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Artwork making and feedback have concentrated more often than not at the visible media. This e-book, which initially seemed as a different factor of TDR/The Drama overview, explores the myriad aesthetic, cultural, and experimental chances of radiophony and sound artwork. Taking the procedure that there's no unmarried entity that constitutes “radio,” yet relatively a mess of radios, the essays discover a variety of facets of its equipment, perform, kinds, and utopias. The ways comprise ancient, political, renowned cultural, archeological, semiotic, and feminist. subject matters comprise the formal homes of radiophony, the disembodiment of the radiophonic voice, aesthetic implications of psychopathology, gender adjustments in broadcast musical voices and in narrative radio, erotic myth, and radio as an digital souvenir mori.

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These pictures can then be “looked at in the head” by the rays. But, quite re-   Mark S. Roberts . Illustrations of orthopedic devices from Moritz Schreber’s Kallipädie (: [left]; ). (Courtesy of Mark S. Roberts) markably, they can also be watched by the rays outside the head, in what one might conceive of as some sort of fantastic “theatre” of the rays. Indeed, Schreber’s description of the occasional shift of the “pictures” from inside to outside his head bears an uncanny resemblance to the futuristic world portrayed in the above-mentioned VR voyage: [T]hese images become visible either inside my head or if I wish, outside, where I want them to be seen by my own nerves and by the rays.

The effects created in virtual space, in VR, are, as might be expected, both spectacular and mind-boggling. A typical virtual voyage might consist of the following: My consciousness suddenly switched locations, for the first time in my life, from the vicinity of my head and body to a point about twenty feet away from where I normally see the world. The world I saw had depth, shadows, lighting, a look of three-dimensionality to it, but it was depicted in black and white. ] Twenty feet away from my body, my view of the world changed in response to my physical motion.

Weber’s mechanistic bias is revealed by his static and extraordinarily rigid view of the whole phenomenon of mental illness. On this, Weber himself writes: As colorful and inexhaustible the individual variations of cases of mental illness may be, as constant are the main outlines, and apart from the arabesques of the individual case the basic characteristics of the forms of mental illness are repeated with almost surprising, monotonous regularity. (in Schreber [] :) The expression “monotonous regularity” itself gets repeated monotonously in almost everything written about Schreber during his years of hospitalization.

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