Apparatus, Attention, and the Body: The Theatre Machines of Boris Charmatz

The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodily subjectivities. Introducing anthropological applications of cognitive science to the particular strategies of choreographers working in Brazil, Christine Greiner argues for a political conception of self through dance. Examining the kinetics of the face in RoseAnne Spradlin's Survive Cycle, Victoria Anderson Davies meditates on the relationship of facial expression to language, to consciousness, and to movement.

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Machines, Faces, Neurons: Towards an Ethics of Dance

TDR/The Drama Review ◽

10.1162/dram.2007.51.3.118 ◽

2007 ◽

Vol 51 (3) ◽

pp. 118-123 ◽

Cited By ~ 2

Author(s):

André Lepecki

Keyword(s):

Facial Expression ◽

Cognitive Science ◽

Gilles Deleuze ◽

Practical Philosophy ◽

Political Conception ◽

The Face ◽

Relationship Of ◽

The Relationship ◽

Kinetics Of

The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodily subjectivities. Introducing anthropological applications of cognitive science to the particular strategies of choreographers working in Brazil, Christine Greiner argues for a political conception of self through dance. Examining the kinetics of the face in RoseAnne Spradlin's Survive Cycle, Victoria Anderson Davies meditates on the relationship of facial expression to language, to consciousness, and to movement.

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Creative Endurance and the Face Machine: RoseAnne Spradlin's Survive Cycle

TDR/The Drama Review ◽

10.1162/dram.2007.51.3.156 ◽

2007 ◽

Vol 51 (3) ◽

pp. 156-166 ◽

Cited By ~ 1

Author(s):

Victoria Anderson Davies

Keyword(s):

Facial Expression ◽

Cognitive Science ◽

Gilles Deleuze ◽

Practical Philosophy ◽

Political Conception ◽

The Face ◽

Relationship Of ◽

The Relationship ◽

Kinetics Of

The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodily subjectivities. Introducing anthropological applications of cognitive science to the particular strategies of choreographers working in Brazil, Christine Greiner argues for a political conception of self through dance. Examining the kinetics of the face in RoseAnne Spradlin's Survive Cycle, Victoria Anderson Davies meditates on the relationship of facial expression to language, to consciousness, and to movement.

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Speaking and Listening in Racial Relations

The Clinical Journal of the International Institute for Bioenergetic Analysis ◽

10.30820/0743-4804-2021-31-9 ◽

2021 ◽

Vol 31 (1) ◽

pp. 9-21

Author(s):

Maria Cristina Francisco

Keyword(s):

Black Body ◽

The Body ◽

Racial Relations ◽

Racial Issues ◽

The Face ◽

Racist Ideology ◽

The Mind ◽

Relationship Of ◽

The Relationship ◽

The Voice

Racial issues are increasingly visible in current times and it is essential to speak and listen to the body in relationships, in the face of the suffering caused by racism. Racism causes suffering and can kill. There are many ways to kill and die. The breath and throat are affected by choking or muting the voice, the vehicle of expression and autonomy of thought. Racism is in the air and all bodily senses recognize it. It enters the throat and chokes. It touches the skin and freezes. Racist ideology enters and roots the body and the mind. It registers internal memories that will communicate in gestures and attitudes in the white body and in the black body. In society, the white body will present itself as a place of privilege. Listening attentively to the analyst in race relations involves listening to oneself, being involved in the context, and recognizing the relationship of these socially marked bodies that solidify inequality. Listening is the art of caring, as it leads to transformations toward the rescue of free movements of the breath, the body and the mind.

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THE RELATIONSHIP OF MASS OF THE BODY, FISHERY LENGTH AND THE FISH – PRODUCTIVITY OF ONE-YEARS OF PIKEPERCH BY THE BREEDING THEM IN PONDS FOR CARPS

NATURAL SCIENCES ◽

10.21672/1818-507x-2017-59-2-014-021 ◽

2017 ◽

Vol 59 (2) ◽

pp. 014-021

Author(s):

Saya K. Koyshibaeva ◽

◽

Shokhan A. Alpeyisov ◽

Evgeniy V. Fedorov ◽

Nina S. Badryzlova ◽

...

Keyword(s):

The Body ◽

Relationship Of ◽

The Relationship ◽

Fish Productivity

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Epilogue

10.1093/oso/9780190653507.003.0006 ◽

2017 ◽

Author(s):

Joshua S. Walden

Keyword(s):

The Body ◽

The Self ◽

The Individual ◽

Relationship Of ◽

The Relationship

The book’s epilogue explores the place of musical portraiture in the context of posthumous depictions of the deceased, and in relation to the so-called posthuman condition, which describes contemporary changes in the relationship of the individual with such aspects of life as technology and the body. It first examines Alfred Hitchcock’s Vertigo to view how Bernard Herrmann’s score relates to issues of portraiture and the depiction of the identity of the deceased. It then considers the work of cyborg composer-artist Neil Harbisson, who has aimed, through the use of new capabilities of hybridity between the body and technology, to convey something akin to visual likeness in his series of Sound Portraits. The epilogue shows how an examination of contemporary views of posthumous and posthuman identities helps to illuminate the ways music represents the self throughout the genre of musical portraiture.

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Surgical Anatomy for Extended Facelift Techniques

Facial Plastic Surgery ◽

10.1055/s-0040-1712472 ◽

2020 ◽

Vol 36 (03) ◽

pp. 309-316

Author(s):

Ozcan Cakmak ◽

Ismet Emrah Emre

Keyword(s):

Facial Nerve ◽

Soft Tissues ◽

Extended Techniques ◽

Surgical Anatomy ◽

Superficial Musculoaponeurotic System ◽

Increased Risk ◽

The Face ◽

Facial Soft Tissues ◽

Relationship Of ◽

The Relationship

AbstractPreservation of the facial nerve is crucial in any type of facial procedure. This is even more important when performing plastic surgery on the face. An intricate knowledge of the course of the facial nerve is a requisite prior to performing facelifts, regardless of the technique used. The complex relationship of the ligaments and the facial nerve may put the nerve at an increased risk of damage, especially if its anatomy is not fully understood. There are several danger zones during dissection where the nerve is more likely to be injured. These include the areas where the nerve branches become more superficial in the dissection plane, and where they traverse between the retaining ligaments of the face. Addressing these ligaments is crucial, as they prevent the transmission of traction during facelifts. Without sufficient release, a satisfying pull on the soft tissues may be limited. Traditional superficial musculoaponeurotic system techniques such as plication or imbrication do not include surgical release of these attachments. Extended facelift techniques include additional dissection to release the retaining ligaments to obtain a more balanced and healthier look. However, these techniques are often the subject of much debate due to the extended dissection that carries a higher risk of nerve complications. In this article we aim to present the relationship of both the nerve and ligaments with an emphasis on the exact location of these structures, both in regard to one another and to their locations within the facial soft tissues, to perform extended techniques safely.

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The Psychology of Memory in Spenser's Faerie Queene

PMLA ◽

10.2307/458020 ◽

1932 ◽

Vol 47 (1) ◽

pp. 89-96

Author(s):

Daniel C. Boughner

Keyword(s):

The Body ◽

World City ◽

Faerie Queene ◽

Extended Treatment ◽

Relationship Of ◽

The Relationship ◽

The Faerie Queene

From Plato and Aristotle, Hippocrates and Galen, through the medieval commentators, the Elizabethans inherited a body of complex psychological principles. An examination of these principles and their bearing on The Faerie Queene has so far been only casual and incidental. Since in Book ii, Canto ix, the poet combines one of the most widely used of medieval motifs—the conception of the body as a world, city, or castle—with certain current doctrines of psychology, such an inquiry is especially apposite. Spenser's use of the abundant contemporaneous literature of psychology affords material for an extended treatment such as that which Miss Anderson has made of Shakespeare's plays. The present study purposes to set forth one aspect of his system of psychology—his psychology of memory in the allegory of the Castle of Alma, to make clear the relationship of his system to the current Elizabethan doctrines, and to establish the purpose of certain departures from those doctrines.

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Overcoming Barriers To a Cognitive Psychology of Religion

Method & Theory in the Study of Religion ◽

10.1163/157006800x00085 ◽

2000 ◽

Vol 12 (1-4) ◽

pp. 141-161

Author(s):

Robert N. Mccauley

Keyword(s):

Cognitive Psychology ◽

Psychology Of Religion ◽

Cognitive Approach ◽

The Face ◽

Cognitive Approaches ◽

Relationship Of ◽

The Relationship

AbstractThe aims of this paper are to identify three barriers to the development of cognitive approaches to the study of religion and to suggest how each might be circumvented. The first of these barriers is methodological and lurks amid two issues that, historically, have dominated anthropologists' reflections on the relationship of their discipline to psychology. The older of the two can be characterized as the "psychic unity" controversy (see Shore 1995). The second issue is the controversy over the "autonomy of culture". Advocates of the latter thesis are usually unsympathetic to psychological explanations of religious phenomena. In the first section, I shall begin by briefly examining each of those issues and then exploring the connections between the two as well as interesting logical tensions that arise in the face of popular responses to each. In section two, I shall consider a pair of barriers to a cognitive psychology of religion rooted in two strategies that have dominated many psychologists' approaches to the study of religion. I will argue that for some purposes, at least, both strategies should be relaxed. Finally, in section three, I shall briefly sketch one sort of cognitive approach to religious phenomena, suggesting how it handles the two strategic barriers in particular.

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The Materiality of the Text and Manuscript Culture

The Oxford Handbook of Dante ◽

10.1093/oxfordhb/9780198820741.013.2 ◽

2021 ◽

pp. 48-62

Author(s):

Martin Eisner

Keyword(s):

Human Person ◽

Essential Element ◽

The Body ◽

Manuscript Culture ◽

Christian Anthropology ◽

Body And Soul ◽

Christian Thought ◽

Relationship Of ◽

Materiality Of The Text ◽

The Relationship

This article investigates the significance of the manuscripts of Virgil and other classical poets that Dante might have read. Calling attention to the presence of musical notation (neumes) in copies that share the particular Virgilian readings Dante quotes, this essay explores the resonance of one of those passages (Aeneas’ dream of Hector) in Dante’s poem. It shows how Dante uses this Virgilian episode to craft his encounter with Manfred where he considers the relationship of body and soul that constitutes one of the major differences between classical and Christian thought, as Augustine frequently noted. Just as Christian anthropology maintains that the body constitutes an essential element of the human person, this essay argues that the materiality of the texts Dante read constitutes a crucial source for understanding how Dante interpreted these texts.

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