scholarly journals On The Corporeality Of Atmosphere

2021 ◽  
Author(s):  
Jessica Dawn Walker
Keyword(s):  
The Body ◽  
Embodied Experience ◽  
Atmospheric Conditions ◽  
Human Environment ◽  
Bodily Experience ◽  
Built Form ◽  
Felt Presence ◽  
Innate Ability

Space is a constant inhabited medium which is inseparable from its role as a lived human environment. Both defined and undefined by concrete matter, it possesses an innate ability to envelop the body in deep spatial experiences. These experiences can be intense, even poetic. This naturally felt presence is a profound relationship between body and surrounding; the vehicle for this experience is atmosphere. Atmosphere is the mode of providing experiential space within architecture, feeding one’s presence in their world; without consideration for atmospheric conditions renounces built form void of these experiences. By conceiving architecture through the embodied experience of atmospheres, space can intrinsically permit the body to experience its surrounding. This work is a continuous exploration of designing architecture through its atmosphere; as such, a focus will be redirected back to a bodily experience by activating the innate relationship between atmosphere and the body.

scholarly journals On The Corporeality Of Atmosphere

2021 ◽  
Author(s):  
Jessica Dawn Walker
Keyword(s):  
The Body ◽  
Embodied Experience ◽  
Atmospheric Conditions ◽  
Human Environment ◽  
Bodily Experience ◽  
Built Form ◽  
Felt Presence ◽  
Innate Ability

Space is a constant inhabited medium which is inseparable from its role as a lived human environment. Both defined and undefined by concrete matter, it possesses an innate ability to envelop the body in deep spatial experiences. These experiences can be intense, even poetic. This naturally felt presence is a profound relationship between body and surrounding; the vehicle for this experience is atmosphere. Atmosphere is the mode of providing experiential space within architecture, feeding one’s presence in their world; without consideration for atmospheric conditions renounces built form void of these experiences. By conceiving architecture through the embodied experience of atmospheres, space can intrinsically permit the body to experience its surrounding. This work is a continuous exploration of designing architecture through its atmosphere; as such, a focus will be redirected back to a bodily experience by activating the innate relationship between atmosphere and the body.

Hope and anxiety: The study of female embodied experience with assisted reproductive technology

2021 ◽  
Vol 7 (2) ◽  
pp. 138-170
Author(s):  
Chengpu Yu ◽  
Wanlin Li ◽  
Mingfen Deng
Keyword(s):  
Assisted Reproductive Technology ◽  
Social Factors ◽  
Cultural Context ◽  
Infertility Treatment ◽  
Reproductive Technology ◽  
The Body ◽  
Local Culture ◽  
Embodied Experience ◽  
Experiences Of Women ◽  
Infertile Patients

Assisted reproductive technology (ART) is hailed as “the holy grail” for infertile patients in the mainstream narrative. The existing studies have clearly demonstrated how external social factors shape how ART is to be used, but they ignore the recipients of the technologies, and especially the experiences of women. Based on an investigation conducted in Z hospital’s reproductive center, this article regards embodiment as the methodological orientation for integrating socio-cultural context with female embodied experience in order to show their bio-social entanglement. As fieldwork evidence indicates, ART in practice is far from simple “hope technology”; instead, it throws women into a paradoxical world in which hope and anxiety coexist. Embodied experience, hope, and anxiety are transmitted through the bodies of women, which reveals the inscription of social-cultural context and technical uncertainty on the female body and, meanwhile, women actively learn strategies by which to cope with the technical uncertainty and moral pressures from local culture (including healing the body, folk religion, etc.), so as to hold onto infertility treatment with hope.

Embodied Aesthetics

2018 ◽  
pp. 890-910
Author(s):  
Barbara Gail Montero
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Traditional View ◽  
Bodily Experience ◽  
Aesthetic Pleasure ◽  
Embodied Aesthetics ◽  
The Aesthetic ◽  
Bodily Movements

Although great art frequently revers the body, bodily experience itself is traditionally excluded from the aesthetic realm. This tradition, however, is in tension with the experience of expert dancers who find intense aesthetic pleasure in the experience of their own bodily movements. How to resolve this tension is the goal of this chapter. More specifically, in contrast to the traditional view that denigrates the bodily even while elevating the body, I aim to make sense of dancers’ embodied aesthetic experience of their own movements, as well as observers’ embodied aesthetic experience of seeing bodies move.

Working manifesto/a for rovers

2021 ◽  
Vol 17 (3) ◽  
pp. 407-413 ◽  
Author(s):  
Jodi A. Patterson
Keyword(s):  
Art Education ◽  
Research Field ◽  
The Body ◽  
Educational Tool ◽  
Embodied Experience ◽  
Art Practice ◽  
Arts Based Research

This arts-based exploration offers potentiality and theory to the wider arts-based research field by expanding and naming embodied experience as it relates to mechanical means of transport. The author dubs such a practice of physically moving the body between vast and varied spaces to be a roving art practice. She offers modes of potential, a preliminary list of protocols to contextualize a rover’s manifesto/a and ways to use roving as an educational tool applicable to the field of art education.

Embodied Rhythm and Musical Impact of Corporal Punishment in Twentieth-Century Opera

2018 ◽  
pp. 220-240
Author(s):  
Shersten Johnson
Keyword(s):  
Twentieth Century ◽  
Corporal Punishment ◽  
Jesus Christ ◽  
The Body ◽  
Emotional Impact ◽  
Focus Attention ◽  
Bodily Experience ◽  
Physical Suffering ◽  
Billy Budd ◽  
Jesus Christ Superstar

Operatic dramas often set to music the extremes of human bodily experience—disease, death, and violence—all duly tinged with hues of eroticism. Not surprisingly then, the genre includes a number of works that stage scenes of corporal punishment. These moments of physical suffering can focus attention on the body in a way that even Mimi’s consumption or Carmen’s stabbing cannot. This chapter examines three such scenes in operas by Britten (Billy Budd), Adams (Nixon in China), and Lloyd Webber (Jesus Christ Superstar) to see how music, action, and text multimodally represent not only the cruel impact of blows, but also the emotional impact for victim, punisher, onstage onlookers, and audience. Close readings of the three scenes draw on theories of embodied rhythm and mimetic listening to engage the question of how this music “gets into our bodies” and helps us to experience the dramas.

scholarly journals An embodied approach to consumer experiences: the Hollister brandscape

2019 ◽  
Vol 53 (4) ◽  
pp. 806-828 ◽  
Author(s):  
Lorna Stevens ◽  
Pauline Maclaran ◽  
Stephen Brown
Keyword(s):  
Primary Source ◽  
The Body ◽  
Embodied Experience ◽  
Consumer Experience ◽  
Sensory Marketing ◽  
Holistic Understanding ◽  
Consumer Experiences ◽  
Embodied Experiences ◽  
On Line ◽  
Sensory Activation

Purpose This paper aims to use embodied theory to analyze consumer experience in a retail brandscape, Hollister Co. By taking a holistic, embodied approach, this study reveals how individual consumers interact with such retail environments in corporeal, instinctive and sensual ways. Design/methodology/approach The primary source of data was 97 subjective personal introspective accounts undertaken with the target age group for the store. These were supplemented with in-depth interviews with consumers, managers and employees of Hollister. Findings The authors offer a conceptualization of consumers’ embodied experience, which they term The Immersive Somascape Experience. This identifies four key touch points that evoke the Hollister store experience – each of which reveals how the body is affected by particular relational and material specificities. These are sensory activation, brand materialities, corporeal relationality and (dis)orientation. These may lead to consumer emplacement. Research limitations/implications The authors propose that taking an “intelligible embodiment” approach to consumer experiences in retail contexts provides a deeper, more holistic understanding of the embodied processes involved. They also suggest that more anthropological, body-grounded studies are needed for the unique insights they provide. Finally, they note that there is growing consumer demand for experiences, which, they argue, points to the need for more research from an embodied experience perspective in our field. Practical implications The study reveals the perils and pitfalls of adopting a sensory marketing perspective. It also offers insights into how the body leads in retail brandscapes, addressing a lack in such approaches in the current retailing literature and suggesting that embodied, experiential aspects of branding are increasingly pertinent in retailing in light of the continued growth of on-line shopping. Originality/value Overall, the study shows how an embodied approach challenges the dominance of mind and representation over body and materiality, suggesting an “intelligible embodiment” lens offers unique insights into consumers’ embodied experiences in retail environments.

Becoming militant: embodying the Guinean revolution and Guinea–China relations

Africa ◽  
2020 ◽  
Vol 90 (4) ◽  
pp. 721-745
Author(s):  
Nomi Dave
Keyword(s):  
Cultural Revolution ◽  
The Body ◽  
Embodied Experience ◽  
Dance Movement ◽  
Republic Of Guinea ◽  
The Republic ◽  
1960S And 1970S ◽  
Revolutionary Ideology ◽  
The 1960S ◽  
The Moment

AbstractThis article considers the role of embodied experience in promoting revolutionary ideology in Guinea. The Republic of Guinea has long held close ties with China, and in the 1960s and 1970s the country pursued its own Cultural Revolution. While Chinese songs and aesthetics had little direct artistic influence, the Guinean state embraced Maoist ideals of social and self-transformation and discipline. Such ideals were translated into daily life through the regulation of bodies, including practices of dance, movement and physical gesture that sought to create revolutionary subjects. I show here how embodied practices, including the circulation of dancers and official delegations, cultivated Guinea's relationship with China; and how practices of movement and dance were inwardly experienced within Guinea during its own Cultural Revolution. In so doing, I address some of the contradictions of the Revolution and of Guinea–China relations. While the regime pursued its goals through violence and brutality, former revolutionary subjects today remember the moment for both its pain and its pleasures – for the hardships the body had to endure and for the nationalist pride that many still feel today.

Guarding the Body

2017 ◽  
Vol 3 (1) ◽  
pp. 61-72
Author(s):  
Erika Robb Larkins
Keyword(s):  
Lower Class ◽  
Private Security ◽  
The Body ◽  
Embodied Experience ◽  
Basic Training ◽  
Security Guards ◽  
Low Level ◽  
Security Industry ◽  
Ethnographic Fieldwork ◽  
Private Security Industry

Drawing on 12 months of ethnographic fieldwork in the private security industry, this article focuses on the training of low-level guards, examining the centrality of the body and embodied experience to their work in hospitality settings. In a racially stratified society in which lower-class, dark-skinned bodies are oft en equated with poverty and criminality, security guards are required to perform an image of upstanding, respectable, law-abiding citizens in order to do their jobs protecting corporate property. Guards learn techniques of body management at security schools as part of their basic training. They also learn how to subdue the bodies of others, including those of white elites, who represent a constant challenge to their authority. Working from my own experiences as a student in private security schools, I argue for the relevance of an understanding of the body and its significations to private security work.

scholarly journals ‘No Coughing for Me, but I'm Okay!’: A Human Service Worker's Narrative Exploration of Her Own and Other Workers’ Body Stories Told in a Domestic Violence Service

2017 ◽  
Vol 42 (2) ◽  
pp. 87-92
Author(s):  
Jo Mensinga
Keyword(s):  
Domestic Violence ◽  
Professional Practice ◽  
Human Service ◽  
Intervention Strategy ◽  
The Body ◽  
Professional Experience ◽  
Embodied Experience ◽  
Service Workers ◽  
Human Service Workers ◽  
Narrative Methodology

Relational, body-oriented and brain-based approaches to recovery and change are increasingly popular modalities for working with traumatised children and adults. However, although these approaches encourage the awareness, and the harnessing of workers’ visceral experiences, there is little in the literature to describe how practitioners navigate their own somatic maps. In a research project undertaken from 2008–16, I invited nine human service workers to tell and explore stories about their own experiences of the body that emerged during, and/or in relation to, their own professional practice. A narrative methodology was used to help facilitate a depth of understanding of how the participants used their own bodies as a source of knowledge and/or as an intervention strategy with those with whom they worked. In this paper, I explore one of many stories told by Coral in which she describes the processes she uses to navigate her own somatic map as she interacts with clients and workers in a domestic violence service. I conclude that creating spaces for workers to explore embodied experience in the professional conversation is important, but is difficult without an acceptable discourse or narrative template. Nonetheless, given the opportunity, including the ‘body as subject’ encourages better outcomes for clients and provides richer accounts of human service workers’ professional experience.

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