scholarly journals Noise is Not Volume Alone – Ambiences and Drony Experiments in Music and Sound Art

2021 ◽  
Vol 9 (2) ◽  
pp. 1-24
Author(s):  
Ianni Luna
Keyword(s):  
Meaning Construction ◽  
The Body ◽  
Sound Art ◽  
Time And Space ◽  
Technical Vocabulary ◽  
Aesthetic Practice

Noise is a complex category that has been used to describe instances of disturbance and disruption in technical vocabulary and in many artistic languages. In music, and more precisely, in sound art, noise has been imbued with specific significations that operate as aesthetical signifiers that convey meaning even beyond its intensity of volume. In this article, the theoretical aspects of noise are articulated through the analysis of concerning discourse around the transformations of the concept of sound, which ultimately resulted in the designation of a genre in itself – noise. Furthermore, it is through the enhancement of a ‘sonic turn’ that the notion of listening as a generative aesthetic practice has referred to the body as the main instance of meaning construction in relation to both time and space.

Treatment protocol and effectiveness of cosmeceuticals in aesthetic practice

2020 ◽  
Vol 9 (4) ◽  
pp. 148-153
Author(s):  
Lucy Millar-Hume
Keyword(s):  
Antibiotic Resistance ◽  
Biological Effect ◽  
Treatment Protocol ◽  
Antibiotic Use ◽  
The Body ◽  
Level Of Evidence ◽  
Physiological Functions ◽  
Drug Products ◽  
Aesthetic Practice ◽  
Oral Isotretinoin

Pharmaceuticals are essentially drug products containing active ingredients that prevent, mitigate, treat disease and/or affect the anatomy or physiological functions of the body. Cosmeceuticals is a term blending the meaning and action of pharmaceuticals and cosmetics, resulting in a product that cannot exert a biological effect on cells, but can nonetheless improve the quality and condition of the skin. Traditional medical methods of treating acne centre around antibiotic use and oral isotretinoin. Antibiotic resistance is a growing problem, and it means aesthetic practitioners must find alternatives. Attention is turning to cosmeceuticals as a solution, but this raises the question of the level of evidence for their growing use.

Strange Prosthetics: Rachel Rosenthal’s Rats and Rings

2018 ◽  
Author(s):  
Carrie Rohman
Keyword(s):  
The Body ◽  
Artistic Practice ◽  
Love Story ◽  
Human Power ◽  
Human Exceptionalism ◽  
En Face ◽  
Human Practice ◽  
Aesthetic Practice

Rosenthal’s book, Tatti Wattles: A Love Story, reveals her aesthetic practice itself to be animated by the discourse of species. The drawings in this text, especially, suggest that Rosenthal’s self-identification as an artist is mediated by animality. The images also efface the human yet “en-face” the rat, de-emphasizing human power and privilege. These images are also marked by Rosenthal’s “auto-graphy” as a mover or dancer, by an alimentary tropology highlighting the body, by the concept of mediation, and by the taming of human exceptionalism. The argument follows that all of these elements in Rosenthal’s view of her artistic practice, self, and process are mediated by animality, and they challenge our received notions of art as a centrally human practice.

‘Beside myself’: touch, maternity and the question of embodiment

2019 ◽  
Vol 21 (2) ◽  
pp. 141-155
Author(s):  
Nicolette Bragg
Keyword(s):  
Queer Theory ◽  
Intimate Relationship ◽  
The Body ◽  
Time And Space ◽  
Embodied Subjectivity ◽  
Feminist And Queer Theory

This article uses the surprising bodily effects of a period following birth to unsettle the reproductive narrative that circumscribes the maternal relation. Drawing on scholarship on skin and touch within philosophy and feminist and queer theory, ‘Beside myself’ demonstrates how an intensely intimate relationship can throw into relief modes of embodiment that trouble the temporality and space presumed of reproduction. Doing so, it calls attention to the limits of materialist discourses of embodiment. With reference to Gayle Salamon’s Assuming a Body, it describes an embodied subjectivity that exceeds the material contours of the body. A sense of being ‘beside’ oneself and ‘beside’ another stretches the time and space of the body, not only creating fractures within the reproductive frame, but also putting pressure on matter and possession as conditions for subjectivity.

Deaf Anthropology

2020 ◽  
Vol 49 (1) ◽  
pp. 31-47 ◽  
Author(s):  
Michele Friedner ◽  
Annelies Kusters
Keyword(s):  
The Body ◽  
Deaf Studies ◽  
Time And Space ◽  
Disciplinary Boundaries ◽  
Interdisciplinary Field ◽  
Close Relationship ◽  
The Senses

Deaf anthropology is a field that exists in conversation with but is not reducible to the interdisciplinary field of deaf studies. Deaf anthropology is predicated upon a commitment to understanding deafnesses across time and space while holding on to “deaf” as a category that does something socially, politically, morally, and methodologically. In doing so, deaf anthropology moves beyond compartmentalizing the body, the senses, and disciplinary boundaries. We analyze the close relationship between anthropology writ large and deaf studies: Deaf studies scholars have found analytics and categories from anthropology, such as the concept of culture, to be productive in analyzing deaf peoples’ experiences and the sociocultural meanings of deafness. As we note, however, scholarship on deaf peoples’ experiences is increasingly variegated. This review is arranged into four overlapping sections titled Socialities and Similitudes; Mobilities, Spaces, and Networks; Modalities and the Sensorium; and Technologies and Futures.

From Stethoscopes to Headphones: An Acoustic Spatialization of Subjectivity

2007 ◽  
Vol 17 ◽  
pp. 55-59 ◽  
Author(s):  
Charles Stankievech
Keyword(s):  
19Th Century ◽  
Historical Development ◽  
Imaging Techniques ◽  
The Body ◽  
Sound Art ◽  
Early 19Th Century ◽  
Acoustic Localization

Working from a phenomenological position, the author investigates “in-head” acoustic localization in the context of the historical development of modern listening. Starting from the development of the stethoscope in the early 19th century, he traces novel techniques for generating space within the body and extrapolates from them into contemporary uses of headphones in sound art. The first half of the essay explores the history, techniques and technology of “in-head” acoustics; the second half presents three sound artists who creatively generate headphone spatializations. The essay ends with reflections on how these sound “imaging” techniques topologically shape our subjectivities.

Yoga Psychology and Yoga Therapy

1997 ◽  
Vol 7 (1) ◽  
pp. 6-14
Author(s):  
Swami Sivananda Radha
Keyword(s):  
The Body ◽  
Time And Space ◽  
Yoga Therapy ◽  
The Mind ◽  
Physical Laws ◽  
The Brain

Every man and woman is a bridge between two worlds, the material and the mental. The body is the material tangible side, subject to its own laws; the mind, which uses the body as a tool of expression (frequently violating the physical laws), has its own realm of time and space where it roams about, often undirected or misdirected. The body is material – the bones, muscles,blood, and everything that makes up the cells. The brain, too, is material. The mind, however, is immaterial and intangible; we can only become aware of it through its manifestation in thought and other functions.

Cremations as Transformations: When the Dual Cultural Hypothesis was Cremated and Carried Away in Urns

1999 ◽  
Vol 2 (3) ◽  
pp. 345-364
Author(s):  
Terje Oestigaard
Keyword(s):  
Bronze Age ◽  
The Body ◽  
Late Bronze Age ◽  
Time And Space ◽  
Burial Site ◽  
Viking Period

A cremation and subsequent burial can be analysed as a set of technological, social and ritual transformations. It consists of three parts: first, the place where the body was burnt or cremated; secondly, the intermediary period in time and space, where the cleaned bones are often transported somewhere else; this interval increases the room for manoeuvre in those aspects which are concerned with the renewal, reorganization and re-legitimization of relations between the living; and, finally, the place where the ashes or the bones were deposited or buried, which may be the same place where the body was cremated, but normally it is not. Thus the urn represents the place where the deceased died, the cremated bones are from the rite of cremation, whereas the burial of the urn and the deposition of undamaged artefacts are from the final burial site, where other rituals were performed by the descendants, relatives and others. The distribution of urns may illuminate the notion that distance has hardly been a barrier and that people from, the ‘northern margins’ have travelled all over Europe from the late Bronze Age to the Viking period. This approach attacks the dual cultural hypothesis and some elements of core–periphery models.

scholarly journals Atmosphere of societal anxiety and representations of the body: The image of man in surrealist works of Vítězslav Nezval in the 20th century interwar period in Bohemia

2018 ◽  
Vol 9 (1) ◽  
pp. 181-189
Author(s):  
Anna Maria Brzezińska
Keyword(s):  
20Th Century ◽  
Interwar Period ◽  
Flat Surface ◽  
Lyric Poetry ◽  
The Body ◽  
Phenomenological Method ◽  
Time And Space ◽  
Literary Works ◽  
Clear Tendency ◽  
Surrealist Poetry

Aim: The interwar period in Czechoslovakia was a time of societal anxiety. The aim of this paper is to find the central themes of societal fear, as reflected in the surrealist works of Vítězslav Nezval, a czech poet. The analysis will be based primarily on the lyric poetry from the collections: Žena v množném čísle [Woman in Plural] (1936) and Absolutní hrobař [Absolute Gravedigger] (1937). Methods: The analysis is based on the Josef Vojdovík’s anthropo-phenomenological method of exploring the surrealist perceptions of the body, which is based on vertical and horizontal anthropological dimensions and phenomenological conceptions of fears. Results: Surrealist poetry and other literary works contain images of the body that are changed by fear: deformations, metamorphoses, fragmentarisations, hybridisations, expressing the body as a collage, a mosaic, an amalgam, a phantom, a grotesque, an inlay, and as lifelessness. It undergoes multiple metamorphoses, not only within its own form, but also with regard to the categories of life and lifelessness. Conclusions: The analysis leads to the conclusion, that V. Nezval’s works show a clear tendency to portray the body as an object which undergoes a metamorphosis. The body is balanced on the edge between living and dead, organic and inorganic, it is determined by time and space. It is often shown along the narrowing-widening relation, in stupor, petrification, reduced to a flat surface or miniaturised.

scholarly journals Un desplazamiento virtual y visual al espacio híbrido a través de la figura del flâneur

AusArt ◽  
2016 ◽  
Vol 4 (1) ◽  
pp. 165-174
Author(s):  
Elia Torrecilla Patiño
Keyword(s):  
New Technologies ◽  
Physical Space ◽  
The Body ◽  
The Gaze ◽  
Visual Shift ◽  
Hybrid Space ◽  
Aesthetic Practice ◽  
Nuevas Tecnologías ◽  
Horizontal View ◽  
The City

Este artículo se propone rescatar la figura del flâneur para adaptarla a los nuevos espacios generados por el uso de las nuevas tecnologías, recuperando la actividad de caminar como experiencia estética, esta vez en un espacio híbrido donde cuerpo, tecnología y ciudad se combinan para obtener nuevos puntos de vista y ofrecer nuevas experiencias en el espacio, planteando un desplazamiento desde el espacio virtual al espacio físico; una mirada vertical que se va distanciando, desde la invención de la perspectiva en el Renacimiento, hasta la actualidad, donde el globo terráqueo se presenta como un espacio abarcable y visualmente transitable a través de una interfaz. Frente a la experiencia vertical y virtual que permite sobrevolar el espacio, se propone un aterrizaje para experimentar la visión horizontal, que es la mirada del flâneur, quien utiliza el cuerpo y esta vez la tecnología, para, a través del movimiento producido por el acto de caminar, establecer un contacto directo con la ciudad y sus habitantes y así re-conocer un entorno que se presenta cada vez más abstracto.Palabras-Clave: FLÂNEUR; CIUDAD; FÍSICO; DIGITAL; HÍBRIDO A virtual and visual shift to the hybrid space through the figure of flâneurAbstractThis article aims to rescue the figure of the flâneur to adapt it to the new spaces generated by the use of new technologies, recovering the activity of walking as an aesthetic practice, this time in a hybrid space where body, technology and city are combined to get new viewpoints and offer new experiences in the space, posing a displacement from the virtual to physical space; a vertical look to be moving away from the invention of perspective in the Renaissance to the present, where the globe is presented as an understandable and visually passable through an interface space. Faced with the vertical and virtual experience that allows flying over space, a landing to experience horizontal view, that is the gaze of the flâneur, who uses the body and this time the technology is proposed to, through movement produced by the act of walking, establish direct contact with the city and its inhabitants and thus recognize an environment that is increasingly abstract.Keywords: FLÂNEUR; CITY; PHYSICAL; DIGITAL; HYBRID

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