Sublime

When making art, we create a mirror in which someone may see their own hidden reflection.

Rather than a smooth space that flows,6 digital virtuality amplifies the inconstant stutter of desire.

The program's voyeurism lies in the way it jumps between scopophilia on the one hand, and the public's erotic rage on the other. Its affective charge emerges in the movement between these positions.

these artworks ‘construct models of sociability suitable for producing human relations, the same way an architecture literally “produces” the itineraries of those presiding in it’ (p. 70).

Visual culture studies in this period moved from understanding archives as repositories of documentary evidence to conceptualizing them as productive institutional sites of visual knowledge. This post-structuralist turn has led to innovative methodological inquiries into how archives elicit myriad negotiations around subjectivity, citizenship, and

contemporary accounts of proximity and distance, particularly those from post-1968 ideological critics, treat them as if spectator “positions” were effects of the textual

When we ‘see’ a landscape, we situate ourselves in it. If we ‘saw’ the art of the past, we would situate ourselves in history. When we are prevented from seeing it, we are being deprived of the history which belongs to us. Who benefits from this deprivation? In the end, the art of the past is being mystified because a privileged minority is strivin

When we ‘see’ a landscape, we situate ourselves in it. If we ‘saw’ the art of the past, we would situate ourselves in history. When we are prevented from seeing it, we are being deprived of the history which belongs to us. Who benefits from this deprivation? In the end, the art of the past is being mystified because a privileged minority is strivin