? Perhaps not immediately. There may be nothing new in this. Winnicott's writing – in particular. in which he turns to that familiar metaphor of the mirror to confirm the shock of recognition agitating through Bacon's paintings (‘to look at a painting by Bacon is to look into a mirror. to be reflected into the world of Bacon's pictures – that is a different wager.12 In other words. Winnicott is writing out of a Romantic and lyrical tradition that invests the look – prototypically. reflecting.. as spectators. we are living in the ‘Age of the baby’).11 Equally. or at least preverbal. the look that does not happen?16 . expression. The child who cannot find her reflection. the possibility fascinates Winnicott's patient who. visible and invisible.

is not in itself enough. perception – the mother's face as what is there is to be seen – interferes with the work of apperception. but not . in this instance. if not simply seen. no reflection. for Winnicott. of the scene that helps to structure Winnicott's own account of how a baby comes to life. life and death (the smile. Winnicott. by Bacon's paint. as Jacques Rancière has put it. be it in words or pictures (the ‘images of art’. Precursor of the mirror. ‘what the baby sees is himself or herself. too premature. it is as if.23 In this sense. cannot get away from Bacon's repeated distortions of the human face. but he does not see himself: ‘what is seen is the mother's face. is the ‘home base of the human self’22). the mother's face can also be too present. In such a case what does the baby see?’24 The question is essential. experience he describes as follows: ‘the mother is looking at the baby and what she looks like is related to what she sees there’. No doubt in losing sight of the mother's face the infant can lose himself. a dissemblance’17). This. more precisely. of holding the image in the space between mother and baby. but one reinflected. it is as if looking has to withdraw from perception to discover the significance of the image for and to the self (or. as face. Wondering what the baby sees when he looks at that face. being present. can intrude on the infant by failing to reflect him. Winnicott concludes. in the object: a mode of looking. who with his soul/Drinks in the feelings of his Mother's eye!’ is only the most obvious example19 – a disfigurement. to the intuition that. On the contrary. psychoanalysis needs the provocation of the image.18 Striking. in other words. displacements of those forms – suggests the convergence between psychoanalysis and the diverse objects and practices of visual culture. a look is being withheld in (or by) the imaginary with which Bacon confronts his viewers. More precisely. in relation to the realm of the visible. is the weight given to pain. Winnicott discovers both baby and mother in their reciprocal exchange of looks. ‘I am suggesting that. somewhere. certainly. comes to being in the world. part of the fascination of Winnicott's writing is its excavation of different ways of losing the self. the mother is looking at the baby and what she looks like is related to what she sees there. when he looks at a picture by Bacon. phrasing: what the mother looks like (to her baby) is related. animate and non-animate. as Eigen puts it. ‘by going straight over to the case of the baby whose mother reflects her own mood or. sometimes destructive. The mother's being there. Too brutal. worse still. Winnicott sees a disfigurement of that Romantic vision of the mother and child.’20 It may be that Winnicott is uncovering one of the basic structures of the visual field (what Eric Santner has described as the ‘deep core’ or ‘libidinal fuel’ of the various technologies of vision: ‘the need for eyes that return a gaze’21). the baby looks. In other words. the rigidity of her own defences. Certainly. sheltered in and by a reflective gaze: William Wordsworth's ‘blest Babe’ who ‘sinks to sleep/Rocked on his Mother's breast. deeply distorted. is a potentially catastrophic event. through the mother's face. but one by no means reducible to perception. ‘This is what dead means’. overturning the more ordinary.’25 This is another form of impingement: the too-visible image of the mother interrupts – displaces. an ordinary anxiety of infantile life: no face. for example. if still fraught. It is worth noting the precise. from his idea of Bacon as an artist ‘painfully striving to be seen’. ‘are operations that produce a discrepancy. of losing life. to this state that is not yet that of the self). he concludes. helping to secure the distinctions between stillness and movement. for example. the quality of Winnicott's attention to forms of visualization between infant and world – his interest in the creative. The baby can also lose himself in the mother's face.To engage such questions. perhaps. Shadowed by her absence. This is an insight that emerges on the cusp between psychoanalysis and the visual as Winnicott begins to make something visible. Winnicott muses. the mother's face may well be an original source of reflection and recognition. with the ruthlessness so characteristic of his writing.’ Winnicott insists. ‘I can make my point. that potential or virtual self emerging in the precious space between seen and unseen: a field of vision. Such ways are various. The mother's face is not then a mirror. ordinarily’. represses – the baby's going-on-being. the mother's face. if elusive.

‘creative apperception .26 The baby's experience of being alive. The face is not there. that structure of non-recognition? How do we ‘hold’ that structure in the visual life of culture? We may return to Metz's words: ‘Thus film is like the mirror’. comes back to him. more generally. the credits move to the bottom of the screen. 1. a gaze fixed on what is taking place beyond the windscreen: the automated progress of a carwash – its noise.. for several minutes at the beginning of The Seventh Continent. or to what has not been?28 The image – as provocation. the view shifts to the inside of a car. Michael Haneke's first film for cinema. As the first credit rolls. what he looks like and gives out into the world (his first creativity?). What might be a frontal view of the couple inside the car is still obscured by credits spread across the screen but. a car headlamp. as distortion – is. With its hold on that image. as the car moves forward. belongs to the very mirroring that helps the child to discover an image of himself in the world. of estrangement. or compensate for. but differently. that makes the individual feel that life is worth living’. silent. a language alive to the work of thinking in images needs such questions. Taking its time. a jet of water. or the unreflected. (part of) a wheel. released in 1989. they stare straight ahead. It is. All images from Die Siebente Kontinent/The Seventh Continent (Michael Haneke. just visible beyond the things that dominate the screen: a car number plate. Fig..27 What happens to that experience of non-recognition in the domains of visual culture? How might the visual object exacerbate. or only just there. the not-seen.. something agitates. he writes. Immobile. their heads silhouetted against the windscreen. between Winnicott's ‘Mirror-role of mother and family’ and the opening sequence of Die Siebente Kontinent/The Seventh Continent. to whatever she is given to be seen by her baby. It is a shot from the rear: a man and woman are seated in the front. One might sit and stare as if hypnotized. 1989).29 Put bluntly. sometimes in the space that opens up between one image and another. this sequence is likely to be striking. or. Something troubles. would be everybody's human lot to some degree’. with the language of cinema that such a formulation describes. the characters look at one another’ – or. A shot through the . its predictable sequence. as Juliet Mitchell inflects this point. towards the left and right edges of the frame. The Seventh Continent centres its audience in the space between two. a windscreen (through which you might catch sight of the lower part of a face behind the steering wheel). by the fact that this is a prolonged shot from behind the couple. in Winnicott's view. or a word. Haneke's long take does its work. Or. sometimes ‘in’ the image..identical. necessary to sustain such questions. Haneke withholds the image of the face. Between. For any viewer familiar with Metz's formulation – ‘In fiction film. of introspection and perhaps of a kind of blind seeing. carries the burden of the distinction between (bare) living and being alive. for example. in the present instance. But do we really know what a mirror can be like? And how do you mirror ‘nothing’? How do you give a likeness to what does not happen. I think. relatively: in other words. its rhythm. Equally. in the place where a look. the image of a mirror in which a child cannot see herself and Bacon's Study for a Portait (1953). or doubled. albeit confusedly. Their faces are averted not only from one another but from us – an aversion that speaks. to assume the reflection of his experience that. that might happen does not – a not happening matched. ‘a primal nonrecognition . neither speaking to nor looking at one another (figure 1). but as the car prepares to leave the automated wash there is a change of visual and narrative perspective.

is the film giving to be seen? What is Haneke visualizing in this image of a look that does not take place between these characters on screen? A form of absence. to give voice to the question implicit in both Haneke's statement and his film. at once Romantic and modern. as a newspaper story – to represent on film whatever it is that is missing from their lives. one day.2. he notes. which invests the visual as a source of selfhood. displacing the family into the dense materiality of objects and actions that come to represent their daily lives (figure 3). The Seventh Continent poses such questions with special urgency – urgency that. ‘Three years. Anna and Eva – for whom.’ In an interview with Serge Toubiana. but often avoided. Haneke describes his struggle to depict the tragedy of this family – first encountered. precisely. The unexpected sight of the child sitting behind and between the couple retrospectively subjectivizes the ‘look’ of Haneke's static take: she has been outside the film's field of vision. . on one level. All three stare straight ahead (figure 2). of life. ‘nothing’ is wrong. questions of psychoanalysis: ‘what life itself is about’. and see what happens’ is how Haneke describes his attempt to visualize whatever it is that has happened in the lives of a family – Georg. a ‘seeing nothing’ – the negative of blankness? Not all at once: the significance of these images is left in suspense.30 But what does it mean. they do things.windscreen reveals not two but three figures in the car: the silhouette of a small child. what is life? What is it that makes life worth living? We may hear the echo with what Winnicott describes as one of the basic. ) The perplexing quality of this moment has much to do with that sensibility. (Fig. objects and actions that also hold the film together. and its failure. as a director absorbed by the problem of what it means to look. for suicide. Things could go in various directions from here.31 As a film based on a family's suicide. ‘So. sitting in the back seat. is framed between the man and the woman. from her ‘place’. But what. But in fact The Seventh Continent offers this sequence as a prelude to its depiction of the lives of a family found dead in their home on 17 February 1989 – the decision for death. The film needs to unfold further before we become more aware of the trouble in this sequence that concludes with the black screen that Haneke will use throughout to punctuate the film.3. Haneke refracts through the choreography of looking. Fig. but we have been looking with her. Riven by the look that does not happen in its opening sequence. they don't really live. perhaps. to do rather than to live? Or. of love. The Seventh Continent will sustain that sense of absence throughout. that turns this scene into one of the most powerful visions of a failure to be alive in contemporary European cinema.

‘So how do you impact the viewer more deeply?’ In describing his cinema. alongside Benny's Video [1993] and 71 Fragments of a Chronology of Chance *1995+. . when seen. to the modes of seeing that will be brought to bear on it – not least. narrative. or hear a voice driven by emotion (the voice and face of television offering its love and protection from the world: ‘I'll do all that I can’ is one of the song's refrains *figure 4+). Or perhaps that is how the idea of violence – never far from Haneke's screen – is there: the visual dismemberment of the family. running alongside the routinization of life and its objects. the looks withheld in that opening sequence are finally exchanged. more precisely. or which. the form of hypnotized distraction that confronts us in the opening scene: a mindless staring that comes to take the place of a look. expressive. To push the point. becomes immune to it (to those ‘bits of pseudo-information in rapid succession’. It is a death that inhabits the details of this film. so often framing or containing the opening shots of each day. then: it is not until the family assumes the role of (half-dead) spectators in front of the television that we see a ‘live’ face. The radio. reminder of what has not been visible throughout this film: a face – mobile. The family members enter the frame in bits and pieces – arms. part of the wager of The Seventh Continent is to bring life back to the image. alive – looking back at the audience that trains its gaze upon her. legs. On screen – Haneke's as well as that of the television – Jennifer Rush's performance of ‘The Power of Love’ is a sudden. in Haneke's phrase. as Linz (claimed by Hitler as the city of his imaginary future). pushed to the edge of the screen. as. but the horizons of understanding opened up by its visual and aural processing of its material. In this sense. To do justice to that detail – visual. for example. The Seventh Continent belongs to the ‘glaciation trilogy’ that initiated Haneke's contribution to European cinema). crucially. Or. perhaps. from its opening shot in which the camera fixes on the car numberplate – the letter ‘L’ identifying the city in which the film is set. Georg and Anna mime the classic posture of the cinema spectator: in a darkened space. mobility and movement: ‘trained to liveliness’.32 This deadness is there from the beginning of The Seventh Continent. Not that this catastrophe appears to carry any impact onscreen. when Anna breaks down in the second scene in the carwash during which. or a word. hands. The immobility of the actors' faces is one of the most striking aspects of this film. visualized first in the look that does not happen. A performance of aliveness. immobile. the face that is not seen. feet. visible. looking straight at a screen – a miming that anticipates the concluding sequence of the film in which the family's death is mediated by the television screen (the television is virtually the only object to have survived the methodical destruction of their home). between the characters on screen. appears as a form of convulsion that the face can only resist. political histories. refracts routine through the ‘alarms’ of the news: specifically. of imagination and time (note that. a reassurance against feelings of death inside: ‘Here is LIFE’. edited into expression. Haneke also gives voice to its assumption that there is a form of death at work in present regimes of the image: death of feeling and thought. there is a ferocious political history embedded in The Seventh Continent. In 1935. in the opening sequence of the film it is possible to glimpse not only the ‘how’ but also perhaps the ‘why’ proposed by The Seventh Continent. rhyming across the three ‘days’. and of the lights of the modern city as a performance of life. Not the answers eschewed almost routinely by the film's director. its handling of the transition between cinema and the event of the family members' deaths: bluntly. its displacement of those deaths onto film. in Part One. the catastrophe of the Iran–Iraq conflict. Nonetheless. when it does come. of music hall. as Winnicott might say. though not shot. not inside but outside. cannot be felt. In other words.The Seventh Continent shows that seeing: the details of the lives lived by the family accumulating through the film. so much so that expression. so characteristic of radio and television). heads – to continue their morning routine. gives image to the inhumanity of a life that. he pointed to the everyday pleasures of the wireless (‘left on interminably’ – like the television in The Seventh Continent). rhythmic – is beyond the reach of this essay. by waking up to violence. In fact.

Haneke has suggested. taking in – and reflecting. Haneke seems to say. a space that puts looking and image into question: the question of looking. and you may (re)attach the mind to the shot. imagination – and the movement of the image on screen (the idea of cinema as a type of mime of both mind and world is nearly as old as the medium itself). where two people do not look at one another. retains its capacity to ‘let us experience the world anew’. for a few moments longer. live in it. of what looking may have to do with whatever it is that makes life ‘life’ – or. V. selfhood.34 Slow the image down. WEB. by contrast. even perhaps to use cinema to make a difference to looking. to the work of looking – noticing.Fig. feeling. Reference: Lebeau. ‘The long take’. he suggests. life. to interrupt the visual flow that has become part of the experience of everyday life. it has been part of the work of Haneke's cinema to look back at its audience by looking at looking. What does it mean to look in order to come alive? This question. looking as a question. Live in that space. belongs as much to Haneke as to Winnicott. Cinema. Feb 2012. If this is a topic vital to the contemporary study of visual fields. “The Arts of Looking: D. Winnicot and Michael Haneke”. as much to an aesthetics of the visual as to psychoanalysis. Get to know the image. where a form of nothing is what comes to the foreground of the field of vision – and stays there. To say this is to suggest that psychoanalysis – in particular the theoretical ambition announced in that initial turn towards the mirror – remains essential to our understanding of the visual.W. Or perhaps to the space between them.htm> .’33 It is an optimistic statement. of what comes to be seen as well as what appears to go missing in the exchange of looks between two: affect. it is because it confronts us with the question of what is involved in an art of looking that is more than looking.4.fiu. in this instance. Live with it.edu/Winnicott. makes of life a form of death. I want to suggest. agitates through both. Since the release of The Seventh Continent. ‘is an aesthetic means to accomplish this. < http://comptalk. one that depends on a strong association between the spectator's capacity for experience – thought.

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