A material history of haptics technology that raises new questions about the relationship between touch and media

Since the rise of radio and television, we have lived in an era defined increasingly by the electronic circulation of images and sounds. But the flood of new computing technologies known as haptic interfaces—which use electricity, vibration, and force feedback to stimulate the sense of touch—offering an alternative way of mediating and experiencing reality. 

In Archaeologies of Touch, David Parisi offers the first full history of these increasingly vital technologies, showing how the efforts of scientists and engineers over the past three hundred years have gradually remade and redefined our sense of touch. Through lively analyses of electrical machines, videogames, sex toys, sensory substitution systems, robotics, and human–computer interfaces, Parisi shows how the materiality of touch technologies has been shaped by attempts to transform humans into more efficient processors of information. 

With haptics becoming ever more central to emerging virtual-reality platforms (immersive bodysuits loaded with touch-stimulating actuators), wearable computers (haptic messaging systems like the Apple Watch’s Taptic Engine), and smartphones (vibrations that emulate the feel of buttons and onscreen objects), Archaeologies of Touch offers a timely and provocative engagement with the long history of touch technology that helps us confront and question the power relations underpinning the project of giving touch its own set of technical media.

A history of the shifting and conflicting ideas about when, where, and how we should touch our children

Discussing issues of parent-child contact ranging from breastfeeding to sexual abuse, Jean O'Malley Halley traces the evolution of mainstream ideas about touching between adults and children over the course of the twentieth century in the United States. Debates over when a child should be weaned and whether to allow a child to sleep in the parent's bed reveal deep differences in conceptions of appropriate adult-child contact.

Boundaries of Touch shows how arguments about adult-child touch have been politicized, simplified, and bifurcated into "naturalist" and "behaviorist" viewpoints, thereby sharpening certain binary constructions such as mind/body and male/female. Halley discusses the gendering of ideas about touch that were advanced by influential social scientists and parenting experts including Benjamin Spock, Alfred C. Kinsey, and Luther Emmett Holt. She also explores how touch ideology fared within and against the post-World War II feminist movements, especially with respect to issues of breastfeeding and sleeping with a child versus using a crib.

In addition to contemporary periodicals and self-help books on child rearing, Halley uses information gathered from interviews she conducted with mothers ranging in age from twenty-eight to seventy-three. Throughout, she reveals how the parent-child relationship, far from being a private or benign subject, continues as a highly contested, politicized affair of keen public interest.

Of all the senses, touch is the most ineffable—and the most neglected in Western culture, all but ignored by philosophers and artists over millennia. Yet it is also the sense that links us most intimately to the world around us, from our mother’s caress when we’re born to the gentle lowering of our eyelids after death.

The Forgotten Sense gives touch its due, addressing it in multifarious ways through a series of six essays. Literary in feel, ambitious in conception, admirable in their range of reference and insight, these meditations address questions fundamental to the understanding of touch: What do we mean when we say that an artwork touches us? How does language affect our understanding of touch? Is the skin the deepest part of the human body? Can we philosophize about a kiss? To aid him in answering these questions, Pablo Maurette recruits an impressive roster of cultural figures from throughout history: Homer, Lucretius, Chrétien de Troyes, Melville, Sir Thomas Browne, Knausgaard, Michel Henry and many others help him unfurl the underestimated importance of the sense of touch and tactile experience.

​The resulting book is essay writing at its best—exploratory, surprising, dazzling, a reading experience like no other. You will come away from it with a new appreciation of touch, and a new way of understanding our interactions with the world around us.

The popularity of yoga and Zen meditation has heightened awareness of somatic practices. Individuals develop the conscious embodiment central to somatics work via movement and dance, or through touch from a skilled teacher or therapist often called a somatic bodyworker. Methods of touch and movement foster generative processes of consciousness in order to create a fluid interconnection between sensation, thought, movement, and expression. In Moving Consciously , Sondra Fraleigh gathers essays that probe ideas surrounding embodied knowledge and the conscious embodiment of movement and dance. Using a variety of perspectives on movement and dance somatics, Fraleigh and other contributors draw on scholarship and personal practice to participate in a multifaceted investigation of a thriving worldwide phenomenon. Their goal: to present the mental and physical health benefits of experiencing one's inner world through sensory awareness and movement integration. A stimulating addition to a burgeoning field, Moving Consciously incorporates concepts from East and West into a timely look at life-changing, intertwined practices that involve dance, movement, performance studies, and education. Contributors: Richard Biehl, Robert Bingham, Hillel Braude, Alison East, Sondra Fraleigh, Kelly Ferris Lester, Karin Rugman, Catherine Schaeffer, Jeanne Schul, and Ruth Way.

Political philosophy has long been bound by traditional thinking about the body and the senses. Through an engagement with the state-centered vocabulary of this discipline, Politics of Touch explores the ways in which sensing bodies continually run up against existing political structures. In this groundbreaking work, Erin Manning reconsiders how new politics can arise that challenge the national body politic.

In Politics of Touch, Manning develops a new way to conceive the role of the senses, and of touch in particular. Exploring concepts of violence, gender, sexuality, security, democracy, and identity, she traces the ways in which touch informs and reforms the body. Specifically considering tango-a tactile, rhythmic, and improvisational dance- she foregrounds movement as the sensing body's intervention into the political. With a fresh vision and an original theoretical basis, Manning shows the ontogenetic potential of the body, and in doing so, redefines our understanding of the sense of touch in philosophical and political terms.  

Erin Manning is assistant professor of fine arts at Concordia University and the author of Ephemeral Territories (Minnesota, 2003).

In this study of Hollywood gangster films, Jonathan Munby examines their controversial content and how it was subjected to continual moral and political censure.

Beginning in the early 1930s, these films told compelling stories about ethnic urban lower-class desires to "make it" in an America dominated by Anglo-Saxon Protestant ideals and devastated by the Great Depression. By the late 1940s, however, their focus shifted to the problems of a culture maladjusting to a new peacetime sociopolitical order governed by corporate capitalism. The gangster no longer challenged the establishment; the issue was not "making it," but simply "making do."

Combining film analysis with archival material from the Production Code Administration (Hollywood's self-censoring authority), Munby shows how the industry circumvented censure, and how its altered gangsters (influenced by European filmmakers) fueled the infamous inquisitions of Hollywood in the postwar '40s and '50s by the House Committee on Un-American Activities. Ultimately, this provocative study suggests that we rethink our ideas about crime and violence in depictions of Americans fighting against the status quo.

The Touch of Civilization is a comparative history of the United States and Russia during their efforts to colonize and assimilate two indigenous groups of people within their national borders: the Sioux of the Great Plains and the Kazakhs of the Eurasian Steppe. In the revealing juxtaposition of these two cases author Steven Sabol elucidates previously unexplored connections between the state building and colonizing projects these powers pursued in the nineteenth century.
 
This critical examination of internal colonization—a form of contiguous continental expansion, imperialism, and colonialism that incorporated indigenous lands and peoples—draws a corollary between the westward-moving American pioneer and the eastward-moving Russian peasant. Sabol examines how and why perceptions of the Sioux and Kazakhs as ostensibly uncivilized peoples and the Northern Plains and the Kazakh Steppe as “uninhabited” regions that ought to be settled reinforced American and Russian government sedentarization policies and land allotment programs. In addition, he illustrates how both countries encountered problems and conflicts with local populations while pursuing their national missions of colonization, comparing the various forms of Sioux and Kazakh martial, political, social, and cultural resistance evident throughout the nineteenth century.
 
Presenting a nuanced, in-depth history and contextualizing US and Russian colonialism in a global framework, The Touch of Civilization will be of significant value to students and scholars of Russian history, American and Native American history, and the history of colonization.

Welles is by consensus one of the most talented directors who ever worked in Hollywood, and this flamboyant film - a 1958 exploration of the thriller form - is one of his greatest achievements. 

Comito's introduction considers the film's relation to the tradition of film noir and demonstrates how Welles's mastery of cinematic language transforms the materials of a routine thriller into a work that is at once a sardonic examination of the dark side of sexuality, an elegiac rumination on the loss of innocence, and a disquieting assault on the viewer's own moral and ascetic certainties. 

Other contextual materials in the book include a biographical sketch of Welles; an important interview with Welles by Andre Bazin, Charles Bitsch, and Jean Domarchi, available here for the first time in English; an interview with Charlton Heston on the making of the film; representative reviews; critical essays by William Johnson, Jean Collett (translated especially for this book), Stephen Heath; an analysis of the relation of the complete film to Welles's recently discovered shooting script; and filmography and bibliography. The continuity script collates the two available versions of Touch of Evil and provides an invaluable, shot-by-shot guide through the visual and audio complexities of Welles's masterpiece. 

An internationally known dancer, choreographer, and gifted anthropologist, Katherine Dunham was born to a black American tailor and a well-to-do French Canadian woman twenty years his senior. This book is Dunham's story of the chaos and conflict that entered her childhood after her mother's early death.

In stark prose, she tells of growing up in both black and white households and of the divisions of race and class in Chicago that become the harsh realities of her young life. A riveting narrative of one girl's struggle to transcend the painful confusions of a family and culture in turmoil, Dunham's story is full of the clarity, candor, and intelligence that lifted her above her troubled beginnings.

"A Touch of Innocence is an absorbing family chronicle written with a gift for physical detail sometimes too real for comfort. In quietly graphic prose the growing girl, the slightly older brother, the ambitious father and the kind stepmother are pictured in such human terms that when their lives get tied into harder and harder knots beyond their undoing, one can only continue to read helplessly as doom closes in upon the household."—Langston Hughes, New York Herald Tribune

"A Touch of Innocence is one of the most extraordinary life stories I have ever read . . . . The content of this book is so heartbreaking that only the strongest artistic skills can keep it from leaking out into sobbing self-pity, but Katherine Dunham's art contains it, understands it and refuses to be overwhelmed by its terrors."—Elizabeth Janeway, New York Times

"The first eighteen years of the famous dancer and choreographer's life are brought vividly to the reader in this first volume of her autobiography. She writes of what it is like to be a special, gifted young woman growing up in a racially mixed family in the American Middle West. A beautiful, touching and sometimes discomforting book."—Publishers Weekly

"As writing it is honest, searing, graphic and touching, giving us a rather heartbreaking early view of the young American Negro who was later to make a name for herself as a dancer and choreographer."—Arthur Todd, Saturday Review

From the queasy zooms in Alfred Hitchcock’s Vertigo to the avant-garde mystery of Michael Snow’s Wavelength, from the excitement of televised baseball to the drama of the political convention, the zoom shot is instantly recognizable and highly controversial. In The Zoom, Nick Hall traces the century-spanning history of the zoom lens in American film and television. From late 1920s silent features to the psychedelic experiments of the 1960s and beyond, the book describes how inventors battled to provide film and television studios with practical zoom lenses, and how cinematographers clashed over the right ways to use the new zooms. Hall demonstrates how the zoom brought life and energy to cinema decades before the zoom boom of the 1970s and reveals how the zoom continues to play a vital and often overlooked role in the production of contemporary film and television.