This exploratory study contributes to the literature on disclosing concealable stigmatized identities (CSI) by positing authenticity and identity centrality as antecedents to disclosing body art within a workplace context. We analyze identity centrality and its effect on amplifying or suppressing disclosure and/or fear of disclosure of white‐collar professionals' body art. The research question focuses on whether white‐collar employees believe they can be authentic and disclose body art in the workplace and whether there are adverse career outcomes associated (...) with disclosing body art. Findings suggest authenticity was only related to the degree of disclosure through fear of disclosure, highlighting the role that fear played in the disclosure decision. Identity centrality moderated the relationship between authenticity and fear of disclosure. Both fear of and degree of disclosure were indirectly related to turnover intentions through affective organizational commitment. Given the limited research on body art as a stigma and its disclosure by white‐collar professionals, we believe this study adds to the CSI literature by offering insights into the impact that changing social mores associated with body art may have on the willingness of white‐collar professionals to disclose it. (shrink)

A company called Biojewellery has proposed to take a sample of bone tissue from a couple and to grow this sample into wedding rings. One of the ethical problems that such a proposal faces is that it implies surgery without medical need. To this end, only couples with a prior need for surgery are being considered. This paper examines the question of whether such a stipulation is necessary. It is suggested that, though medical need and the provision of health and (...) wellbeing is overwhelmingly the warrant for surgical intervention, there is no reason in principle why other, non-medical, projects such as jewellery creation might not also warrant surgical intervention. Implicitly, this line of thought forces us to consider the proper place of surgical intervention—that is, to ask what surgeons are for. (shrink)

Résumé Birgit Jürgenssen introduit le féminisme dans le champ de l’art dès les années 1970. Elle se livre à une destruction en règle des assignations imposées aux femmes, celle en particulier de la « femme au foyer ». Échappant aux catégories du genre, s’inspirant du surréalisme et de l’ethnographie, elle met en lumière l’intersection entre divisions de classe, de race et de sexe. Le corps féminin devient dans ses dessins et photographies un territoire inconnu.

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art or (...) art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Can we really trust the things our bodies tell us about the world? This book reveals how deeply intertwined cultural practices of art and science questioned the authority of the human body in the late eighteenth and early nineteenth centuries. Focusing on Henry Fuseli, Anne-Louis Girodet, and Philippe de Loutherbourg, it argues that Romantic artworks participated in a widespread crisis concerning the body as a source of reliable scientific knowledge. Rarely discussed sources and new archival material illuminate how (...) artists drew upon contemporary sciences and inverted them, undermining their founding empiricist principles. The result is an alternative history of Romantic visual culture that is deeply embroiled in controversies around electricity, mesmerism, physiognomy, and other popular sciences. This volume reorients conventional accounts of Romanticism and some of its most important artworks, while also putting forward a new model for the kinds of questions that we can ask about them. (shrink)

This article takes its point of departure from the second (embodied) linguistic turn represented by the enactivist notion of humans as linguistic bodies, using resources from Hans Georg Gadamer in order to propose a view of the relation between art and everyday experience as one of symbolic transformation. Conceiving art as a form of linguistic phenomenon wherein one can engage in original situations of communication, this view rejects both autonomist and direct continuity views of the art-everyday relation. We start by (...) situating the idea of linguistic bodies within the enactive approach, spelling out relevant aspects concerning the significance of language for human life and perception (Sect. 2). Then we embark on a discussion of aspects of Shaun Gallagher’s and Alva Noë’s enactivist perspectives on art experience, highlighting places where their views align with and depart from ours (Sect. 3). The last two sections aim to lay out the transformative view in more detail, proposing a pluralistic understanding of art media and a view of art and art experience as modes of ideational, embodied thought (Sects. 4 and 5). (shrink)

What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead (...) that embodied values such as those accorded by race do not distort the portrait of the ethical subject but rather bring that subjectivity into being. Key Words: blackness • embodiment • ethics • Frantz Fanon • Immanuel • Kant • morality • race • value. (shrink)

The female body whether it be child or woman has in the past and in the present struggled for human equality on multiple levels. There have of course been changes but the socio-political boundaries still shift this way and that under the weight of unequal power relations between genders within the ever unfolding fields of patriarchy. Sometimes it seems there are moments of clarity of achieved equality but more often than not the reality is hidden under a pseudo agenda (...) of token offerings. This is a battle that continues within the fields of economics, politics and the language that defines the status quo of the feminine. Feminist liberation theologies as we know begin with the experience of women and as women expand their experience and education through the worlds of politics, economics in academia, the church and other institutions so does the awareness of their subjugation to heteronormative values both past and present. Art has a way of expressing something that the word cannot, this is the language of feeling and emotion. Emotions and feelings have been historically allocated materially to women as a chaotic assemblage that does not fit into the rational world of men. I argue that feminist art describes powerfully the effect patriarchal power has had over female bodies through both personal and collective experiences and that is without doubt a political matter. (shrink)

The Body in Sound, Music and Performance brings together cutting-edge contributions from women working on and researching contemporary sound practice. This highly interdisciplinary book features a host of international contributors and places emphasis on developments beyond the western world, including movements growing across Latin America. Within the book, the body is situated as both the site and centre for knowledge making and creative production. Chapters explore how insightful theoretical analysis, new methods, innovative practises, and sometimes within the socio-cultural (...) conditions of racism, sexism and classicism, the body can rise above, reshape and deconstruct understood ideas about performance practices, composition, and listening/sensing. This book will be of interest to both practitioners and researchers in the fields of sonic arts, sound design, music, acoustics and performance. (shrink)

This paper presents the foundation upon which the contemporary knowledge of body integrity dysphoria (BID) is built. According to the World Health Organisation’s International Classification of Diseases, 11th edition (ICD-11), the main feature of BID is an intense and persistent desire to become physically disabled in a significant way. Three putative aetiologies that are considered to explain the insurgence of the condition are discussed: neurological, psychological and postmodern theories. The concept of bodily representation within the medical context is highlighted, (...) with the concept of dysphoria, which was brought to the fore with the introduction of the American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders, fifth edition (DSM-5), and the ICD-11. Contemporary issues of “justice” are addressed to identify ethically relevant distinctions between BID and sex reassignment surgery. It is argued that there is no ethically relevant difference between the BID actor’s desire for invasive surgical intervention and the wish of gender dysphoric individuals to undergo sex reassignment surgery procedures. Some BID actors self-mutilate, and this presents medical professionals with difficult choices regarding whether or not to intervene in order to satisfy the BID patient’s desire. Both abstention and intervention may lead to severe ethical complications for doctors and patients despite the positive outcomes in terms of quality of life for BID individuals who manage to undergo such procedures. (shrink)

This book analyses the dynamic relationship between art and subjective consciousness, following a phenomenological, pragmatist and enactive approach. It brings out a new approach to the role of the body in art, not as a speculative object or symbolic material but as the living source of the imaginary. It contains theoretical contributions and case studies taken from various artistic practices (visual art, theatre, literature and music), Western and Eastern, the latter concerning China, India and Japan. These contributions allow us (...) to nourish the debate on embodied cognition and aesthetics, using theory-philosophy, art history, neuroscience-and the authors' personal experience as artists or spectators. According to the Husserlian method of "reduction" and pragmatist introspection, they postulate that listening to bodily sensations-cramps, heartbeats, impulsive movements, eye orientation-can unravel the thread of subconscious experience, both active and affective, that emerge in the encounter between a subject and an artwork, an encounter which, following John Dewey, we deem to be a case study for life in general. Ce livre analyse la relation dynamique entre l'art et la conscience subjective, selon une approche phénoménologique, pragmatiste et enactive. Il vise à faire émerger une nouvelle approche du rôle du corps dans l'art, non pas comme objet spéculatif ou matériau symbolique, mais comme source vivante de l'imaginaire. Les contributions théoriques et les études de cas sont prises à diverses pratiques artistiques (arts visuels, théâtre, littérature et musique), occidentales et orientales, ces dernières concernant la Chine, l'Inde et le Japon. Selon la méthode husserlienne de réduction, en écho à l'introspection pragmatiste, les textes témoignent que l'écoute des sensations corporelles - crampes, battements de coeur, mouvements pulsionnels, orientation des yeux - mises en jeu par l'oeuvre, permet de dénouer le fil de l'expérience inconsciente, à la fois kinesthésique et affective, qui émerge dans la rencontre entre un sujet et une oeuvre d'art, une rencontre comprise, à la manière de Dewey, comme un cas d'école de la vie en général. (shrink)

The idea of beauty in the West has often been connected with the idea of woman, whose beauty has been celebrated in sculptures of the nude since classical Greece and in paintings since the sixteenth century. the nude is not a genre in either traditional or contemporary Chinese art, however, and although there has been nakedness in the representations of the body in the contemporary art of China, its presence is marked by two characteristics that distance the Chinese naked (...) body from the Western nude. (shrink)

The body, touch and its sensations are present, sometimes viewed in contradictory ways, both expressed, visualized, and rejected, in early modern art and literature. In seven essays moving from the 16th to the mid-18th century, and from Italy and Spain to France and Sweden, this volume explores strategies used by early modern women poets, philosophers, and artists in order to create subversive expressions of the body, gender and the senses. Showing how body and soul, the carnal and (...) the divine, the senses and the mind, could be represented as intertwined and dependent on each other in various ways, it gives due attention to European women writers and artists that in unconventional ways responded to the period's two main intellectual and philosophical attitudes - Epicurean and Stoic - towards the body and its senses. These attitudes not only intersect in the period's discussions of virtue and other moral phenomena, but are central to critical assessment of the relations between emotions, perception, and reason. By following this topic from a gender perspective, the book highlights other forms of subjectivity than the ones usually related to the early modern period's dominating subjectivation of female bodies, thinking and desires. (shrink)

The historical context of body and tissue donation is deeply problematic, with patriarchal and colonial narratives. The contemporary context of molecular and genetic biology further complicates issues of bodily donation through narratives of abstraction and extraction. As practitioners working outside the conventional boundaries of scientific study learn the tools and techniques to extract and use bodily materials, they are also learning and challenging the procedures and processes. This article approaches questions of bodily donation through the edited transcript of a (...) conversation between artists who regularly use body fluids and cellular bodily materials in their practice, moderated by Louise Mackenzie and Ilke Turkmendag as part of the Taboo–Transgression–Transcendence in Art & Science Conference held online with the support of the University of Applied Arts, Vienna, 2020. The panel challenged the ethical and conceptual assumptions made in biotechnological research and reconsidered where the boundaries of the body lie, what ‘authority’ research carries and what choices researchers make when using the bodies of others. The transcribed conversation addresses taboos of the female body, specifically menstruation, the commodification of tissue from female human bodies, human milk politics and questions biopolitical treatment of the female body. The full, unedited panel conversation, including questions from the audience, and an accompanying video of edited interviews with panellists, is available online at https://www.loumackenzie.com/offering-the-body. (shrink)

: We criticize a view of maternity that equates the natural with the genetic and biological and show how such a practice overdetermines the maternal body and the maternal experience for women who are mothers through adoption and ART (Assisted Reproductive Technologies). As an alternative, we propose a new framework designed to rethink maternal bodies through the lens of feminist embodiment. Feminist embodied maternity, as we call it, stresses the particularity of experience through subjective embodiment. A feminist embodied maternity (...) emphasizes the physical relations of the subjective lived-body rather than the genetic or biological connections. Instead of universalizing claims about the maternal body, embodied maternity looks to communicable experiences and empathetic understanding. (shrink)

I approach the subject of artistic interpretation through art, letting philosophical questions arise from the complexities of the individual cases and thus allowing a thornier but more interesting picture of interpretation to emerge. This dissertation consists of three essays, each of which explores interpretation via a work in a different artistic medium, and an afterword which treats interpretation more directly. "Bodies: Self-Mutilation, Interpretation, and Controversial Art" deals with the performance artist, Stelarc, who hung himself over a New York intersection by (...) fish hooks piercing his skin. To understand the response that there is something offensive about such art, I consider the notions of humiliation and demeaning treatment, starting with the work of Gabriele Taylor. I offer an interpretation of Stelarc's performance to show that it is not necessarily demeaning, and that how we judge a work morally is inextricably related to how we interpret it. In "Souls: Theatricality in Bouts' Last Supper Painting" I consider the intense theatricality of Dirk Bouts' Last Supper altarpiece. Contrasting my view of theatricality with that of Michael Fried, I present a reading of the Bouts painting that shows how we can learn from ahistorical interpretations of works of art. "Ordinary People: Trio A and How Dances Signify" takes up the pedestrian dances of the 1960's in order to ask how dances achieve signification. Building on the groundwork of Nelson Goodman, I conclude that works like Yvonne Rainer's Trio A signify through representation, not by straightforward exemplification. In my Afterword, I consider the stance we should have as interpreters of works of art, and contrast it with the stances with which we approach propaganda and pornography. In interpreting art, we navigate between freedom and constraint. (shrink)

Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty, lived somaesthetic reflection, or what the late Sam Mallin called “body phenomenology”—understood as a meditation on the body reflecting on both itself and the world—is my starting point. Another is John Dewey’s bodily theory of perception, augmented somewhat by Merleau-Ponty. -/- With these starting points, I spent roughly 20 hours with St. (...) Benedict Restores Life to a Young Monk (c. 1360), a work of tempera and gold leaf on panel, by Giovanni Del Biondo, active in Italy from 1356 to 1398, on display in the Art Gallery of Ontario’s permanent collection. Following Dewey’s suggestion that “[t]he eye ... is only the channel through which a total response takes place,” meaning that motor, emotional, intellectual and non-visual perceptual capacities become active when we encounter paintings, I describe how the work engaged a range of bodily modalities; and how reflecting on these, in turn, supplied phenomenal articulations of life negating, preserving and enhancing forces important in the culture that produced it, and famously discussed by Friedrich Nietzsche. By virtue of the approach adopted, I also demonstrate Dewey’s belief that intimate engagement with art entails a total coordination of one’s capacities around the artwork, while simultaneously reinforcing Merleau-Ponty’s ideas about perception and how we can find phenomenal articulations of concepts such as the Nietzschean ones just mentioned. While focusing on Del Biondo’s painting, my main purpose is to engage in body phenomenology practices, and to show, in the words of Shusterman, how “[w]e might sharpen our appreciation of art through more attention to our somaesthetic feelings involved in perceiving art” and indeed the world. (shrink)

The inheritance of dualism from Plato to Descartes, and since, has impoverished the human relation with nature, the world, other humans, and other species. The division of soul and body, and its counterpart of mind and body, gave us a world from which we believe ourselves to be separate from and superior to other species. This self-othering standpoint has had devastating consequences socially, politically, economically, and ecologically. This essay seeks to identify some resources in the Western tradition in (...) phenomenology and pragmatism that avoid this standpoint and bring them into conversation with some primary insights of Buddhist philosophy: interdependent arising, the not-self, and interbeing. By doing so, it is not only suggested that comparative conversations are not only useful in their own right, but they add dimensions to our experience in the world. Moreover, they offer avenues for living enriched lives in concert with the world without engaging in self-deceptive mental and comforting psychological activities of who and what we really are. (shrink)

Assuming that the contemporary world is inevitably set in the context of moistmedia (Ascott 2000), this article discusses some artistic proposals that specifically seek to explore the relationship between dry technology and the wet human body, as in the case of telematic dance. This article is grounded in Clark’s (2003) concept of the ‘extended mind’ and ‘cognitive artefact’; Noë’s (2004; 2012) ‘activism’ theory; and Gallagher’s (2005) ideas surrounding ‘body image’ and ‘body schema’. My discussion of ‘moistmedia’ is (...) focused on Ascott’s ‘Moist Manifesto’ (2000, 2003a), as well as moist theories which contribute to rethinking notions of (tele)presence, time, space, distance and of the very body. Through these new comprehensions we can understand the new perceptual demands that dancers have to deal with in the context of telematic dance. This new art configuration promotes different sensory motor experiences compared with a stage-based dance environment. The networked field of telematic dance is one way in which to render reality fluid in a moist context. In this sense, telematic projects could be assumed as moist art – ‘the hybrid interval between cyber and physical space’ – and as the ‘digitally dry, biologically wet, and spiritually numinous’ (Ascott 2003). Analyses of performances created within the project entitled ‘Embodied Varios Darmstadt’ 58’ (2013–14), with the collaboration of artists from Mexico, Spain, Portugal and Chile, will contribute to my discussion of telematic dance. This telematic artistic project was created to develop the concept of the ‘(tele) sonorous body’ from a theoretical and aesthetic point of view, so as to follow my interest in exploring telepresence beyond visual image. In this article, it is assumed that a human being experiences her/his world through sensory motor skills and that these are in play when s/he interacts with the environment (Noë 2004), a milieu garnered from Ascott’s ‘Moist Manifesto’ (2003a). The cultural shift proposed by this manifesto brings into play some important considerations, including notions of negotiation, construction, context and distributed mind, which overlap with conventional ideas of reception, representation, content and the autonomous brain respectively. Our interactions via telepresence with a dance partner bring about different ways of perceiving one another and oneself, because body image and body schema play an active role in shaping our perceptions (Gallagher 2005). Our actions and perceptions, our body image and body schema are responsible for our behaviour and learning in this world, interweaving these bodies partially wet (i.e. those onstage) with the dry (i.e. those tele-transported through cyberspace. The analysis of ‘Embodied Varios Darmstadt’ 58’ will contribute to understanding the perceptual demands of the dancer within the telematic environment, as well as the new notions of time, space, distance, presence, and the very notion of relationship or body contact in dance embedded into this ‘+ + biological culture’. (shrink)

The body at close range: volume and the unlistenable in Catherine Breillat's Anatomy of Hell -- Sonic subjection: Gaspar Noé's Irreversible and the dystopian limits of the resonant body -- A stranger everywhere: the écho-monde of Tony Gatlif's Exiles -- Feedback, asynchronicity, and sonic sociabilities: Arnaud des Pallière's Adieu -- Listening at the limit: non-human noise in Lars von Trier's Antichrist -- Listening to things: Foley as "alien phenomenology" and Peter Strickland's Berberian sound studio.

This article concerns kime, a somatic code used in the ‘empty hand’ Japanese martial art of karate. Kime is a tactile-kinesthetic entity born out of practice, coming into being in a social setting through the specific organization of the body-self, fusing body and self into one stance and movement. Kime is entirely embodied, yet can only be operated and recognized inter-subjectively. It plays a crucial role in combat and at the same time also indicates a spiritual possibility that (...) depends on eradication of emotion and volition. An analysis of kime shows how cultural understandings can emerge without necessarily using symbolic representations or verbal discourse in their construction. These somatic non-dual understandings can come to form an entire world-of-meaning directly through the moving body. The moving body shapes itself within itself even as it interacts with and contributes to shape its immediate environment. This is a world-of-meaning that includes complex inter-subjectivity founded on the speed and ambiguity of the interface between the innerness and the outerness of the body. (shrink)

This special issue of Janus Head explores a number of disciplinary and interdisciplinary dimensions of the theme, the situated body. The body, of course, is always situated in so far as it is a living and experiencing body. Being situated in this sense is different from simply being located someplace in the way a non-living, non-experiencing object is located. That the body is always situated involves certain kinds of physical and social interactions, and it means that (...) experience is always both physically and socially situated. The interesting question is not only how this works (what precisely it means to be situated), but whether and how the answer to that question changes from one situation to another. It seems reasonable to say that the body is situated differently in different situations, and that this difference may not be simply a difference in the situational content but a difference in how the body processes being situated precisely because the circumstances are so different. The question is not just about differences in situations, but differences in situatedness. Is it possible that the body is X-situated (in terms of its situatedness) in the task of solving a mathematical problem, but is Y-situated when it is engaged in dancing with another person? And if, as seems obvious, there are significant physiological and experiential differences involved in being in these different situations, are some of these differences due to being X-situated, for example, rather than Y-situated? This collection of essays gathers together investigations of the situated body that address such variations in what it means to be situated. These investigations cross theory and practice, expression and performance and interweave disciplines and practices such as philosophical anthropology, cognitive science, phenomenology, architecture and painting, and artistic performances like dance and music. They describe the body as an experiencing enactive agent embedded in various pragmatic and social circumstances, the body as rigidly circumscribed in art and science, and the body as extended into its environment through the high technology that is more and more defining our experiences and our relationships.. (shrink)

This essay is an attempt to plumb the conventions which exist at a specific historical moment in both the aesthetic and scientific spheres. I will assume the existence of a web of conventions within the world of the aesthetic—conventions which have elsewhere been admirably illustrated—but will depart from the norm by examining the synchronic existence of another series of conventions, those of medicine. I do not mean in any way to accord special status to medical conventions. Indeed, the world is (...) full of overlapping and intertwined systems of conventions, of which the medical and the aesthetic are but two. Medicine offers an especially interesting source of conventions since we do tend to give medical conventions special “scientific” status as opposed to the “subjective” status of the aesthetic conventions. But medical icons are no more “real” than “aesthetic” ones. Like aesthetic icons, medical icons may iconographic in that they represent these realities in a manner determined by the historical position of the observers, their relationship to their own time, and to the history of the conventions which they employ. Medicine uses its categories to structure an image of the diversity of mankind; it is as much at the mercy of the needs of any age to comprehend this infinite diversity as any other system which organizes our perception of the world. The power of medicine, at least in the nineteenth century, lies in the rise of the status of science. He conventions of medicine infiltrate other seemingly closed iconographic systems precisely because of this status. In examining the conventions of medicine employed in other areas, we must not forget this power.One excellent example of the conventions of human diversity captured in the iconography of the nineteenth century is the linkage of two seemingly unrelated female images—the icon of the Hottentot female and the icon of the prostitute. In the course of the nineteenth century, the female Hottentot comes to represent the black female in nuce, and the prostitute to represent the sexualized woman. Both of these categories represent the creation of classes which correspondingly represent very specific qualities. While the number of terms describing the various categories of the prostitute expanded substantially during the nineteenth century, all were used to label the sexualized woman. Likewise, while many groups of African blacks were known to Europeans in the nineteenth century, the Hottentot remained representative of the essence of the black, especially the black female. Both concepts fulfilled an iconographic function in the perception and the representation of the world. How these two concepts were associated provides a case study for the investigation of patterns of conventions, without any limitation on the “value” of one pattern over another. Sander L. Gilman is professor of Humane Studies in the Department of German Literature and Near Eastern Studies and professor of Psychiatry in the Cornell Medical College, Cornell University. He is the author or editor of numerous studies of European cultural history with a focus on the history of stereotypes. In addition, he has coedited Degeneration with J. E. Chamberlin. His study Jewish Self-Hatred is forthcoming. (shrink)

: According to the extended mind thesis, the human mind is not limited by the boundaries of the body. In this paper, we propose a description of human emotions based on two distinct theories, not usually considered together: Vygotsky’s historical-cultural psychology and Chomsky’s theory of language. Together these two perspectives allow us to construct a global theory of extended mind that considers emotions to be artificial entities that have a specific “biological” goal and are external to the body. (...) In the last short section, this model will be applied to the case of “artistic” human affect. Keywords Extended Mind; Language; Lev S. Vygotsky; Noam Chomsky; Human Emotions; Aesthetic Reaction Fuori dal corpo. Linguaggio, emozioni e arte nei diari di Vygotsky Riassunto: Secondo la tesi della mente estesa, la mente umana non è confinata entro i limiti del corpo. In questo lavoro, proponiamo una descrizione delle emozioni umane basata su due diverse teorie, che solitamente non vengono considerate assieme: la psicologia storico-culturale di Vygotsky e la teoria del linguaggio di Chomsky. Prese assieme queste due prospettive ci permettono di costruire una teoria globale della mente estesa che consideri le emozioni come entità artificiali che hanno uno specifico fine “biologico” e che tuttavia sono “esterne” rispetto al corpo. Nell’ultima breve sezione, questo modello sarà applicato al caso del peculiare affetto “artistico” umano. Parole chiave: Mente estesa; Linguaggio; Vygotsky; Chomsky; Emozioni umane; Reazioni estetiche. (shrink)

Introduction for Reframing Beauty: Body, Environment, Art, the thematic issue of ESPES. The Slovak Journal of Aesthetics.

In the 1950s and 60s, Martin Heidegger turned to sculpture to rethink the relationship between bodies and space and the role of art in our lives. In his texts on the subject—a catalog contribution for an Ernst Barlach exhibition, a speech at a gallery opening for Bernhard Heiliger, a lecture on bas-relief depictions of Athena, and a collaboration with Eduardo Chillida—he formulates his later aesthetic theory, a thinking of relationality. Against a traditional view of space as an empty container for (...) discrete bodies, these writings understand the body as already beyond itself in a world of relations and conceive of space as a material medium of relational contact. Sculpture shows us how we belong to the world, a world in the midst of a technological process of uprooting and homelessness. Heidegger suggests how we can still find room to dwell therein. Filled with illustrations of works that Heidegger encountered or considered, _Heidegger Among the Sculptors_ makes a singular contribution to the philosophy of sculpture. (shrink)

Are techniques of the body always of the body, and in what sense are they techniques? A response to Yuk Hui’s The Question Concerning Technology in China, this essay takes the techniques of traditi...

Spinoza’s limited words on the subject of art has led many to claim that his philosophy is incompatible and even hostile to a theory of art. Such a critique begins by confusing modern aesthetic standards with Spinoza’s actual words on art and its objects. Beginning with this confusion, this paper will argue that Spinoza’s philosophy naturalises the work of art and conceives of things such as paintings and temples through his theory of complex bodies.Turning to the two places that Spinoza (...) discuss art—IIIP2Schol and IVP45Schol—this paper will argue that Spinoza understood works of art to be particularly complex and hence powerful extended bodies with a use value relative to the striving of the human individual. Accordingly it will be argued that because Spinoza conceived works of art to be external bodies–artistic bodies–, we should therefore begin to study art and its objects through Spinoza’s relational theory of the individual. (shrink)

I explore the possibility that the feminine, like art, can be thought in terms of Jean-Luc Nancy’s concept of the singular plural. In Les Muses, Nancy claims that art provides for the rethinking of a technë not ruled by instrumentality. Specifically, in rethinking aesthetics in terms of the debates laid out by Kant, Hegel and Heidegger, he resituates the ontological in terms of the specificity of the techniques of each particular artwork; each artwork establishes relations particular to its world or (...) worlds. What is at stake in the singular plural is the multiplicity of relations that are lost in the unifying gestures that arise out of radical oppositions. I rethink the singular plural through a phenomenological encounter with Barb Hunt’s artwork, Antipersonnel, a collection of hand-knitted replicas of antipersonnel landmines. (shrink)

Readers of Geczy's book are in for a wild ride. The lavishly illustrated narrative moves in broad strokes from the commedia dell'arte to cyborgs, with gross-out plastic surgery disasters and live sex dolls in between. The book's premise is simple: where humans once found their humanity in separating themselves from the artificial, in our current technologically infused age, humans want more than anything to become as artificial as possible. Geczy puts it simply: "In the humanist age, Pinocchio wanted to become (...) human; in the so-called post-humanist age, humans aspire to become Pinocchio". His examples are anything but simple, however. Arguing that in and around the 1980s, the move from "dolls imitating humans... (shrink)

One of my projects as a Research Fellow for The Institute for Theological Partnerships at the University of Winchester is the Feminist Theology and Art Forum. This project was born out of my Doctoral thesis which combines both art and feminist liberation theologies. Thus creating a methodology in which art as language gives voice to women’s experience within the theological world. The Forum so far has opened a window of opportunity for female artists and feminist theologians alike to exhibit visual (...) artwork that demonstrates their incarnational experience through the concept of Christ/a and Mary/miriam from a feminist theological perspective. There have been two exhibitions with a third exhibition this year which will have a feminist ecological/theological theme highlighting the important role that many women globally play in their own wellbeing and flourishing in connection with the Earth/gaia. This article moves briefly from personal experience, which is where all feminist theology begins, into the wider world of possibilities for women to use both art and feminist theology as a model for expressing another way of speaking their experience theologically, ecologically, socially and politically and in so doing create a space in which they too may flourish. (shrink)

Offers a compelling intercultural perspective on body, art, self, and society.

Probably very few people today would believe that, prior to Japan's modernization during the Meiji period, the Japanese were not able to run. It seems commonsensical that human beings should be able to perform the same body movements such as running—since, of course, we are human beings regardless of whether we live in modern countries. However, it appears, in fact, that people in the Edo Period did not run in the sense of how we run today. There was no (...) need, for example, for farmers to run in the midst of their daily agricultural activities.In addition, it has been also pointed out that, although some premodern Japanese, such as samurai or official messengers... (shrink)