This essay exposes several problems with reductionist approaches to art, placing some specific focus on ‘The Science of Art’ by Vilayanur S. Ramachandran and William Hirstein . Their article seems to be representative of this genre in general, though particularly egregious in certain dimensions. My approach will differ greatly from that of a neuroscientist, philosopher, or psychologist, since I primarily take a critical feminist, social-literary perspective. I will argue that reductionist approaches to art are an intoxicating composite of arrogance, insight, (...) confusion and precision, an amalgam that challenges the commentator to distinguish what is worth praising, what is worth attacking, and what is best left alone. In particular, I will demonstrate that Ramachandran and Hirstein confuse arousal with beauty, with the disastrous result of excluding most of what is usually taken to distinguish ‘high’ art from its ‘lower’ forms, such as advertising, industrial design, and pornography. (shrink)

Humans accumulate porphyrins in the body mostly during the course of porphyrias, diseases caused by defects in the enzymes of the heme biosynthesis pathway and that produce acute attacks, skin lesions and liver cancer. In contrast, some wild mammals and birds are adapted to accumulate porphyrins without injurious consequences. Here we propose viewing such physiological adaptations as potential solutions to human porphyrias, and suggest certain wild animals as models. Given the enzymatic activity and/or the patterns of porphyrin excretion and (...) accumulation, the fox squirrel, the great bustard and the Eurasian eagle owl may constitute overlooked models for different porphyrias. The Harderian gland of rodents, where large amounts of porphyrins are synthesized, presents an underexplored potential for understanding the carcinogenic/toxic effect of porphyrin accumulation. Investigating how these animals avoid porphyrin pathogenicity may complement the use of laboratory models for porphyrias and provide new insights into the treatment of these disorders. (shrink)

Following the Body & Society special issue, Skin Matters: Thinking Through the Body’s Surfaces (vol. 24, 1–2), Tomoko Tamari conducted an interview with the special issue editor, Marc Lafrance. He argues for the skin as an interface, which both resists and reinforces binary oppositions. Lafrance is particularly interested in the relationship between the skin and subjectivity, focusing on those who are suffering from traumatic stigmatizing experiences. This theme is also elaborated in the debates around the issue of (...) human-made skin in ‘regenerative medicine’. He argues that while the development of medical technology for human-made organic skin tends often to be welcomed, the actual experience of face-transfer patients following skin graft surgeries is one of physical and psychological hardship along with a complex sense of self-wholeness and ‘reflexive embodiment’. Reflexivity is also an important phenomenon encouraged by the media and social media, which constantly feature representations of the skin. (shrink)

In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily (...) autonomy. By doing so, skin portraiture functions as an antagonistic form of portraiture; that is, as a kind of anti-portraiture that pushes the genre into an expanded visual field and, at times, beyond representation. Exploring the skin-as-technology metaphor, I show that bio art skin portraiture creates chimeric skins through tissue culturing practices, permitting bodies to become radically relational. Bio art skin portraits celebrate the genetic and cellular differences between bodies through a visible collapse of epidermal boundaries, which engenders a hyper-haptic mode of seeing beyond the subject and her or his skin. Analysing the bio art of Jalia Essaïdi, ORLAN and Julia Reodica, and drawing on the work of Laura Marks and Erin Manning, this article explores the skin-as-technology metaphor in order to offer the arts and humanities an innovative understanding of contemporary embodiment. (shrink)

Purpose driven companies have developed their corporate culture with a commitment to stakeholders, Sustainable Development Goals, and social responsibility, prioritizing the management of organizational intangibles over capital. The overall objective of this research is to gain knowledge regarding the attention and emotional intensity registered by young Spanish university students when visualizing corporate purpose versus corporate visual identity, as well as the image of the Chairman of the main Spanish companies quoted on the IBEX 35. The techniques of eye tracking and (...) galvanic skin response have been used with 31 Spanish university students. The results suggest that brands with the highest brand equity in the Interbrand ranking are also the ones that receive the highest levels of attention and emotional arousal, and that a well-formulated corporate purpose is not enough to satisfy the public if company credibility is low due to previous perceptions of an organization. (shrink)

Gastronomic experiences offer a set of stimuli that affect the customer’s perception of chef-designed food. This empirical study aims to analyze the influence on the consumer, at a cerebral level, of the stimuli characteristic of a high-level gastronomic experience, in a Michelin starred restaurant. The presentation by the waiter or chef, the plate design, the dish served, the taste of food, interaction or moment in which the food is served are the variables analyzed. Through the use of neuromarketing techniques – (...) galvanic skin response to register emotional arousal, eye tracking to identify where consumers look, and electroencephalography to interpret emotional reactions – combined with qualitative research technique (In-depth interviews with all consumers), in order to know the natural and suggested memories, the objective of this research is to determine the emotional impact of the variables analyzed against the actual taste of food, obtaining conclusions about each variable in overall experience and allowing the authors to propose a model of order design of dishes, designed by the chef, based on emotions and thereby achieving greater efficiency in results of the experience and the memory of it. Results indicate a favorable influence on emotions when the chef presents the food. Likewise, dishes with special presentation have a greater influence at the level of interest than conventional dishes. It is important to highlight that the levels of emotion and attention fall after the midway point of the experience, due to the duration of the experience. Therefore, the dishes do not have the same emotional impact, despite being as special as at the beginning of the experience. (shrink)