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Widescreen Architecture: The Immersi...

Yoder, Jon.

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Widescreen Architecture: The Immersive Visuality of John Lautner.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Widescreen Architecture: The Immersive Visuality of John Lautner./
Author:	Yoder, Jon.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2011,
Description:	694 p.
Notes:	Source: Dissertations Abstracts International, Volume: 73-08, Section: A.
Contained By:	Dissertations Abstracts International73-08A.
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3486553
ISBN:	9781267050250

Widescreen Architecture: The Immersive Visuality of John Lautner.
Yoder, Jon.

Widescreen Architecture: The Immersive Visuality of John Lautner. - Ann Arbor : ProQuest Dissertations & Theses, 2011 - 694 p.

Source: Dissertations Abstracts International, Volume: 73-08, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2011.

This item is not available from ProQuest Dissertations & Theses.

This dissertation examines the buildings of Los Angeles architect John Lautner (19111994) as exemplars of a broad, recurring drive for "techno-ocular" immersion that is evident in architecture, cinema, and other pre- and post-cinematic viewing apparata. Throughout the twentieth-century, two viewing subjects dominated discourse on architectural visuality: the static viewer of Cartesian perspectivalism, and the mobile pedestrian flaneur of the Modern promenade. Through first-hand photography and a close analysis of the photographs and films in which Lautner's buildings appear, this project identifies a third type of increasingly common immersed viewer: the "cineramic" subject. This relaxed viewer finds freedom and pleasure in the enveloping "widescreen" frames and interactive automation technologies that are often deemed guilty and excessive-at times even pornographic, panoptic, or misogynistic-when scrutinized through the lenses of phenomenology, critical theory, the neo-avant-garde, and even the entertainment industry. Indeed, Lautner's work has been derided partly due to the subtle yet powerful bias against technologically mediated viewing that continues to influence architectural design and discourse. If the theories of Martin Heidegger partly sponsored the anti-ocular and anti-technological biases of architecture's critical project, then the optimistic techno-ocular theories of Maurice Merleau-Ponty are imperative for the present one. This post-phenomenological project questions the reactionary cultural turn to the "other senses," and envisions embodied visual perception itself as a rich field of effects to be mined and projected. It argues that it is not only crucial to uncover scopic regimes that confine viewing subjects, but also to seek scopic potentials that might liberate architectural theory and design. The goals of this project are thus threefold: first, to identify the subtle anti-ocular bias that continues to influence architectural design and discourse; second, to contest the simplistic dualism of static versus mobile visuality that locks architecture into a merely representational conception of itself; and third, to reclaim techno-ocular freedom and pleasure for architecture by projecting an alternative model of radically embodied viewing subjecthood that is evident in Lautner's architecture.

ISBN: 9781267050250Subjects--Topical Terms:

2122701
Art history.

Widescreen Architecture: The Immersive Visuality of John Lautner.
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520 $a This dissertation examines the buildings of Los Angeles architect John Lautner (19111994) as exemplars of a broad, recurring drive for "techno-ocular" immersion that is evident in architecture, cinema, and other pre- and post-cinematic viewing apparata. Throughout the twentieth-century, two viewing subjects dominated discourse on architectural visuality: the static viewer of Cartesian perspectivalism, and the mobile pedestrian flaneur of the Modern promenade. Through first-hand photography and a close analysis of the photographs and films in which Lautner's buildings appear, this project identifies a third type of increasingly common immersed viewer: the "cineramic" subject. This relaxed viewer finds freedom and pleasure in the enveloping "widescreen" frames and interactive automation technologies that are often deemed guilty and excessive-at times even pornographic, panoptic, or misogynistic-when scrutinized through the lenses of phenomenology, critical theory, the neo-avant-garde, and even the entertainment industry. Indeed, Lautner's work has been derided partly due to the subtle yet powerful bias against technologically mediated viewing that continues to influence architectural design and discourse. If the theories of Martin Heidegger partly sponsored the anti-ocular and anti-technological biases of architecture's critical project, then the optimistic techno-ocular theories of Maurice Merleau-Ponty are imperative for the present one. This post-phenomenological project questions the reactionary cultural turn to the "other senses," and envisions embodied visual perception itself as a rich field of effects to be mined and projected. It argues that it is not only crucial to uncover scopic regimes that confine viewing subjects, but also to seek scopic potentials that might liberate architectural theory and design. The goals of this project are thus threefold: first, to identify the subtle anti-ocular bias that continues to influence architectural design and discourse; second, to contest the simplistic dualism of static versus mobile visuality that locks architecture into a merely representational conception of itself; and third, to reclaim techno-ocular freedom and pleasure for architecture by projecting an alternative model of radically embodied viewing subjecthood that is evident in Lautner's architecture.
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