This paper examines the effects that Bruce Nauman’s Acoustic Pressure Piece (1973) has on the experience of space and the phenomenological phantasy of being-present-to-oneself. It draws upon Derrida’s reading of “s’entendre parler” (1973) to examine the uncanny effects produced by Nauman’s work and the relationship to space of its “experiencers.”
© 2001-2026 Fundación Dialnet · Todos los derechos reservados