only beneficence and self-command unambiguously fall within the ambit of moral judgment according to the spectatorial
'experience' is passive, mesmeric, undiscriminating, and therefore not conducive to the refinement of the critical faculties," writes Miller.
The original insight here is Gottsegen's claim that this reflective moment is not spectatorial
and disengaged but, rather, that it is "comprehended as a vital component of action though never as the whole of it" (p.
principles seemingly ensue from his ideal of a gradually developing collaborative endeavor between and among players and their audience: spectators do not experience a shock of recognition but participate in an unfolding visual consensus.
Only such a spectator can draw together in its spectatorial
experience both the external and internal events that comprise the ritual.
With Hawthorne, Brand's central focus is on The Blithedale Romance, but he also calls on 'Sights from a Steeple', 'The Old Apple Dealer', and 'Wakefield' as evidence of Hawthorne's intimacy with the flaneur tradition, where Hawthorne 'undermines several of the spectatorial
assumptions' that form the basis of that tradition.
In investigating why accepting otherness wasn't appropriately on Whitman's mind, much is made of the panoramic and spectatorial
For there is, after all, an initial question to be faced: whether this is primarily visual art at all, or at least so within the disinterested spectatorial
gaze we acquire in learning the conventions of the fine arts museum.
The capitalist culture of consumption--with its atomistic individualism, spectatorial
passivity, and outlooks of therapeutic release--does not provide meaningful sustenance for large numbers of people.
Indeed, more than anything they suggest the spatial scenarios and furnishings of a certain species of relational aesthetics, in which the vocabulary of Minimalism provides the basis for a display language that draws equally on its conceptual groundings in spectatorial
reorientation and its commercial deployment within the smartly restrained decor of late-modernist bureaucracy.
6) Roy Bendor and Ohad Landesman, "Animated recollection and spectatorial
experience in Waltz with Bashir.
Her topical span is broad, encompassing 'oversight and uplift' in early feature films; stardom, celebrity, and spectatorial
self-awareness; neighborhood theaters and community culture; censorship and social reform; citizenship and black cinema; and the effects of regional and national identity on cinema patronage during World War I.