Writing the body

After Debussy ◽  
2020 ◽  
pp. 229-258
Author(s):  
Julian Johnson
Keyword(s):  
The Body ◽  
Philosophical Thought ◽  
Michel Serres ◽  
Specific Focus ◽  
Musical Works

This chapter distinguishes between recent disciplinary swings to foreground the body, in a phenomenology of experience, and the more specific focus on how musical works write the body. Just as Mallarmé sees the dancer as an écriture corporelle, so music ‘after Debussy’ can be understood in a similar way. Debussy’s piano Préludes (Book 1) are examined in detail for their re-writing of the body. The work of Merleau-Ponty, Jean-Luc Nancy, Michel Serres, and Jean-Luc Marion are explored in terms of a phenomenology that places the perceiving body centre stage but read as a development in philosophical thought that was already being explored through art and music.

Bodily Archiving in 69 Positions

2018 ◽  
Vol 9 (1) ◽  
pp. 4-13
Author(s):  
Josefine Löfblad
Keyword(s):  
Theoretical Framework ◽  
The Body ◽  
Specific Focus ◽  
Guided Tour ◽  
Archival Practices

Abstract Recently, an interest in archives and archiving has been noticeable amongst artists as well as scholars. This paper analyses Mette Ingvartsen’s 69 Positions (2014), a dance work in which the audience participates in a guided tour through Ingvartsen’s own “archive”. The aim is to look at how archival traces and archival practices “perform” in the work, with a specific focus on bodily archiving. As a theoretical framework, I draw mainly on André Lepecki’s (2016) conceptualization of “the body as archive”, whereby reenacting becomes a mode of inventive archiving that actualizes not-yet utilized potential in a work. In this analysis, I propose that Ingvartsen’s body and the bodies of the audience create a collective body-archive, which collectively actualizes (previously virtual) intimacy. In addition, I argue that blurring the distinctions between body and archive and between reenactment and archiving are ways of insisting that dance does not disappear but remains, counter to “archival logic” (Schneider 2011, 99), by being stored in bodies and transmitted between bodies and by repeatedly reappearing–always more or less altered–in or as performance.

scholarly journals Psychophysical Approaches and Practices in India: Embodying Processes and States of ‘Being–Doing’

2011 ◽  
Vol 27 (3) ◽  
pp. 244-271 ◽  
Author(s):  
Phillip B. Zarrilli
Keyword(s):  
South Asian ◽  
Performance Practice ◽  
Martial Arts ◽  
The Body ◽  
Ethnographic Research ◽  
Research And Practice ◽  
Specific Focus ◽  
Artistic Director ◽  
Asian Martial Arts ◽  
Yoga Practitioners

This essay articulates a South Asian understanding of embodied psychophysical practices and processes with a specific focus on Kerala, India. In addition to consulting relevant Indian texts and contemporary scholarly accounts, it is based upon extensive ethnographic research and practice conducted with actors, dancers, yoga practitioners, and martial artists in Kerala between 1976 and 2003. During 2003 the author conducted extensive interviews with kutiyattam and kathakali actors about how they understand, talk about, and teach acting within their lineages. Phillip Zarrilli is Artistic Director of The Llanarth Group, and is internationally known for training actors in psychophysical processes using Asian martial arts and yoga. He lived in Kerala, India, for seven years between 1976 and 1989 while training in kalarippayattu and kathakali dance-drama. His books include Psychophysical Acting: an Intercultural Approach after Stanislavski, Kathakali Dance-Drama: Where Gods and Demons Come to Play, and When the Body Becomes All Eyes. He is Professor of Performance Practice at Exeter University.

Anesthesia

2019 ◽  
pp. 7-20
Author(s):  
Wesley N. Sivak ◽  
Erica L. Sivak ◽  
Kenneth C. Shestak
Keyword(s):  
Regional Anesthesia ◽  
Local Anesthetic ◽  
The Body ◽  
Optimal Experience ◽  
Detailed Knowledge ◽  
Anesthetic Agents ◽  
Specific Focus ◽  
Effective Care

Regional anesthesia, or rendering only a targeted part of the body anesthetized, has numerous benefits for both the surgeon and patient. Local anesthetic agents are essential to create and maintain regional blockades, and detailed knowledge of these agents is essential to providing safe and effective care. This chapter begins with review of the basic pharmacology, indications, and contraindications for the use of regional anesthesia. Numerous specific blockades used to anesthetize distinct regions of the body are reviewed with specific focus on anatomy and technique. When safely performed, regional anesthesia can provide an optimal experience for both surgeon and patient.

Michel Serres (1930b)

2014 ◽  
Author(s):  
Chris Steyaert
Keyword(s):  
The Body ◽  
Organization Studies ◽  
The Third ◽  
Michel Serres ◽  
Time Translation ◽  
The Senses

Michel Serres, a French philosopher and mathematician, is known for his enquiry into the interrelationships between various systems ranging from science and philosophy to mythology and poetry/literature. Such systems can be compared with one another to determine what each tries to exclude (for example, noise, disorder, or turbulence). This chapter examines Serres’ philosophy and its relevance to processual organization studies. It considers his conceptions of time, translation and mediation, the third-excluded and the third-instructed, multiplicity and complexity, the body and the senses, and interdisciplinarity. In order to understand how Serres can be regarded as an important processual theorist, the chapter analyses his book Genèse or Genesis, which offers an account of creation through a performative poetics. It argues that Serres’ work has the potential to support and deepen processual thinking. It also links the ideas of listening and invention from a Serresean perspective.

scholarly journals Revetment Running and Econarratological Poetry

2018 ◽  
Vol 2 (1) ◽  
pp. 9
Author(s):  
Kalle Jonasson
Keyword(s):  
Human Language ◽  
Michel Serres ◽  
Specific Focus ◽  
Audio Recordings ◽  
Peter Sloterdijk ◽  
One Step

In this article, nonhuman poetry is explored. Departing from an autoethnographic project based on audio recordings made while running on revetments, and which  discussed how to give voice to nonhuman actors the possibilities of nonhuman poetry, this text aims at taking it one step further by extracting poetry from the material. Ethnographically, this is discussed in terms of affect, and an 'ethnography to be'. Theoretically, the study has a posthumanist approach, with a specific focus on the econarratology of philosopher Michel Serres. The method and theory are are discussed in tandem in relation to what philospher Peter Sloterdijk has coined 'amphibian anthropology'. By stacking the bracketed words in my transcriptions, four poems emerge in which background sounds, contextual descriptions, corrections and bodily sounds form the content. Each poem is accompanied by a map made from smartphone screenshots. The prose is found to be evocative of the surroundings of the recording, and also resonating with the ideas of human language as derivative of what Serres calls the Great narrative, the story of universe and nature themselves. The proximity to water and rocks discernible in the experiment is seen as a result stemming from practicing the hope-oriented 'ethnography to be'.

La Labor Olvidada del Pensar

1998 ◽  
pp. 51-56
Author(s):  
Víctor Krebs
Keyword(s):  
The Body ◽  
Contemporary Culture ◽  
Philosophical Thought ◽  
Problem Characteristic ◽  
Intellectual Knowledge

I intend to motivate discussion on the ways of thought in art and philosophy in terms of a problem characteristic of contemporary culture diagnosed by Plato as the "loss of memory." He referred to the impoverishment of knowledge caused by an exclusive and excessive interest in information as well as by the loss of value in reflection. I examine the problem more closely by referring to a passage in the Phaedrus that shows what Plato meant by "a forgetfulness of the soul" is tantamount to the disconnection of intellectual knowledge from emotion and the body. I reflect on the relation between art and philosophy as well as on the character of philosophical thought as regards the need to "cultivate memory" in our time.

Place

Placemaking ◽  
2020 ◽  
pp. 89-102
Author(s):  
Tara Page
Keyword(s):  
The Body ◽  
Philosophical Thought ◽  
The Everyday

Chapter Three, is a theoretical and philosophical mapping of the concepts of place that are used to underpin and position this assemblage. As there are many theoretical understandings of place with different epistemological underpinnings, this Chapter maps how place and the theories of place have been on a winding path through philosophical thought from Aristotle, Newton, Descartes and Kant where place was gradually subsumed by space. But by returning to Aristotle’s premise of the bound relationship between place and the body, the resurrection of place is enabled through Kant, Whiteread, Husserl and especially Merleau-Ponty and Delueze. Through examining these theories and philosophers the main premise of this assemblage is argued; that there can be no place without the body, and that place is continually made through and with the everyday socio-material practices of bodies and is more than a background for action and thought.

The art of touch

After Debussy ◽  
2020 ◽  
pp. 201-228
Author(s):  
Julian Johnson
Keyword(s):  
Aesthetic Experience ◽  
Piano Music ◽  
The Body ◽  
Michel Serres ◽  
Bodily Movement ◽  
Starting Point ◽  
The Way

This chapter explores the way Debussy’s piano music ‘writes’ the body of the pianist, particularly in the late Études, by rewriting the historical body enshrined in pianistic technique and repertoire. Michel Serres’ discussion of Bonnard and Merleau-Ponty on Cézanne are used to explore the idea of art’s presentation of immersive aesthetic experience and of a music that has to do less with representation than a logic of touch and bodily movement. Susan Sontag’s call for an erotics of art (1964) is the starting point for exploring this music as fundamentally erotic (shaped by the body and by desire). The topic of the ‘chevelure’ from Baudelaire to the music of Dutilleux provides a focus for exploring how this repertoire foregrounds itself as an erotic body.

scholarly journals Effects of Mindfulness Meditation on Musical Aesthetic Emotion Processing

2021 ◽  
Vol 12 ◽  
Author(s):  
Xiaolin Liu ◽  
Yong Liu ◽  
Huijuan Shi ◽  
Maoping Zheng
Keyword(s):  
Mindfulness Meditation ◽  
Emotion Processing ◽  
The Body ◽  
Self Report ◽  
Control Group ◽  
Emotional Experiences ◽  
Convenience Sample ◽  
Musical Works ◽  
Sad Music ◽  
The Relationship

Mindfulness meditation is a form of self-regulatory training for the mind and the body. The relationship between mindfulness meditation and musical aesthetic emotion processing (MAEP) remains unclear. This study aimed to explore the effect of temporary mindfulness meditation on MAEP while listening to Chinese classical folk instrumental musical works. A 2 [(groups: mindfulness meditation group (MMG); control group (CG)] × 3 (music emotions: calm music, happy music, and sad music) mixed experimental design and a convenience sample of university students were used to verify our hypotheses, which were based on the premise that temporary mindfulness meditation may affect MAEP (MMG vs. CG). Sixty-seven non-musically trained participants (65.7% female, age range: 18–22 years) were randomly assigned to two groups (MMG or CG). Participants in MMG were given a single 10-min recorded mindfulness meditation training before and when listening to music. The instruments for psychological measurement comprised of the Five Facet Mindfulness Questionnaire (FFMQ) and the Positive and Negative Affect Schedule (PANAS). Self-report results showed no significant between-group differences for PANAS and for the scores of four subscales of the FFMQ (p > 0.05 throughout), except for the non-judging of inner experience subscale. Results showed that temporary mindfulness meditation training decreased the negative emotional experiences of happy and sad music and the positive emotional experiences of calm music during recognition and experience and promoted beautiful musical experiences in individuals with no musical training. Maintaining a state of mindfulness while listening to music enhanced body awareness and led to experiencing a faster passage of musical time. In addition, it was found that Chinese classical folk instrumental musical works effectively induced aesthetic emotion and produced multidimensional aesthetic experiences among non-musically trained adults. This study provides new insights into the relationship between mindfulness and music emotion.

scholarly journals AN ANALYSIS OF THE EFFECT OF THE BODY VIBRATIONS ON THE HUMAN PERFORMANCES

2021 ◽  
Vol 10 (4) ◽  
pp. 5-11
Author(s):  
Laurentiu PICU ◽  
Eugen RUSU
Keyword(s):  
Classical Music ◽  
The Body ◽  
Male Students ◽  
Perfect Health ◽  
Practical Skills ◽  
Strong Light ◽  
Word Test ◽  
Musical Works ◽  
Temperature And Humidity

In this paper, we wanted to check if classical music can improve the intellectual and practical skills of those who work in very difficult conditions. For this, we exposed 44 male students, aged 21-24, with normal BMI (19-24), in perfect health, to four types of stressors, when there is classical music as a sic sound background and when we have no music. The stressors used were  vibration, excessive temperature, and humidity as well as very strong light. Two pieces of music were chosen as background: "Eine Kleine Nachtmusik" (Mozart) and "Minuetto" (Boccherini). These 2 musical works were chosen because they are cheerful, optimistic, written in an alert rhythm, easily recognizable even if the audience is not music lovers. Students’ performance was measured using 3 tests: the Purdue Pegboard Test, the Stroop Color and Word Test and also Comparing of Names Test. The results show that neither Mozart's music nor Boccherini's music led to an improvement in student performances; on the contrary, better results were obtained when it was silence.

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