# Giuliana Bruno (2007). *Public Intimacy: Architecture and the Visual Arts*. : MIT Press.
> [!INFO]
> Type:: [[book]]
> Title:: Public Intimacy: Architecture and the Visual Arts
> Author(s): [[Giuliana Bruno]]
> Year:: 2007
> Tags::
> DOI::
> Citekey:: bruno_public_2007
> ZoteroURI:: [Open in Zotero: Public Intimacy: Architecture and the Visual Arts](zotero://select/items/@bruno_public_2007)
> ReviewedDate:: [[2024-01-20]]
## Citation
```latex
[@bruno_public_2007]
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## Summary
줄리아나 브루노의 저서 '공공의 친밀성'은 디지털 시대의 건축, 미디어, 도시 환경의 교차점을 탐구합니다. 이 책은 새로운 기술과 미디어 플랫폼이 어떻게 공공 공간을 변화시켜 사적인 공간과 공적인 공간의 경계를 모호하게 만들었는지 탐구합니다. 브루노는 이러한 변화로 인해 개인이 공공장소에서 개인적인 경험을 연결하고 공유할 수 있게 되면서 친밀감을 재정의하게 되었다고 주장합니다. 그녀는 비디오 설치, 공공 예술, 소셜 미디어 등 다양한 사례 연구를 통해 이러한 새로운 형태의 커뮤니케이션이 공공 공간과 인간 관계에 대한 우리의 이해를 어떻게 변화시켰는지 설명합니다. 전반적으로 '공공의 친밀감'은 기술이 우리의 사회적 상호작용과 공공장소를 경험하는 방식에 미치는 영향에 대한 생각을 자극하는 분석을 제공합니다.
Giuliana Bruno's book "Public Intimacy" explores the intersection of architecture, media, and the urban environment in the digital age. The book delves into how new technologies and media platforms have transformed public spaces, blurring the boundaries between the private and the public. Bruno argues that these changes have led to a redefinition of intimacy, as individuals are now able to connect and share personal experiences in public settings. She examines various case studies, such as video installations, public art, and social media, to illustrate how these new forms of communication have reshaped our understanding of public space and human connection. Overall, "Public Intimacy" offers a thought-provoking analysis of the impact of technology on our social interactions and the way we experience public spaces.
## Annotation
#### 9
- Sigfried Giedion의 경우
- [[Le Corbusier]] and [[Sergei Eisenstein|Eisenstein]] served as the emblematic duo in this cross-medium relationship;
- Walter Benjamin sealed the marriage as a product of modern technological reproduction; and psychology reinforced it with the concept of mental projection.
- 필름은 스페이스 안의 움직임 혹은 움직임 안의 스페이스만을 depict하는 것이 아니라, it also unpacked the modern subject’s spatial unconscious and its layer of (repressed) memories.
- Giuliana Bruno [[@bruno_atlas_2018|Giuliana Bruno (2018) Atlas of Emotion: Journeys in Art]] ~Bruno Giuliana, *Atlas of Emotion: Journeys in Art, Architecture, and Film*, 3rd edn (New York: Verso, 2018)~ 의 경우 bodies, space, and the projection of two-dimensional pictures ➡︎
- Jacques Lacan의 경우는 건축과 페인팅의 오리진까지 거슬러 올라가
- 건축은 primitively “organised around a void ”gave place to perspectival painting as an image of the void, only to be subjected itself to the painterly laws of perspective.
- the psychic structure that would bind all spatial relations within a single screen, one that would serve at once as an alienated mirror image of the self and as a projected window onto its conflictual social relations.
---
### Chapter 1
#### 4
#curatorial
- Cinema and memory have been linked since the inception of film history and theory. They are bonded in the very archaeology of the moving image and the space of its exhibition
- Cinema is a materialisation of our psychic life. It makes visibly tangible all psychic phenomena
- Film is a medium that can not only reflect but produce the layout of our mnemonic landscape. It is and **agent of intersubjective and cultural memory**.
- In its many compelling forms, exhibition has become a locus of serious artistic practice as well as a site for the study of the design politics of artistic space.
- #references See, among others, Reesa Greenberg, Bruce W. Ferguson, and Sandy Nairne, eds., Thinking about Exhibitions (New York: Routledge, 1996);
- The End(s) of the Museum (Barcelona: Fundació Antoni Tàpies, 1996);
- Lynne Cooke and Peter Wollen, eds., Visual Display: Culture Beyond Appearances (Seattle: Bay Press, 1995);
- Tony Bennett, The Birth of the Museum (London: Routledge, 1995);
- Daniel J. Scherman and Irit RogoV, eds., Museum Culture: Histories, Discourses, Spectacles (Minneapolis: Univer- sity of Minnesota Press, 1994);
- Susan M. Pearce, Museums, Objects and Collections: A Cultural Study (Leicester, England: Leicester University, 1992);
- Eilean Hooper- Greenhill, Museums and the Shaping of Knowledge (New York: Routledge, 1992);
- Ivan Karp and Steven D. Lavine, eds., Exhibiting Cultures: The Poetics and Poli- tics of Museum Display (Washington, D.C.: Smithsonian Institution Press, 1991).**
- 여러면에서 아트와 건축이 전시에 대해서 여러 연구가 펼쳐졌었으나, 필름은 그들의 전시에 대한 interest 에도 불구하고 remains the case even though film has encountered art on the terrain of exhibition in may ways.
#### 7
- Mumford ~Mumford, Lewis, ‘The Death of the Monument’, in *The Culture of Cities* (San Diego, Calif.: Harcourt Brace & Company, 1996), pp. 433–40~ articulated an interaction between cinema and the museum in architectural terms by assigning a museographic function to film.
- 바쟁 plastic art (painting and sculpture) mummy complex ~André Bazin, What Is Cinema, ed. and trans. Hugh Gray (Berkeley: University of California Press, 1967), 9–10.~ (embalming 하지만 무엇을 고정 시키는 거지? 순간? 현재? 과거?) 하지만 Mumford의 경우엔 바쟁의 static 한 해석보다 go further, enable us to recognise cinema as a moving imprint and an active mnemonic measure:
- 시네마의 리듬과 라임이 Geographic narrative of cinema ➡︎ the effects of which are equally felt in urban rhythm as fandom, cumulative assemblage mobilised in emotional traversal.
#### 9
- 필름메이커가 인스톨레이션으로 reformulating the architecture of the moving image.
- Chantal Akerman, Atom Egoyan, Peter Greenaway, Hal Hartley, Isaac Julien, Abbas Kiarostami, Chris Marker, Yvonne Rainer, Raúl Ruiz, Trinh T. Minh-ha, and Agnès Varda.
#### 11
- 컨템 아티스트들도 필름 메이킹으로 들어옴
- Sophie Calle, Larry Clark, Robert Longo, David Salle, Julian Schnabel, and Cindy Sherman have all worked in feature film formats, making fictional
#### 21
- Before motion pictures spatialized and mobilized [[discourse]]— substituting for memory, in the end—the art of memory under- stood recollection spatially.
### Related
```dataview
LIST FROM [[@bruno_public_2007]] and -"Plans" and -"resources"
```