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
(
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
http://folksonomy.org.uk/?s=48
Utterance:
Deleuze's notion of time-image cinema describes a revolutionary and political cinema. To understand time-image cinema, we must contrast it with movement-image cinema, "in which frame follows frame according to necessities of action, subordinating time to movement."1 Clearly, Sans Soleil is nothing like movement-image cinema. The film has no action or plot that could subordinate time; instead, Marker claims that the only qualification these images have for being included in the film is that they quicken the heart. These images span many different time periods from World War II to the present, and a scene is just as likely to cut to West Africa or San Francisco as it is to cut to a different angle within the same room. In the film, an unnamed and unseen narrator reads the fictitious letters of Sandor Krasna, a traveling cameraman (a thinly-veiled alter-ego for Marker).
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