TAILIEUCHUNG - Aesthetic and Feminist Theory: Rethinking Women's Cinema

Some preliminary work has been done on subjects’ preference for different aesthetics in UML class and collaboration diagrams (Purchase et al. 2000), revealing that users preferred diagrams with fewer bends and crosses, shorter edge lengths and an orthogonal structure. However, that experiment only looked at subjects’ personal preference for the aesthetics, rather than their performance on UML related tasks. This paper describes two experiments that aimed to determine which graph drawing aesthetics are most important for the display of UML class diagrams, not with respect to computational efficiency, designers’ preference, or even subjects’ preference, but with respect to the extent to which the aesthetics produce diagrams that are easy for subjects to understand. The. | Aesthetic and Feminist Theory Rethinking Womens Cinema Author s Teresa de Lauretis Source New German Critique No. 34 Winter 1985 pp. 154-175 Published by Duke University Press Stable URL http stable 488343 Accessed 06 06 2010 10 36 Your use of the JSTOR archive indicates your acceptance of JSTOR s Terms and Conditions of Use available at http page info about policies . JSTOR s Terms and Conditions of Use provides in part that unless you have obtained prior permission you may not download an entire issue of a journal or multiple copies of articles and you may use content in the JSTOR archive only for your personal non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http action showPublisher publisherCode duke. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars researchers and students discover use and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR please contact support@. http Duke University Press is collaborating with JSTOR to digitize preserve and extend access to Yew German Critique. Aesthetic and Feminist Theory Rethinking Women s Cinema by Teresa de Lauretis When Silvia Bovenschen in 1976 posed the question Is there a feminine aesthetic the only answer she could give was yes and no Certainly there is if one is talking about aesthetic awareness and modes of sensory perception. Certainly not if one is talking about an unusual variant of artistic production or about a painstakingly constructed theory of art. 1 If this contradiction seems familiar to anyone even vaguely acquainted with the development of

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