Insights into the role of body feelings in the development of our personalities.

This article is concerned with the relationship between body, image and affect within consumer culture. Body image is generally understood as a mental image of the body as it appears to others. It is often assumed in consumer culture that people attend to their body image in an instrumental manner, as status and social acceptability depend on how a person looks. This view is based on popular physiognomic assumptions that the (...) class='Hi'>body, especially the face, is a reflection of the self: that a person’s inner character or personality will shine through the outer appearance. The modification and cosmetic enhancement of the body through a range of regimes and technologies can be used to construct a beautiful appearance and thereby a beautiful self. The article begins by examining body images in consumer culture and their relation to photography and moving images. This is followed by an examination of the consumer culture transformative process through a discussion of cosmetic surgery. The article then questions the over-simplistic logic that assumes that transformative techniques will automatically result in a more positive and acceptable body image. The new body and face may encourage people to look at the transformed person in a new way. But the moving body, the body without image, which communicates through proprioceptive senses and intensities of affect, can override the perception of the transformed appearance. A discussion of the affective body follows, via a closer examination of the body without image, the opening of the body to greater affect and indeterminacy. The affective body image and its potential greater visibility through new media technologies are then discussed through some examples taken from digital video art. The article concludes by examining some of the implications of these shifts within consumer culture and new media technologies. (shrink)

Much recent cognitive neuroscientific work on body knowledge is representationalist: “body schema” and “body images”, for example, are cerebral representations of the body (de Vignemont 2009). A framework assumption is that representation of the body plays an important role in cognition. The question is whether this representationalist assumption is compatible with the variety of broadly situated or embodied approaches recently popular in the cognitive neurosciences: approaches in which cognition is taken to have a ‘direct’ (...) relation to the body and to the environment. A “direct” relation is one where the boundaries between the body and the head, or between the environment and the animal are not theoretically important in the understanding of cognition. These boundaries do not play a theoretically privileged role in cognitive explanations of behavior. But representationalism appears to put a representational veil between the locus of cognition and that which is represented, making cognitive relations to the body and to the environment be indirect, with a high associated computational load. For this reason, direct approaches have tried to minimize the use of internal representations (Suchman 1987; Barwise 1987; Agre and Chapman 1987; Brooks 1992; Thelen and Smith 1994; van Gelder 1995; Port and van Gelder 1995; Clark 1997, 1999; Rupert 2009, p. 180). Does a cognitive neuroscience committed to direct relations rule out a representationalist approach to body knowledge? Or is direct representationalism possible? (shrink)

Research on mastectomy recommends better preoperative counseling to manage struggles with body image. This article problematizes the popular concept of body image and instead describes body imaging as an embodied and ongoing process that involves a multiplicity of body images. More preoperative information cannot ensure an easy shift to favorable body images because body imaging resists and exceeds the scope of medicine and the patient’s cognitive anticipation. Thus, medical professionals should avoid (...) decontextualizing or medicalizing body image and instead recognize that body image construction is not simply an intellectual reframing but develops in everyday embodied living. (shrink)

The Netherne Hospital in Surrey is perhaps the most prestigious site in the history of British art therapy, associated with the key figures Edward Adamson and Eric Cunningham Dax, whose pioneering work involved the setting-up of a large studio for psychiatric patients to create expressive paintings. What is little-known, however, is the work of the designated scientist for psychiatric research, Hungarian Jewish émigré Francis Reitman, who was charged with an overall scientific analysis of the artistic products of the studio. Schooled (...) in the biological psychiatric tradition of Ladislas J. Meduna in Budapest prior to his exile to the Maudsley Hospital in 1938 – and committed to treatments such as leucotomy and electro-convulsive therapy (ECT) – Reitman was an unusual candidate for research into the unconscious processes behind art and psychosis. Yet he authored two highly popular and widely reviewed books on his analyses of the abundant artistic output created by patients with schizophrenic diagnoses at the Netherne. In his Psychotic Art (1950) and Insanity, Art and Culture (1954), Reitman compared such schizophrenic images with those produced by artists under the influence of mescaline and examined the artistic output of patients having undergone leucotomy. This article draws on archival materials and Reitman’s original research publications in order to reconstruct his theory of schizophrenic art within the complex context of postwar British psychiatry, negotiating as he did between biologically reductive understandings of Freudian and Jungian psychoanalytic categories, and ultimately synthesizing concepts from both. It also analyses Reitman’s implicit theory of the therapeutic mechanism of art in the treatment of psychiatric patients. (shrink)

Representations of medicine in pop culture often have an iconographic character. Thereby, they set in a double sense of self-evidence. They represent on the one hand, self-evidently a medical context, and on the other hand, they act to transport or at least illustrate self-evident medical pieces of knowledge. In this contribution, we will give an overview of the current research about the visual self-evidence. Different strategies that serve the production of self-evident images in medicine are described and their representation in (...) popular culture will be displayed on the basis of three case studies. The case studies include the use of curves to record and display physiological movements, radiology as a tool to produce images from the interior of the body and neuroimaging techniques that were designed to illustrate the working brain. (shrink)

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 was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps, and other notations in the work.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 has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. 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)

In this article, we shall study the mechanism of the Shroud body image formation with the help of both natural sciences and religion. The various possibilities can be divided into three groups of hypothesis: the first one is that of the fake, the second is the miracle and the third one of the natural event. The first hypothesis is discarded by the interdisciplinary work of the STURP team. Their results do not support the hypothesis that the blood stains (...) and the body image are due to a forger. In our opinion, even if the Miracle by God is possible, the proposed hypotheses of the supernatural event are theologically unacceptable. So, the natural one remains well supported by the “Ockham’s razor”. Obviously, this last model must be verified by experimental evidence. However, this result is not contrary to the hypothesis that the body image is the one of the Nazarene. (shrink)

Much of the extant popular culture literature points to the nihilistic and present-centred philosophies of material/image consumption common among North American youth enclaves. Few researchers, however, inspect how ascetic youth subcultures on the continent reject mainstream pressures to consume, and perform moral reformist work through the body. In this article, participant observation-based data collected on eastern Canadian practitioners of an ascetic lifestyle called ‘Straightedge’ are utilized to illustrate how social discipline and moral commentary is interactively displayed via (...) ‘restrained’ body ritual. Practitioners of Straightedge express a quasi-religious conviction or sense of ‘calling’ to their rather Puritanical way of life, and view commitment to Straightedge as an ongoing marker of self-control and efficacy. Straightedge narratives suggest how the desire to pursue asceticism springs from a learned cultural habitus, and how the practice may be ‘read’ by others as a form of social protest. Practitioners stress how the calling to asceticism serves as a means of personal salvation, and how performing Straightedge encourages ‘civilized’ corporeal practice. (shrink)

This book explores our corporeal connections to the past by considering what three theoretical approaches-somaesthetics, posthumanism, and the uncanny-may reveal about both premodern and postmodern terms of embodiment. It takes as its point of departure a selection of fifteenth-century northern European Books of Hours-evocative objects designed at once to to inscribe social status, to strengthen religious commitment, to entertain, to stimulate emotions, and to encourage discomfiting self-scrutiny. Studying their kaleidoscopically strange, moving, humorous, disturbing, imaginative pages not only enables a window (...) into relationships among bodies, images, and things in the past, but also in our own internet era, where surprisingly popular memes drawn from such manuscripts constitute a part of our own visual culture. In negotiating theoretical, post-theoretical, and historical concerns, this book aims to contribute to an emerging and much-needed intersectional social history of art. It will be of interest to scholars working in art history, medieval studies, Renaissance/early modern studies, gender studies, the history of the book, posthumanism, aesthetics, and the body. (shrink)

The distinction between the body schema and the body image has become the stock in trade of much recent work in cognitive neuroscience and philosophy. Yet little is known about the interactions between these two types of body representations. We need to account not only for their dissociations in rare cases, but also for their convergence most of the time. Indeed in our everyday life the body we perceive does not conflict with the body (...) we act with. Are the body image and the body schema then somehow reshaping each other or are they relatively independent and do they only happen to be congruent? On the basis of the study of bodily hallucinations, we consider which model can best account for the body schema/body image interactions. (shrink)

Discipline and passion: meaning, masochism and mythology in popular medical romancesThis paper is an interpretive analysis of the discourses within popular romance literature, with a particular focus on the genre that includes constructions of the images of nurses and nursing. An historical contrast is made along with examinations of the uses and meanings encompassed within this body of literature, and its messages for women as nurses as it reflectdcreates societal change. Deviations from the formulaic nature of these (...) works are explored. Discipline and passion are the recurring themes evident throughout in juxtapositions of romance and power differentials in the hospital/medical scene. The soft‐core, sado‐masochistic images evident in many titles are explored in a way that raises questions about sexuality, romance, nursing mythology, and the future of this sub‐genre of the popular romance. (shrink)

The externality of the inside: body images of pregnancyThis paper draws on literature, empirical data and a range of theoretical perspectives on the maternal body to examine understandings of the relationship between a pregnant woman and her foetus, with a particular focus on the body images used by women to represent this relationship. Psychoanalytic and nursing accounts of the relationship between mother and foetus have often described a symbiotic ‘oneness’ or unity during pregnancy. Such accounts, however, stress (...) the temporary nature of this unity and identify a series of ‘stages’ of separation or ‘polarisation’ between mother and foetus during pregnancy. In contrast, many of the 25 women who participated in our interview study of new motherhood described a confusion of the boundary between self and foetus. For many women the experience of pregnancy and the relationship with the unborn baby was ambiguous and uncertain. Importantly, none of these women described her relationship with the foetus as a series of developmental stages, but rather saw it as fluctuating throughout pregnancy. These findings are more consistent with the work of feminist theorists who describe pregnancy as a dynamic and fluid merging of the inside and the outside of the body/self. (shrink)

In a study concerning visual body part recognition, a “self-advantage” effect, whereby self-related body stimuli are processed faster and more accurately than other-related body stimuli, was revealed, and the emergence of this effect is assumed to be tightly linked to implicit motor simulation, which is activated when performing a hand laterality judgment task in which hand ownership is not explicitly required. Here, we ran two visual hand recognition tasks, namely, a hand laterality judgment task and a self-other (...) discrimination task, to investigate whether the self-advantage emerged even if implicit motor imagery was assumed to be working less efficiently and how individual traits [such as autistic traits and the extent of positive self-body image, as assessed via the Autism Spectrum Quotient and the Body Appreciation Scale-2, respectively] modulate performance in these hand recognition tasks. Participants were presented with hand images in two orientations [i.e., upright and upside-down ] and asked to judge whether it was a left or right hand. They were also asked to determine whether it was their own, or another person’s hand. Data collected from men and women were analyzed separately. The self-advantage effect in the hand laterality judgment task was not revealed, suggesting that only two orientation conditions are not enough to trigger this motor simulation. Furthermore, the men’s group showed a significant positive correlation between AQ scores and reaction times in the laterality judgment task, while the women’s group showed a significant negative correlation between AQ scores and differences in RTs and a significant positive correlation between BAS-2 scores and dprime in the self-other discrimination task. These results suggest that men and women differentially adopt specific strategies and/or execution processes for implicit and explicit hand recognition tasks. (shrink)

In this article, we present paradoxical findings from a formative evaluation research project that explores how preadolescent girls understand and feel about their bodies after participating in “Girls on the Run of Los Angeles County”, a girl-serving positive youth development program. Findings from pre/post test data show that girls’ body image improved after participation in GOTR LA, yet many girls also reported the dominant thin ideal and the importance of not being fat as key characteristics of strong and (...) healthy bodies. Ethnographic data suggest that institutional, organizational, and interactional factors contribute to these findings. Institutionalized fat-negative discourses translate into subtle messages regarding health and the body through organizational communications and through interactions between volunteer coaches and participants in ways that solidify dominant conceptions of the feminine body despite explicit programmatic intentions to challenge them. Theoretically, we draw from feminist cultural studies’ work on the gendered body to expand the dominant focus on institutionalized obsessions with thinness through the critical analysis of fat and anti-fat bias. On an applied level, our discussion of unintended program outcomes reveals the complexities in organizational interventions designed to influence girls’ body image. (shrink)

: This study investigates the changes in the body image that occurred in the crucial cultural transformations that took place at the outset of Western rational thought in the transition from Archaic age to Classical age Greece. It does so from the delimited perspective that is offered by the group of medical writings known as the Hippocratic Corpus (specifically works on prognostics, dietetics, and surgery) that were contemporary with the early Classical age, but it also suggests parallel changes (...) occurring in other cultural realms. The body images for that period are found to be diverse but yet all colored by the general transition from a ritual and praxis based experience of the world to one tempered by contemplative and dogmatic speculation. General observations are also made upon the use of the "body image" as a means of historical analysis in periods of cultural transformation. (shrink)

In this essay, I attempt to consider a difficult issue: the triangular relationship between the subject, the object and the visual representations of masculinity in the context of male homosexual desire. I outline contemporary circumstances of society’s interaction with popular culture in which gay men form two images of an idealized masculine body: a concept of their own body and a concept of the body they feel sexually attracted to. My concern is to theorize these two (...) kinds of desire and position them in the chaotic landscape of contesting masculinities that increasingly often besiege men via visual media. I differentiate between “straight” and “gay” masculinities as historically they have been represented and negotiated independently. What I want to reflect on is in what ways these masculinities can impact on gay men’s desires—to be a man, and to have a man. Approaching this task produces a rather puzzling picture as interpreting contemporary visual culture poses more questions than it gives answers. I argue that some of these questions are worth pursuing as an empirical inquiry. My objective is to provide a theoretical background such work could be based on. I locate elements of this theory that I find problematic or out-of-date and mention certain aspects of the problem that I believe could be addressed further. (shrink)

In this essay, I attempt to consider a difficult issue: the triangular relationship between the subject, the object and the visual representations of masculinity in the context of male homosexual desire. I outline contemporary circumstances of society’s interaction with popular culture in which gay men form two images of an idealized masculine body: a concept of their own body and a concept of the body they feel sexually attracted to. My concern is to theorize these two (...) kinds of desire and position them in the chaotic landscape of contesting masculinities that increasingly often besiege men via visual media. I differentiate between “straight” and “gay” masculinities as historically they have been represented and negotiated independently. What I want to reflect on is in what ways these masculinities can impact on gay men’s desires—to be a man, and to have a man. Approaching this task produces a rather puzzling picture as interpreting contemporary visual culture poses more questions than it gives answers. I argue that some of these questions are worth pursuing as an empirical inquiry. My objective is to provide a theoretical background such work could be based on. I locate elements of this theory that I find problematic or out-of-date and mention certain aspects of the problem that I believe could be addressed further. (shrink)

This essay examines the political implications of Edo (present-day Tokyo) popular culture in early modern Japan by focusing on the interface between distinct forms of literary and visual representation and the configuration of social order (the status hierarchy and the division of labor), as well as moral and ideological discourses that were conducive to the reproduction of the order. Central to the forms of representation in Edo popular culture was the overarching literary and artistic principle, which I call (...) a phrase adapted from M.M. Bakhtin's work on Fyodor Dostoevsky. By creating a dialogical interaction of divergent voices and perspectives, Edo popular culture created pluralized, contentious images of Tokugawa society, images that underlined contradictory realities that had become widely discernible around the turn of the eighteenth century. The most salient of all the contradictions was the growing disjuncture between the ideological premise of social and economic hierarchies and their actual reversals. The dialogic imagination captured and accentuated the fluid and dynamic social interactions that threw the formal arrangements of social order into disarray, as well as the widely perceived tensions originating from these interactions, by supplying images that sharply contrasted with those that the Tokugawa authorities worked hard to foster and defend: of a harmonious, self-contained, and perfectly functioning society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Image of the Performing BodyEric C. Mullis (bio)Elsewhere I have discussed the principles of embodied expression that are developed in the practice of the performance arts—dance and theatre.1 These principles, it was argued, disclose the work that must be done in order to transform the human body into an aesthetically expressive medium. That is, precarious balance, the interplay of oppositional energies, and the compression of energy (...) must be mastered if a performance artist is to overcome the artifice of the stage and develop scenic presence. However, in that essay I said little regarding the manner in which the body acquires these skills and little about the effects that the transformation has on the artist's experience of embodiment. I would like to continue here by discussing how the body is modified in the process of developing the skill sets necessary for performance as well as how this developmental process affects the performer's corporeal experience. More specifically, I will draw on the notions of the body schema and the body image in order to clarify how the body can be transformed into an aesthetically expressive medium. In the first section I discuss the functions of the body image and body schema as well as the nature of their interaction. In the second section I discuss what relevance these concepts have for our understanding of the skill acquisition process. Finally, since the points made in the first two sections can be applied to non-peformative practices (such as sport, yoga, and martial arts) the last section focuses on the performance arts by discussing how the body schema and body image are developed in order to create a space of effective gesture.Body Image and Body SchemaShaun Gallagher argues that "The body image consists of a complex set of intentional states and dispositions—perceptions, beliefs, and attitudes—in [End Page 62] which the intentional object is one's own body."2 That is, there are three kinds of intentional content that constitute the body image—the body percept, the body concept, and the body affect. The image of my body is rooted in sensorimotor and kinesthetic perceptions, specific beliefs about my body, as well as emotions that often arise in response to such beliefs. Perception gives me a sense of the condition of my body at any point in time, while conceptions build upon perceptual content and allow one to understand the nature of one's embodiment. For example, the belief that the body is akin to a machine that can run well, break down, be diagnosed, and repaired is widespread since it is based in a widely accepted philosophy of medicine. That is, the body is often conceived as a thing that must be fixed by those who have the expertise that allows them to understand its intricate systems and processes. This example not only gives us insight into the perceptual and conceptual content of the body image but also demonstrates that beliefs about the body are conditioned by culture. This latter point is also supported by observations regarding the manner in which the body is invested with emotion. For example, some may feel frustrated with their bodies since they do not meet social standards of beauty, while others experience the joys of physical competition and accomplishment that are brought about by participating in widely practiced games. This brief discussion illustrates that the image that one has of one's body is a synthesis of perceptual experience, beliefs about the nature of one's body, and emotional responses.In 1911 Head and Holmes defined the body schema as the postural model of the body.3 In this account, the body schema functions by continually comparing the body's present posture to those held in the immediate past. That is, at the preconscious level, the schema provides a standard against which changes in posture can be judged. It must be stressed that the body schema functions below the surface of consciousness and, unlike the body image, does not include perceptions, attitudes, or beliefs about the body and is consequently not subject to cultural influence. Gallagher notes that the body schema "is a system of sensory-motor... (shrink)

This article analyzes how the medical gaze made possible by MRI operates in radiological laboratories. It argues that although computer-assisted medical imaging technologies such as MRI shift radiological analysis to the realm of cyborg visuality, radiological analysis continues to depend on visualization produced by other technologies and diagnostic inputs. In the radiological laboratory, MRI is used to produce diverse sets of images of the internal parts of the body to zero in and visually extract the pathology. Visual extraction of (...) pathology becomes possible, however, because of the visual training of the radiologists in understanding and interpreting anatomic details of the whole body. These two levels of viewing constitute the bifocal vision of the radiologists. To make these levels of viewing work complementarily, the body, as it is presented in the body atlases, is made notational. (shrink)

Body and image are crucial to the elaboration of both Jean-Luc Nancy’s philosophy andClaire Denis’s work in cinema. Nancy’s short book about the body, Corpus ,though it may initially have appeared as a minor work in his œuvre, has since been shown,and notably since the intervention of Jacques Derrida, as the cornerstone of much ofNancy’s late thought. As Derrida demonstrates, Nancy’s interest in the body turnsaround the crucial trope of touch which comes to stand, in his (...) philosophy, as the marker ofthe most fundamental limits that shape our understanding of and interaction with theworld: between inside and outside, subject and object, matter and meaning. As such, theconcept of touch frequently recurs in the discussion of art works, where the inscription of amaterial trace coincides with, or touches upon an evanescent sense. Nancy’s discussions ofartistic meaning have frequently centred around images – both painterly and filmic – asthe phenomena whereby the real, in manifesting its presence, is granted a certain sense.1Claire Denis, in common with the vast majority of live-action filmmakers, necessarily dealsin images and bodies – images of bodies – but her frequent refusal to provide thetraditional cinematic signifiers of psychological depth often means that the spectator isbrought up short before the strangeness of these bodies as bodies, which in turn opens upan interrogation as to the sense of her images. The mutual fascination that exists betweenNancy and Denis is well established, demonstrated by Nancy’s detailed, published engagements with Denis’s films – Beau travail , Trouble Every Day , L’Intrus – as well as by Denis’s short film portrait of the philosopher – Vers Nancy –and her cryptic appropriation of his text L’Intrus . But their engagement witheach other’s work appears in the image of Nancy’s somewhat abstract conception of touch:an approaching and withdrawing, a momentary proximity to the other that serves as muchto consolidate the stable identity of the one as it does to share in the identity of the other.Mirroring this intermittent relationship, this article will seek not to over-state theinterpenetration of the two œuvres, but merely to sketch some points of contact betweenthem, turning notably around the fascinating, but perhaps ultimately untouchable figureof the wound. (shrink)

This article explores the relationality between women’s bodies and selfies on NSFW (Not Safe For Work) tumblr blogs. We consider the way selfie practices engage with normative, ageist and sexist assumptions of the wider culture in order to understand how specific ways of looking become possible. Women’s experiences of their bodies change through interactions, sense of community and taking and sharing selfies. This article provides an empirical elaboration on what sexy selfies are and do by analysing interviews, selfies and blog (...) content of nine women in the NSFW self-shooters community on tumblr. For our participants, self-shooting is an engaged, self-affirmative and awareness raising pursuit, where their body, through critically self-aware self-care, emerges as agentic, sexual and distinctly female. Thus, this is a reading of selfies as a practice of freedom. (shrink)

The last decade has seen a new wave of interest in philosophical and theoretical circles in the writings of Walter Benjamin. In _Body-and Image-Space_ Sigrid Weigel, one of Germany's leading feminist theorists and a renowned commentator on the work of Walter Benjamin, argues that the reception of his work has so far overlooked a crucial aspect of his thought - his use of images. Weigel shows that it is precisely his practice of thinking in images that holds the key (...) to understanding the full complexity, richness and topicality of Benjamin's theory. (shrink)

The notion of ‘rhetorical bodies’ argues the cause of the rhetorical elements in the material and the material elements in the rhetorical in ways that can be seen as analogous to the bi-partite modes of Deleuzian film philosophy, ‘movement-image’ and ‘time-image’. Tamil films of the 1940s and 1950s bear the strong imprints of the rhetorical elements of the Self-Respect Movement and Dravidian Movement, which took root in different versions during the 1920s–60s. The narrative locations of the bodies in (...) the Tamil films of the 1940s and 1950s provide interesting theoretical and analytical challenges if one seeks to combine the Deleuzian notions of ‘movement-image’ with the notions of material rhetorics. The coming together of these notions provides new pointers to the understanding of an important phase in the history of Tamil cinema for its implications on the long-running nexus between politics and films in the state of Tamil Nadu. The Deleuzian trajectory in film philosophy provides more than enough pointers to examine early Tamil cinema's attempts to construct ‘movement-images’ through rhetorical bodies. This paper seeks to examine the contexts of ‘movement-images’ and the role of ‘rhetorical bodies’ in constructing the same in Velaikari, scripted by C. N. Annadurai. Popularly known as Aringnar Anna, C. N. Annadurai was the former Chief Minister of Tamil Nadu and the Founder of DMK, the party which unseated Congress from power in Tamil Nadu in 1967, and the state remains out of reach of the national parties ever since. (shrink)

Many studies have linked idealized body image on social media to negative psychological well-being among young females. However, social media influencers’ imagery has not attracted much research attention in either the Western or the Asian context. This study aimed to experimentally investigate the impact of high versus low popular social media influencer images on young Chinese females’ body satisfaction and mood. The participants were 420 female RED users who were randomly assigned to three groups: the influencer-high (...) group ; the influencer-low group ; or a control set of nature images. The results revealed that the groups exposed to influencer imagery had lower body satisfaction and more negative mood than the control group. Notably, this comparison showed no significant difference between the low-influencer and high-influencer groups in body satisfaction and mood. Additionally, this effect was moderated by individuals’ self-discrepancy between personal ideals and their own bodies. That is, exposure to idealized body images does not always produce harmful effects. For those with lower self-discrepancy, idealized body posts somewhat positively affected their body satisfaction. The current research contributes to the media effect literature by providing critical new insights into the study of body image in the context of China. (shrink)

Horst Bredekamp’s subject is the astute deployment and perennial resonance of the startling image of the body politic that dominates the frontispiece to Leviathan: a treatise on the psychology of the individual and the dynamic of the multitude, published in 1651 by the English philosopher Thomas Hobbes. Affirming the centrality of such a figural device for this pioneering theorist of the state, Bredekamp goes on to address the art-historical dimension of the mesmerising etched title-page. In his central chapters (...) he explores the extraordinary range of sources – from socio-cultural tradition to scientific advances – on which the author and his artist-collaborator may have drawn. In conclusion, he reveals Hobbes to be no less passionate than shrewd in his belief that the constraints and amenities of a tolerable life in common attest to the potency of the visual. As appendices, two essays and catalogues explore the portraits made of Hobbes as well as illustrations that appeared in his other works, thus systematically completing the exploration of the images connected with this exceptional philosopher. (shrink)

The rapid spread of electronic fingerprinting not only creates new regimes of surveillance but compels users to adopt novel ways of performing their bodies to suit the new technology. This ethnography uses two Indian case studies – of a welfare office and a workplace – to unpack the processes by which biometric devices become effective tools for determining identity. While in the popular imaginary biometric technology is often associated with providing disinterested and thus objective evaluation of identity, in practice (...) ‘failures to enrol’ and ‘false rejects’ frequently cause crises of representation. People address these by tinkering with their bodies and changing the rules, and in the process craft biometric bodies. These are assembled bodies that link people and objects in ways considered advantageous for specific identity regimes. By using assemblage theory, the article proposes an alternative interpretation of new surveillance regimes as fluid practices that solidify through the agency of multiple actors who naturalize particular power/knowledge arrangements. (shrink)

In what ways does a society perceive itself as beautiful? Do images of physical perfection indicate aspirations of the social or national body, the perfect body/face emblematic of the collective self-image? In recent years, under conditions of economic and cultural globalization, practices and discourses to render the body beautiful have come under increasing scrutiny. Concerned with the marketing and commodification of body ideals, these studies trace the deleterious effects of advertising, fashion, and celebrity culture in (...) various national and cross-cultural contexts. Yet beauty itself is strangely absent in historical and aesthetic accounts of traditional and new media. In this essay, I try to account for this absence and to provide an alternative view of Indian society's relationship to media images of the body. Using examples from popular cinema, I explore the historical and cultural meanings underlying the fascination with the beautiful. (shrink)

Drawing on the narratives of young lower-middle-class women employed in cafés, call centers, shopping malls, and offices in Delhi, India, in this paper I identify malleability or “plasticity” of the body as an important feature of contemporary service work. As neophyte service professionals, young women mold themselves to the middle-/upper-class milieu of their workplaces through clothes, makeup, and body language. Such body plasticity can be experienced as enabling: Identifying with the image of the “New Indian Woman,” (...) young women enter the bourgeoning service economy. However, they also experience this body plasticity as threatening; bodily changes to meet the requirements of work can, at times, feel inauthentic as well as be read as promiscuous by others. I draw attention to how women appraise plastic bodies as both generative of change and a site of labor discipline, thus offering insights into the relationship among bodies, social inequalities, and contemporary service work. (shrink)

The fictional regime of the photographic image allows Helena Almeida to stage a theatrical metamorphosis of her own body through displacements, expansions and dissimulations, placing photography at the heart of a pictorial transgression that undermines the disciplinary boundaries of visual media: the artist becomes ink, inhabits the empty canvas space, multiplies herself in mirror games that produce the unfolding of a body in deep crisis, thrown beyond its physical limits and identity. Moreover, in multimedia works such as (...) Feel me, Hear me and See me (1979–1980), as well as in some images of the series entitled The House (1982–1983), Almeida seems to move towards a radical linguistic and pictorial derangement, likely to break the traditional communicative and representative mechanisms. We seek to demonstrate, on the basis of these different aspects relating to photography’s effects of hybridization, and making use of the post-structuralist thought of Jacques Derrida and Gilles Deleuze, that the artist moves towards the designation of a structural space that combines photography, writing and the reinvention of the body. Almeida’s work confronts us with a complex reconfiguration of ways of seeing, feeling and thinking the photographic act, as well as its discursive features. (shrink)

As part of a research conducted in the field of professional didactics for the design of video-based training for saddlers, we mobilize an iterative and collaborative analysis protocol with professionals. We compare the effects produced during a debate between experts mediated by the researcher, based sometimes on a confrontation with video traces of the activity, sometimes on the temporary diagrams of a conceptual structure of the situation. Using the argumentative trilogue analysis framework, we show how these methodologies are able to (...) foster the expression of a process of conceptualization depending on whether professionals are confronted with lived images or concep-tualizations produced by the researcher. (shrink)

Here is an accurate and readable translation of a seminal article by Henri Poincaré that is a classic in the study of dynamical systems popularly called chaos theory. In an effort to understand the stability of orbits in the solar system, Poincaré applied a Hamiltonian formulation to the equations of planetary motion and studied these differential equations in the limited case of three bodies to arrive at properties of the equations' solutions, such as orbital resonances and horseshoe orbits. Poincaré wrote (...) for professional mathematicians and astronomers interested in celestial mechanics and differential equations. Contemporary historians of math or science and researchers in dynamical systems and planetary motion with an interest in the origin or history of their field will find his work fascinating. (shrink)

How the Body Shapes the Mind is an interdisciplinary work that addresses philosophical questions by appealing to evidence found in experimental psychology, neuroscience, studies of pathologies, and developmental psychology. There is a growing consensus across these disciplines that the contribution of embodiment to cognition is inescapable. Because this insight has been developed across a variety of disciplines, however, there is still a need to develop a common vocabulary that is capable of integrating discussions of brain mechanisms in neuroscience, behavioural (...) expressions in psychology, design concerns in artificial intelligence and robotics, and debates about embodied experience in the phenomenology and philosophy of mind. Shaun Gallagher's book aims to contribute to the formulation of that common vocabulary and to develop a conceptual framework that will avoid both the overly reductionistic approaches that explain everything in terms of bottom-up neuronal mechanisms, and inflationistic approaches that explain everything in terms of Cartesian, top-down cognitive states. Gallagher pursues two basic sets of questions. The first set consists of questions about the phenomenal aspects of the structure of experience, and specifically the relatively regular and constant features that we find in the content of our experience. If throughout conscious experience there is a constant reference to one's own body, even if this is a recessive or marginal awareness, then that reference constitutes a structural feature of the phenomenal field of consciousness, part of a framework that is likely to determine or influence all other aspects of experience. The second set of questions concerns aspects of the structure of experience that are more hidden, those that may be more difficult to get at because they happen before we know it. They do not normally enter into the content of experience in an explicit way, and are often inaccessible to reflective consciousness. To what extent, and in what ways, are consciousness and cognitive processes, which include experiences related to perception, memory, imagination, belief, judgement, and so forth, shaped or structured by the fact that they are embodied in this way? (shrink)

The lay public inherits much of its information about disability and mental illness through the media, which often relies on information from popular scientific works. Autism, as it was defined during the dominance of psychogenic paradigms of mental illness, generated certain tropes surrounding it, many of which have been popularized through media representations. Often inaccurate, these tropes have persisted into contemporary times despite a paradigmatic shift from psychogenic to biological explanations and treatments for mental illness. The current article examines (...) images and articles of children with autism from the 1960s and the early 2000s in major news media and scientific literature to highlight the persistence of themes of fragmentation and the imprisonment of children with autism. While these themes have persisted in psychological and media literature, narratives of people with autism and their families often present a different perspective. This results in two divergent ‘realities’ of autism being disseminated into the general public. (shrink)

This lecture argues that new optical experiences created by the lens and what we now call the virtual image were the foundation alike of ‘high’ science, associated at this historical moment with the telescope, and popular spectacle. They precipitated and renewed an enquiry into the nature and status of the image as the technologies of the phantasmagoria, the kaleidoscope and the diorama penetrated deep into the poets' worlds and words. The projected image, without a correspondence in (...) reality, was a troubling aspect of this modern technology, provoking new understandings of materiality and immateriality. Colour, reflection and refraction became central concerns as a corollary of the debate. Some poets assimilated this imagery into their work, albeit skeptically. Others violently resisted it. The lecture looks closely at image-making in poetic language, and argues that there were both ontological and political stakes in this enquiry. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know (...) about many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

In recent years, the notion of the body schema has been widely discussed, in particular in fields connecting philosophy, cognitive science, and dance studies, as it seems to have bearing across disciplines in a fruitful way. A main source in this literature is Shaun Gallagher’s distinction between the body schema – the “pre-noetic” conditions of bodily performance – and the body image – the body as intentional object –, another is Merleau-Ponty’s writings on the living (...) body, that Gallagher often draws upon. In this paper, I will first discuss Gallagher’s presumed clarification of body schema–body image, and discuss a recent critique by Saint Aubert (2013), who evaluates it against the backdrop of Merleau-Ponty’s thoughts on this issue. While I believe that Saint Aubert’s criticism overshoots the mark, it is useful for a clarification of Gallagher’s analysis and points to a problematic feature, namely the alleged inscrutability of the body schema to phenomenological reflection. This is particularly interesting in relation to contemporary dance and performance practice, where working with – and against – habitual structures is a core element. Certain contemporary training techniques are explicitly aimed at raising awareness of those bodily aspects that condition movement and expression – that Gallagher sees as pertaining to the body schema – and that in ordinary activities often remain hidden. In order to clarify the role that reflection on our own body and its habitual patterns plays in contemporary dance practice, I will examine the movement language and improvisation practice “Gaga”, where this aspect is arguably fundamental. (shrink)

Video data has now become the most common form of data for educational researchers studying classroom interaction and school culture. Software protocols for analysing vast archives of video data are deployed regularly, allowing researchers to annotate, code and sort images. These protocols are often applied by researchers without reflection or reference to the extensive philosophical work in film and media studies. Without exception, this research treats the video image as movement-image or picture, a recording of ‘raw data’, indexical (...) of a given time-space relationship. In this article I situate this kind of research within the history of scientific cinema, drawing on Deleuze's books on cinema, as well as his ideas on colour and figure from The Logic of Sensation, to propose an alternative way of analysing video data. One of the central claims of Deleuze in Cinema 2 is that the time-image reconfigures bodies as expressions of force – the body becomes a ‘shock of forces’. I argue that such an approach allows us to study the student body as less a phenomenological organism with built-in ‘I can’ cognitive and motor capacities, and more an indeterminate crystalline contraction and expansion of intensity. I present an example of how to study classroom video data as time-image, and explore the implications of such work for education research. (shrink)

Today, body and language are prominent themes throughout philosophy. Each is strange enough on its own; this book asks what sense we might make of them together. Words reach out. Hands pick up books; eyes or fingertips scan text. But just where, if at all, do words and bodies touch? In a trio of paired chapters, each juxtaposing an illustrative story or case study to a theoretical exploration, MacKendrick examines three somatic figures of speech: the touch, the fold, and (...) the cut. In the first pairing, resurrection stories in the Gospel of John are set against a chapter on touch, which draws on the work of Jean-Luc Nancy to argue that touch is, paradoxically, the most lasting of the sensory modes in which the resurrected body is presented. T. S. Eliot's "Ash Wednesday" is then paired with a Deleuzean meditation on the fold. The final pair of chapters examines the sacred heart, an extraordinarily popular Catholic devotional image with an intriguing set of devotees-medieval mystics, sweet old ladies, and tattooed punks-in light of theoretical work of Foucault on the idea of inscribed bodies, of the cut. Theologically and philosophically sophisticated, indeed masterly, the book never loses its ground in real, specific bodily experience, performing both at the highest levels of abstraction and at the most quotidian levels of everyday life. (shrink)

Søren Kierkegaard (1813-55) was an almost unbelievably prolific writer. At his death he left not only a massive body of published work (25 volumes in the recently completed Princeton University Press edition), but also a sprawling mass of unpublished writings that rivaled the size of the published corpus. This book tells the story of the peculiar fate of this portion of Kierkegaard's literary remains, which flowed ceaselessly from his steel pen from his late teens to a week before his (...) death. It is the story of packets and sacks of paper covered with words and images that, after a vagabond existence in various homes, finally landed at the Royal Danish Library, where they are today guarded with great care. Readers are also introduced to a selection of this enormous body of material, including drawings and doodlings (often human profiles with high foreheads) that escaped from Kierkegaard's pen in unguarded moments and complement the allure of the philosopher's strikingly variable, elusive handwriting. The authors of this book are among the editors of a modern critical edition of Kierkegaard's oeuvre currently being produced in Copenhagen. By the end of his life Kierkegaard had become a controversial figure, engaged in a furious assault upon "Christendom." From the very moment of their discovery in the days following his death, the unpublished words and images constituted a highly problematic bonanza, an intellectual and religious hot potato (or sack of potatoes) that was passed from hand to hand, suppressed, selectively and tendentiously published and republished. Written Images offers readers a fascinating tour of the misadventures of these written images that will, finally, soon be published in their entirety. (shrink)

This book is a discussion of the most timely and contentious issues in the two branches of neuroethics: the neuroscience of ethics; and the ethics of neuroscience. Drawing upon recent work in psychiatry, neurology, and neurosurgery, it develops a phenomenologically inspired theory of neuroscience to explain the brain-mind relation. The idea that the mind is shaped not just by the brain but also by the body and how the human subject interacts with the environment has significant implications for free (...) will, moral responsibility, and moral justification of actions. It also provides a better understanding of how different interventions in the brain can benefit or harm us. In addition, the book discusses brain imaging techniques to diagnose altered states of consciousness, deep-brain stimulation to treat neuropsychiatric disorders, and restorative neurosurgery for neurodegenerative diseases. It examines the medical and ethical trade-offs of these interventions in the brain when they produce both positive and negative physical and psychological effects, and how these trade-offs shape decisions by physicians and patients about whether to provide and undergo them. (shrink)

Feminist philosophers of technoscience have long argued that it is vital that we question biomedical and scientific claims to an immaterial and disembodied objectivity, and also, more specifically, that we disable the conception of medical visualising technologies as neutral or transparent conduits to the “fact” of the body. In this paper we suggest that corporeal feminism is well situated to provide such a critique. Feminist phenomenologists over the past decade have theorised embodiment in a number of critical ways, many (...) deriving concepts from the work of Merleau-Ponty, and emphasising the pliability and diversity of our body images and corporeal schematics. Others such as Elizabeth Wilson, Cathy Waldby and Drew Leder have considered the interdependence of our inner biology or viscerality with the socio-cultural inscriptions of embodiment. In this paper, these adaptations of phenomenology, and their account of the specificity and depth of embodied being, will be discussed and applied to the discourse of biomedicine and the apparatus of magnetic resonance imaging (MRI). Indo-Pacific Journal of Phenomenology , Volume 6, Edition 1 May 2006. (shrink)

This work is an investigation of images of Western cultural identity. Said's Orientalism revolutionized Western understanding of non-Western cultures by showing how Western images shaped the Occidental view of the Orient, but those who follow Said have not until now reflected that understanding back onto Western societies. This volume shows how images of the West shape people's conceptions of themselves and others, and how these images are in turn shaped by members of Western and non-Western societies alike. The contributors describe (...) and explicate these images from a variety of areas, from Western academic writing to popular culture, from societies within and outside the West, to show how power and conflict shape such conceptions. It will be of great interest to scholars of anthropology and sociology, cultural studies, and human geography. (shrink)

This article draws on a review of Megan Warin’s 2010 book, Abject Relations: Everyday Worlds of Anorexia, to discuss the ways in which a feminist ethnographic approach might disrupt dominant cultural narratives of eating disorders and embodiment. My argument draws on feminist work on figuration and ‘body image’ to discuss how the anorexic body becomes a figure of abjection, both in media images and in popular feminist discourse. I examine how cultural narratives and images are pathologically (...) capable of both engendering disgust in the non-anorexic spectator and, second (and more threateningly), moving vulnerable, female spectators to imitation – a power to affect and infect onlookers which is central to contemporary debates about what is popularly called ‘body image’. By drawing on Warin’s work, the article examines how a critical feminist ethnography might move debates on eating disorders beyond the reproduction of tropes of abjection, disgust and discipline which have led to an impasse in the field, and ask whether, by paying attention to the lived experience of anorexia, it might be possible for the anorexic subject to speak. (shrink)

Søren Kierkegaard was an almost unbelievably prolific writer. At his death he left not only a massive body of published work, but also a sprawling mass of unpublished writings that rivaled the size of the published corpus. This book tells the story of the peculiar fate of this portion of Kierkegaard's literary remains, which flowed ceaselessly from his steel pen from his late teens to a week before his death. It is the story of packets and sacks of paper (...) covered with words and images that, after a vagabond existence in various homes, finally landed at the Royal Danish Library, where they are today guarded with great care.Readers are also introduced to a selection of this enormous body of material, including drawings and doodlings that escaped from Kierkegaard's pen in unguarded moments and complement the allure of the philosopher's strikingly variable, elusive handwriting. The authors of this book are among the editors of a modern critical edition of Kierkegaard's oeuvre currently being produced in Copenhagen.By the end of his life Kierkegaard had become a controversial figure, engaged in a furious assault upon "Christendom." From the very moment of their discovery in the days following his death, the unpublished words and images constituted a highly problematic bonanza, an intellectual and religious hot potato that was passed from hand to hand, suppressed, selectively and tendentiously published and republished. Written Images offers readers a fascinating tour of the misadventures of these written images that will, finally, soon be published in their entirety. (shrink)

Attentional biases have received considerable focus in research on cognitive biases and body dissatisfaction (BD). However, most work has focused on spatial allocation of attention. The current two experiments employed a rapid serial visual presentation (RSVP) task to investigate the temporal allocation of attention to body-related words among young females with high and low BD. Experiment 1 assessed the stimulus-driven attention of body-related stimuli. Participants identified a neutral second target (T2) as accurately as possible while ignoring the (...) preceding neutral, fat-, or thin-related first target (T1). As expected, we observed spontaneous attentional blink effects elicited by fat- and thin-related T1s among participants with high BD, suggesting enhanced awareness of body-related stimuli even when this information does not have to be identified. Such effects did not emerge among participants without BD. Experimental 2 investigated the goal-directed attention of body-related stimuli, during which participants needed to identify both the T1 and neutral T2. Participants with BD showed reduced attentional blink effects after both fat- and thin-related T1, suggesting facilitated consolidation of body-related information in goal-directed attention among participants with BD. The findings may have important clinical implications for understanding how to decrease and even prevent body image dissatisfaction. (shrink)

Kant is generally conceived to have offered little attention to the fact that we experience the world in and through our bodies. This book argues that this standard image of the great German philosopher is radically wrong. Not only does Kant - throughout his career and in works published before and after the Critique of pure reason - reflect constantly upon the fact that human life is embodied, but the Critique of pure reason itself may be read as a (...) critical reflection aimed at exploring some significant philosophical implications of this fact. Bringing this aspect of Kant's philosophy into focus is important, not only because it sheds new light on our understanding of Kant's work, but also because it is relevant to contemporary discussions in philosophy about embodiment, learning and practice. By taking his philosophy of embodiment into account, the author makes Kant stand out as a true contemporary in new and unexpected ways. (shrink)

In _The Body in Late-Capitalist USA_, Donald M. Lowe explores the varied social practices that code and construct the body. Arguing that our bodily lives are shaped by a complex of daily and ongoing practices—how we work, what we buy and consume—Lowe contends that as a result of the commodification of these and other social practices in the late-twentieth century, what we often understand to be the needs of the body are in fact means for capital accumulation. (...) Moving beyond studies of representations and images of the body, Lowe focuses on the intersection of body practices, language, and the Social to describe concretely the reality of a lived body. His strongly synthetic work brings together Marxist critique, semiotics, Foucaultian discourse analysis, and systems and communications theory to examine those practices that construct the body under late capitalism: habits of work and consumption, the ways we give birth and raise children, socialization, mental and physical healing, reconstructions and contestations of sexuality and gender. Lowe draws upon a wide range of sources, including government and labor studies and statistics, diagnostic and statistical manuals on mental illness, computer manuals, self-help books, and guides to work-related stress disorders, to illustrate the transformation of the body into a nexus of exchange value in postmodern society. (shrink)