64 65

–NESS / nessmagazine.com Picking up on the question “What

are the limits to the possible?”

MAD
posed by Jean-Luc Nancy ,
The Dossier places the issue
of planetary representations at

WORLD
center: Richard Saul Wurman
recounts maps as a tool for
understanding ; Alexandra

PICTURES
Arènes and Bruno Latour develop
new cartographies of The Earth
; Giuliana Bruno defines ‘tender
mapping’ ; the exhibition
Walls of Air drafts the immaterial
A contingent album of maps barriers of Brazil’s architecture and
and conversations to place territory ; and Fake Industries
urgent matters. Architectural, speculate on the sudden invention
environmental, political, and of the Indo-Pacific Region .
epistemological concerns projected Also, an Exquisite Corpse Game
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onto that thing we call ‘the world.’ plays future guessing .

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Wandering
Wonder/Wander
ADRIANA AMANTE In your research, different areas of knowledge converge into a very creative, per-
sonal, and playful, yet profound, approach. How do you construct your critical
method, where architecture, film theory, cartography, visual studies, movement,

Through
and fashion meet?

GUILIANA BRUNO My method is a process of movement: I move through different disciplines, diverse
periods of time, and especially, across different artistic spaces. In the English lan-

Affective
guage, there is a connection between the words ‘wonder’ and ‘wander.’ The relation
between a sense of surprise, of pleasure, of wonder, and how that—in my mind—is
connected to a sense of ambling about and wandering around territories is central
to my approach. In particular, I have been interested in connecting the world of
architecture to that of visual arts in relation to moving images. This is where I
started an exploration of space intended in the largest possible sense. Architecture

Territories
doesn’t simply mean buildings; architecture means space, and the narrative of
space is in some way a moving image as well. I am interested in connecting these
terrains, wandering around and mapping their moving architectures.

Cartography has been an important part of my methods but from a new perspec-
tive, because cartography has often been seen as a disciplinary tool for ordering
territories, a space of control. I wanted to change that view by looking at different
GIULIANA BRUNO IN CONVERSATION WITH kinds of performances of mapping, i.e. maps of pleasure, maps of desire, maps of
ADRIANA AMANTE AND ISABELLA MORETTI love, maps of affects; a different kind of “cartographic imagination,” let's say. This
cartographic imagination does not function to regulate space, but rather provides
guidance, in the same way a traveler would use a map to guide her in wandering
When Adriana Amante, a literary critic, translator, and through a city, and share the discoveries, the wonder, the surprise.

academic, fleetingly met Giuliana Bruno in October 2018, she In “Atlas of Emotion,”1 in particular, I used this method to create a cultural
was eager to continue the conversation. We could not help but history of space that is not only physical but also mental, imaginative, and af-
fective. When I wrote the book in 2002, it was the beginning of an exploration
share in her excitement. In this interview, we interrogate Bruno’s of this kind. In architecture school, where I have been teaching since 1990, the
study of architecture was conventionally still focused on the analysis of buildings
methods as we travel through her diverse fields of inquiry and and structures that are static. Of course it's true that buildings do not move,
but people do move through them. People appreciate architecture in motion, in
narratives, focusing particularly on her way of resignifying encounters, in a montage of different spaces that are linked by the inhabitant
cartography in a very singular manner. Her use of the concept of the space—the dweller as well as the visitor. I dislodge architecture from its
static state and think of it in relation to movement and to the moving image. In
‘tender’ crosses such divergent territories as architecture, film, order to mobilize the disciplinal territory, I had to move past interpretative mod-
els coming from semiotics and linguistics as well as narratives heavily based on
and art, allowing for a reading that transcends the conventional the concept of the Lacanian gaze. This is an optical model that simply looks at
moving images as visual configurations, products of the look, optical outcomes of
apprehension of the optic to become instead haptic and moving. culture. I wanted to change that. I wanted to put architecture in relation to film,
not simply because film reproduces architecture—that's wonderful but somewhat
literal—but also to go a step forward and claim that film itself creates a spatial
language. And this language is not optic but haptic. It is an inhabited language
of movement and montage; it's a language that does not produce optical fixation
but haptical contact. Hapticity is a contact with the physical, yet through a virtual
construct of a body moving through space.
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Connecting architecture with visual arts through moving images has certainly
allowed me to make a major shift from the optic to the haptic. The haptic is a
navigation of space, a mapping of experience. People often think exclusively of
the haptic as touch, which is certainly part of it because it comes through a sense
of touch, but in Greek etymology, ‘haptic’ means “able to come into contact with."
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 94
Thus, it's part of a communicative experience in which a body is able to attract their usage tells a history of travel that is most revealing. I discovered that Nellie
other bodies in space, and connect to them. My claim is that architectural space Bly (Elizabeth Cochrane Seaman), for example, was the first female journalist to
is such a form of contact: we don't just look at houses, we inhabit and experience tour the world—only in 72 days!—and she only carried a little compact bag with
them. To me, there is a fundamental relation between habit and habitation. One everything in it.
inhabits a space by way of habit. And habit is a tactile form of experience, it’s
being enveloped in space, and this is different from merely looking at it or con- The other object you mentioned, “Veduta di Venezia,” is one of the first imagina-
templating it. Whilst looking at a film, the spectator is also inhabiting and being tive views. It takes on the entire scope of the city in just one picture. But it is actu-
enveloped in the space of the moving image. Film enables you to constantly move ally not one view at all, it was made as a montage, as a series of images, of ‘shots.’
across frames, through assemblages and montages, around atmospheres of tones In a sense, this map is almost like one of the first films because, even though it
and colors, and ultimately, through your imagination and frame of mind. Here, was made in 1500, it anticipated a way of
the movement is not only physical but also mental and emotional. In this sense, “Cartography has been an important part thinking of space that is sequential. It is
I emphasize that there is a relation between ‘motion’ and ‘emotion.’ In this tran- in this sense that I see images as having
sitive passage, we are ‘moved.’ An emotional ‘transport’ is a process that enacts of my methods but from a new perspective, a materiality, which can be read on their
a transformation. because cartography has often been seen surfaces, because they are material forms
of cultural transport. This is important,
as a disciplinary tool for ordering territories, and it’s further discussed in “Surface…”
Objects That Tell a Story a space of control. I wanted to change By the time I wrote about surfaces, think-
ing about materiality had become even
ADRIANA AMANTE You have a very particular way of entangling material things with their symbolical that view by looking at different kinds of more pressing because the digital had
dimension and vice versa. I was thinking about your interest in travel literature, made tremendous changes in our culture.
Louis Vuitton’s devices for travelers, wallpapers in relation to travel, optical devic-
performances of mapping, i.e. maps of My desire to interrogate material objects
es as dioramas, and the anatomical theater in regard to film; the conceptual span pleasure, maps of desire, maps of love, maps gained relevancy for many people who
that goes from cartographic objects, such as the “Veduta di Venezia” by Jacopo were debating “the loss of materiality." To
de' Barbari, to the “Carte de Tendre” by Madeleine de Scudéry. You work amidst of affects; a different kind of ‘cartographic me, the thought of the virtual replacing
a literary dimension that feeds your critical approach. Or, to put it differently, you imagination,’ let’s say.” materiality did not make sense—we've
have a narrative drive that allows you to read objects, which are not narrative per been living in a virtual-material world
se, in those terms. The way you entangle the objects of study with your writing ever since cinema was invented over a hundred years ago. Instead of looking
makes me suspect that you are often left at the threshold of fiction or critical nostalgically at materiality as the loss of physicality, I’d rather reimagine it as a
fiction. Have you ever thought about writing fiction? form of resistance in which the way of relating to the material world is reinvented.
As I looked around, I realized that many artists and architects, as well as other
thinkers, were producing creative constructions along these lines—there was a
GIULIANA BRUNO [Laughs] It is truly so. Thank you very much for this reading of my way of thinking. sort of elective affinity around materiality that I saw especially as I walked in and
You're completely correct in deciphering my imaginative, even narrative desire out of art galleries. I've always been interested in the skin of things, of objects that
to move creatively from the visual to the haptic by reconsidering objects of ma- retain their stories on the surface, and many artists share this concern. They seem
terial culture in my analysis. I think of the images of these materials not just as to be really interested in the texture of the material, in the material condition of
optical but as having a body, a proper consistency, as in any space of materiality. their mediums, like the canvas itself, and especially in the superficial imprint of
Since “Atlas of Emotion,” but especially in my latest book “Surface: Matters of different histories. Architects, as well, are reinventing the skin of the building, the
Aesthetic, Materiality, and Media,"2 I went in search of objects that could, in a face of the façade, and refiguring the interior walls as mobile partitions, as if they
sense, tell a story. I do believe that objects contain on their surfaces narrative lay- were screens. These new textures, or rather ‘architextures,’ are not just ornamental
ers that accrue in the voyage they take as they circulate. So, their stories are told but structural—especially the surface of the screen, of course! We are surround-
in traveling through space. In “Atlas of Emotion,” it was particularly objects of ed by surfaces, by objects of material culture like screens that are now not only
travel that fascinated me because I thought they could tell the history of the way inhabiting our quotidian space but even structuring our daily lives. Screens have
space itself had been mobilized in modernity. As you mentioned, Louis Vuitton’s become the material condition of our existence.
devices were a fantastic discovery. I went to Paris to their archive to search for the
way space had been ‘fashioned’—I use fashion in the sense that, to me, space is a This is why it seemed important to write a history of the screen: a surface that
GIULIANA BRUNO

cultural ‘fabric’ that is fabricated, it is both dressed and addressed. I encountered seems invisible but is very substantial. People often talk about the images project-
fantastic objects that told the history of mobilization in modernity so well, for ed on it, they talk about the film, they talk about what goes through it, but what
example, the traveling desk—what a great idea! Mostly women used them, and by about the screen per se? Interrogating it as a material object, in “Surface…,” I
looking at this object, I could not only tell the story of travel but also the story discovered that the screen is in fact born early on in architecture. The term screen
of the way in which women, who had been considered enclosed in domesticity, was used way before cinema or even pre-cinematic objects were invented. It ap-
were in fact moving a lot through space and writing at the same time. These in- peared during the early Renaissance, and its Germanic root became part of many
credible accoutrements of travel allowed them to write their stories—I’d love to languages: screen in English, écran in French, or schermo in Italian. Interestingly,
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have a traveling desk! Now, we have the computer, of course, which performs as a it designated an architectural object, consisting of a frame and, inside, a translu-
traveling desk. The laptop and all these devices into which we tell our stories and cent material, it could be paper, tissue, or fabric. This framed surface was either
exchange images travel with us as objects of dwelling, as movable furniture, and put on windows to filter out the light or in the middle of the room to separate
even as architecture in motion. Looking at portable objects such as luggage and public from private space. Through this investigation of the screen, then, I was
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 96
able to strengthen the link between architecture and moving images. This partic-
ular object creates an ambiance, an atmosphere, a filtering not simply of light but
also of social space, of personal space. It can create a space of ‘public intimacy.’

Last but not least, and in response to your question, yes, it is narrative theory in
some way! I take pleasure in writing, in telling a story through the flow and the
texture of the language. It's not something all academics do. The wonderful aca-
demics who write very studious books often use a language that is scientific and
demonstrative. I go into wandering explorations instead, and I try to empathize
with both the material of my study and with the reader through the narrative.
Through the material experience of writing, of weaving a story, you can get a
sense of how objects of study create a culture. Therefore, I don't try to collapse
a theory onto the narrative, instead, I try to make it emerge out of this process of
close contact and interweaving. It was not always easy for me, an Italian moving
to the United States, not only because English is not my first language, but also
because it's not something that the Anglo-American academia does naturally.
People often expect to know precisely what you are going to talk about, and I
attempt to lead the reader through the pleasure of the voyage, weaving into the
narrative the subject of discovery.

Weaving a Narrative

Ph. Mariam Samur

ADRIANA AMANTE The pleasure you take in writing is evident as you span from wonder to wander,
and vice versa, in an exploration that is coherent with your research methods.
Your books are a showcase of how academic writing can be informed by aes-
thetic value and beauty without losing its depth and rigor. Through the weave, a
ludic and sometimes arbitrary, yet grounded, writing, you create original objects
The “Carte de Tendre” was designed by Madeleine de Scudéry and first engraved by François Chauveau in
and resources—it was a novel approach when, in 2002, you decided to release
1654. Source: Giuliana Bruno, “Atlas of Emotion”, p. 168. Ph. Ness Magazine.
architecture from its static condition. While overviewing your oeuvre, I have the
feeling that every book leaves you at the steps of the next. Is that an expression of
the narrative drive as well, the plot, or as we say in Spanish trama, between one
book and the next?

GUILIANA BRUNO There is indeed a narrative connection between the books as a kind of intersect- very ancient studies of alchemy as well as from psychoanalysis, perspective, and
ing cultural voyage. Each one of them makes a distinct contribution, but they are architecture. At the moment, I'm in the middle of weaving together this history
linked in subtle ways. It's actually complicated because the exploration takes me of ‘the projective imagination’ with an ‘atmospheric thinking.’ I often ask myself:
to different places, and I have to go all over the map, so to speak, and navigate how am I going to do this?
the connections—when the weave between the different objects works, I know
that a book is happening. Then, there's a moment when the book ends, and My first book4 was already set to ‘street-walk’ through apparently disparate ter-
something else happens and begins again. So, for me, all of these investigations rains, and already set to explore a ‘public intimacy.’ It was a book on the culture
have led me to the next narrative. When I finished “Atlas of Emotion" in 2002, of modernity and on cinema as one of its public spaces and urban agents. It was
I looked up and observed what was happening around the world, and my own especially devoted to the city that I'm from, Naples, in Italy, but seen through
internal desire pushed me to continue that exploration of hapticity in “Public the eyes of a pioneer woman filmmaker, who had made over sixty feature films
GIULIANA BRUNO

Intimacy: Architecture and the Visual Arts.”3 It is like a drive; you can't stop it. In and over a hundred documentaries between 1906 and 1930. Elvira Notari has
“Surface…," I continued to expand my horizon in light of what was taking place been completely exiled from history. Afterwards, many people assumed I'd stay
in contemporary visual culture and art, in their visual fabrics. There is a trama, in that territory, that I would always talk about woman or about modernity. I had
like you're saying. There is no perfect English translation of such a beautiful word, also published an essay on “Blade Runner”5—at the time nobody cared about
you could say ‘weave,’ but trama in Spanish, as well as in Italian, means weave the film—and postmodernism. Many considered these distinct territories and
and narrative at the same time. It's an important term for me, and it's actually at thought I had to choose my turf. But it always seemed natural to me to go from
the center of my work. My next book of theoretical interweaving will deal with one to the other because, in “Blade Runner,” I was specifically thinking about
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questions about the texture of ambiance and will focus on the atmosphere of the ruins of modernity. That film expressed something that was extraordinarily
projection. The fiction or imaginative space of projection is very present in con- important for contemporary public culture, which is the accelerated decrepitude
temporary culture, just think of how artists are reinventing it today in the art gal- of our ever increasing technological worlds. Cultural history has always been
lery and the museum. But projection is a pre-cinematic concept that comes from important to me as an interwoven story.
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 98

To Claim the Space of Affect not change. In 1654, this woman did something that I think is very profound. At
the moment of taking an even closer look, I realized that the map actually looks
like the interior of a woman's body, the fallopian tubes in the uterus. The map
ISABELLA MORETTI As you’ve mentioned, you incorporate women or female activities in your way of
became the site of a methodological shift towards an alternative and feminine
history making and weaving things together. Weaving, at the same time, can also
way of imagining the world. The architecture, the body, and the movements were
be thought of as something accounted as feminine. In that sense, going back
inscribed in this very fascinating form of borderless cartographical thought.
to fiction and cartography, we are very interested in how you've constructed
‘tender mapping’ as a category in itself. How did feminist theory help construct
In thinking about how space is mapped, I am also concerned with location, both
your ideas on cartography, particularly the role of women in geography and
physical and cultural. In my first book, when I wrote about the city of Naples
geographical representations?
through the eyes of this pioneer woman filmmaker, I emphasized that Elvira
Notari shot on location early on. In the history of cinema, ‘Neorealism’ or Post-
World War Cinema are regarded as the first genres that used the real city. Most
GUILIANA BRUNO This is something that is important to me and constitutes another ‘thread.’ I grew
films shot in Hollywood were done in a set—you think you're looking at New
up in an era when feminist theory in particular was changing the outlook on cul-
York, but actually you're inside a studio in Los Angeles. But, starting in 1906, this
ture and politics. It's very much a part of my upbringing, and partly, the skeleton
Italian filmmaker went into the streets and showed the reality of urban life, and
of my thinking. What's interesting to me is not so much the woman as an object
made sixty films on-site. Recovering from this particular event was not just about
of study but what you are saying—to create a method that speaks of the feminine
filling the gaps of the history of cinema, but rather about discovering a different
as a form of exploration. It's more complex than just writing about women; it's
look on the city itself, a different representation of mapping a place.
about extracting from history concepts like ‘tender mapping’ or ‘public intimacy,’
or ‘surface materiality,’ or more specifically ‘weave,’ or ‘thread,’ in order to imagine
So there is a thread, almost a fiction-
worlds that represent a different outlook on it: a feminine outlook, and sometimes “I look at different cultural or artistic objects al thread, of tender mapping that con-
a polemic one. For example, I wanted to recover ‘the picturesque,’ which has al-
ways been considered a feminine aesthetic because it's about gardens and affects. and their surfaces as threads, as weaves, as nects “Streetwalking on a Ruined Map,”
“Atlas of Emotion,” “Public Intimacy,” and
I wanted to reclaim the space of affect in cartography in order to move past the imaginative forms of thought and touch. After “Surface…” In the last book, the tender
cognitive interpretation. Tenderness and emotion are very much a part of the way
we perceive, create, and know the world as well. Today, in neuroscience, Antonio all, the original surface is our skin. It’s not aspect is in fact in the exploration of sur-
face. I am attracted to surface because
Damasio talks about ‘the feeling brain.’6 It has taken this long to acknowledge
something that women have known forever! Moreover, people usually discuss
through the eye that we encounter ourselves this is the most tender of materials. It is
mapping as a form of discipline and domination or as a cognitive instrument, and the surrounding world. Even back in the even arguable that, in some way, the skin,
the tactile, and the approach to surface,
and a lot of writing has gone towards the fear of getting lost under the prompt
“let's try to control this territory.” All of our contemporary devices are used mainly
eighteenth century the philosopher Condillac texture, and hapticity could be associat-
ed with a feminine aesthetics or mode of
to assure directions and orientations instead of explorations. I wanted to break understood that space is apprehended narration. If this is the case it is because I
that, and, in the face of technology, I believe even more strongly about affirming
tender mapping. through the sense of touch.” look at different cultural or artistic objects
and their surfaces as threads, as weaves,
as imaginative forms of thought and touch. After all, the original surface is our
It is an alternative history of cartography; I said to myself, there has to be an-
skin. It's not through the eye that we encounter ourselves and the surrounding
other way that the world is being threaded together, mapped, and imagined. In
world. Even back in the eighteenth century, the philosopher Condillac under-
fact, it was the discovery of a particular map by Madeleine de Scudéry that led
stood that space is apprehended through the sense of touch. The skin is an
me to write the whole book “Atlas of Emotion.” I came across this fantastic map
epidermic place of transit: it's a porous membrane and the permeable envelope
that was completely the opposite of the regimented maps. It is called “Carte de
that connects the interior of the body to the outside. From there, in the book, I
Tendre,” the map of the Land of Tenderness, and it was drawn in 1654. Scudéry
move to the surface of fashion, the second warp. The clothes that envelop us,
was a writer, who had her ‘salon’ in Paris, and in one of her novels, “Clélie,
the weave, the textile threads that are the way we present ourselves to the world,
histoire romaine,” a female character draws this map to describe the path to her
configure a personal and social identity. Very often fashion is disregarded as an
heart. The map is an incredible act of imagination; how do you describe some-
object of scholarly study or is categorically determined as exclusively a women’s
thing invisible like affect? Most interestingly, she did it through the representa-
matter. Of course none of that is true. I, however, am interested in dressing the
GIULIANA BRUNO

tion of architecture, landscape, and the body. This map of affect is ‘tender’ in
surface or clothing the image, on the one hand, and in reinterpreting the surface
philosophical ways, it's subtle and nimble. An important feature is that it has no
itself as a form of dress, on the other. In pursuing this ‘superficial’ methodology,
frame. Usually maps are contained, but in this case, everything flows outside the
I move from skin to fashion to the textural aspect of architectural spaces and,
corners—there's an off-screen space. A sea, a landscape, little villages, and little
finally, to artistic surfaces. I want to show that there is nothing superficial about
people contemplating compose this image that is truly intended to be a voyage,
such surfaces. As I was saying, contemporary artists and architects are inter-
understood only through the motion from one place to the next. Each emotion is
ested in rethinking the surface, the material forms of their mediums, threading
architecturally designed. For example, Pride is a village on top of a mountain you
and weaving together wall, canvas, and screen. This is a way to reimagine a new
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sit on—that is exactly how you feel when you're proud! As you travel from one
aesthetic that would not simply focus on the object but also reaffirm a tender
emotion to the next, the map exhibits tender movement, meaning a cognitive and
method of ‘surface materiality.’
affective transformation. There is only, interesting enough, one enclosed space:
The Lake of Indifference. The only place where you don't move because when
you're indifferent nothing can ever change; you cannot change and the world can-
–NESS / nessmagazine.com
 From December 2017 to June 2018, “Carta Bianca Imaginaire” was on view at the Museo di Capodimonte in Naples. For this exhibi-
tion, Giuliana Bruno explored the dungeon of the museum in order to unveil lesser-known, forgotten, or crafted works and offer them
to the public eye. As she mentions, “I scoured the museum’s deposits as if they were geological strata, or strata of time, moving like an
archaeologist, careful to find mysterious works, worn down by time, ruined, or even broken.” These works conceive a trama—various
narratives that recover the memories of the museum and the city, awaiting to be recollected by the visitor.
On this page: Installation view “Carta Bianca Imaginaire;” ruined painterly surfaces and empty frames, mounted on metal grids used
ADRIANA AMANTE It was definitely a pleasure to talk to you and to experience first-hand your in museum storage. Ph. Luciano Romano. On page 100: Installation view “Carta Bianca Imaginaire;” left: Gian Domenico Valentino,
passion and ability to connect and move vigorously through territories. In “Interno di cucina”, ca. 1680, oil on canvas, 48 x 64,5 cm; back: Giovan Battista Recco, “Natura morta con testa di caprine”, ca. 1640-
the closing comment you just made, you came back to something that is 50, oil on canvas, 132 x 183 cm; front: Royal Manufacture of Berlin, “Servito da tavola”, ca. 1860-1870, painted porcelain with gold, and
the basis of your methodical thinking: through third person narrative, you Royal Manufacture of Porcelain of Capodimonte, Fragments of Pottery, 1743-1759, porcelain. Ph. Luciano Romano.
turn a fact, a biography, or an image, into a story that is as much a first
person narrative as well. That incisive story, told in movement and thought
geographically, takes your readers from the world around you to your in-
ternal world via the body. In the end, it is your passion and impulse that 1 Bruno, Giuliana. “Atlas of Emotion: Journeys in Art, Architecture, and Film”. New York: Verso Books, 2002,
structure your critical theory. We are very grateful. reprint 2018.
2 Bruno, Giuliana. “Surface: Matters of Aesthetic, Materiality, and Media”. Chicago/London: The
University of Chicago Press, 2014.
3 Bruno, Giuliana, “Public Intimacy: Architecture and the Visual Arts.” Cambridge, MA: MIT Press, 2007.
GUILIANA BRUNO In “The Arcades Project,” Walter Benjamin recovers this quote by a madman:
GIULIANA BRUNO

4 Bruno, Giuliana. “Streetwalking on a Ruined Map: Cultural Theory and the City Films of Elvira Notari.”
“I travel in order to get to know my geography.” That is very true. Very often Princeton, N.J: Princeton University Press, 1993.
the presumption of critical distance in academia is overrated; as if an ob- 5 See Bruno, Giuliana. Ramble City: Postmodernism and Blade Runner. In “October,” 41, 1987, pp. 61-74.
6 Antonio Damasio is a Portuguese-American neuroscientist. His books include “The Feeling of What
jective way to detach yourself from the way you think or live really exists. I
Happens: Body and Emotion in the Making of Consciousness” (Harcourt Brace & Co., 1999), “Looking
always believed that Michel Foucault was right: the best thing you can do for Spinoza: Joy, Sorrow, and the Feeling Brain” (Harcourt Brace & Co., 2003), “Self Comes to Mind:
is to announce the position from which you speak. Everyone speaks from Constructing the Conscious Brain” (Pantheon, 2010), and the recently published “The Strange Order of
a position, from a viewpoint, and our eyes are placed in our bodies. To me, Things: Life, Feeling, and the Making of Cultures” (Pantheon, 2018).

this is important because the position from which I speak is an exploration,

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GIULIANA BRUNO is the Emmet Blakeney Gleason Professor of Visual and Environmental Studies at Harvard
a geography of discovery that is very personal in many ways. It never ceases University. She is internationally known for her research on the intersections of the visual arts, architecture,
to be a discovery of the object, but I also learn a lot about myself and my film, and media. Her books include “Surface: Matters of Aesthetics, Materiality, and Media” (University of
Chicago Press, 2014), “Atlas of Emotion: Journeys in Art, Architecture, and Film” (Verso, 2002), which won the
own desires in the journey. It's wonderful when I feel that it comes through 2003 Kraszna-Krausz Book Award in Culture and History, “Public Intimacy: Architecture and the Visual Arts”
in the books. I thank you deeply for these wonderful comments. (MIT Press, 2007), and “Streetwalking on a Ruined Map” (Princeton University Press, 1993). Her work has been

–NESS / nessmagazine.com
translated into a dozen languages and she lectures at universities and museums internationally.