theory 
(
800) Narrative is a fundamental means through which people live their lives
(
781) Communication codes are learnt and culturally defined
(
747) Law as a discourse framed by the world that it inhabits and creates
(
721) Images do not embody information about their use
(
690) The Reflective Practitioner: Choreography As Research In An Intercultural Context
(
687) Frayling: into, through and for art and design
(
641) Inside Out - Issues of interpretation in virtual heritage
(
640) Barthes: Death of the Author
(
617) Reflexive Modernisation: knowledgeable subjects able to reflect on their social conditions
(
587) Spectacle as Show - not an inferior part of tradegy
(
580) changing our footing in talk
(
579) Ernest Boyers: Priorities of the Professoriate
(
576) bystandering as a footing position
(
573) Thick Conceptions of Practice: cognitive skills that give rise to contextualised beliefs
(
560) topography of action: to rise above or drop below a field of experience
(
539) ICT-Based Learning Environments: transmission or active exploration?
(
536) discussion about culture anticipates and disseminates culture
(
532) Types of Research in the Creative Arts and Design
(
527) Bernstein: Horizontal Discourse and Vertical Discourses
(
521) Design scholarship as an alternative form of research grounded in practice
(
510) Self-Reflexivity: the natural sciences versus the human sciences
(
495) A Depiction Of The Process Of Picture Making: Emergence Of A Meta-Subject
(
481) Clive Wearing: procedural and declarative memories
(
477) Constructivism and Online Education
(
459) coalescing in the act of interpretation
(
449) Wittgenstein's picture theory of meaning
(
448) Differ
ance: formation of form
(
447) Interaction Design: university & applied research centres
(
426) Gestell: enframing and converting everything encountered
(
413) Empiricism: failing to secure contingency
(
406) post-traditional order contesting the hierarchy of legitimacy
(
397) Reflexive Modernisation: Beyond Modernism & Postmodernism
(
360) the mirror is both a utopia and a heterotopia
(
344) Francis Bacon: misconceptions in the discovery of causes
(
322) Sapir-Whorf Hypothesis
(
205) Donald Schön: The Reflective Practitioner Model
(
195) archaeology-poem: multiple registers
(
203) Julia Kristeva: The Abject
(193) Defamiliarization and Making Strange
http://folksonomy.org.uk/?s=193
Utterance:
The concept of defamiliarization (or in Russian, ostraneniye, literally "making strange") was introduced to literary theory by Russian formalist Victor Shklovsky. According to Shklovsky (1917/1965), over time our perceptions of familiar, everyday situations become stale, blunted, and "automatized." Shklovsky explains, "After we see an object several times, we begin to recognise it. The object is in front of us and we know about it, but we do not see it - hence we cannot say anything signicant about it" (p.13). Similarly, when reading ordinary prose, we habitually gloss over a text with the greatest economy of perceptive effort and rarely stop to really attend to the words on the page. Art and literature, on the other hand, force us to slow down our perception, to linger, and to notice. Because our everyday perception is usually too automatic, art and literature employ a variety of defamiliarizing techniques to prolong our perception, attract and hold our attention, and make us look at a familiar object or text with an exceptionally high level of awareness. In poetry, for instance, literary devices - such as word play, deliberately roughened rhythm, or gures of speech - defamiliarise or estrange ordinary speech and force us into a dramatic awareness of the language. By having to grapple with language in a more strenuous, self-conscious way than usual, the world, which that language contains, is vividly renewed. Our habitual responses are refreshed and familiar texts are rendered more perceptible.
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©Julie Kaomea (University of Hawaii)
Motivation:
Book: Shklovsky, V (L. T. Lemon & M. J. Reis, Trans.). 1965 Russian formalist criticism, Lincoln, : University of Nebraska Press. Original work published in 1917
(
191) suture: revelation of constructed nature
(
178) insurrection of subjugated knowledges
(
168) Donna Haraway: situated knowledges
(
161) Historical Revisionism
(
146) every utterance generates a response
(
149) freemason: secular architect shaping the world
(
150) freemason: utopic representations of an orderly society
(
151) freemason: Solomon's Temple - classical order
(
154) heteroglossia: multilanguagedness
(
131) contingent product of contingently existing forces
(
92) authenticity: authority of the object
(
80) tends to perfection: nature
(
63) information is a commodity and is properly controlled by market forces?
(
61) Diachronic and synchronic
(
3) Walter Benjamin: das passagen-werk / the arcades project
(
38) Michel Foucault: Heterotopia
(
40) Kevin Hetherington: Heterotopia & Social Ordering
(
44) Henri Bergson: Tendencies and Composites
(
45) readerly texts and writerly texts
(
48) Deleuzian Memory of Sans Soleil
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