Listening in the Gaze: The Body in Keith Jarrett’s Solo Piano Improvisations

2017 ◽  
pp. 192-207
Author(s):  
Elsdon Peter
Keyword(s):  
The Body ◽  
Solo Piano ◽  
The Gaze

Tiresian Journeys

2008 ◽  
Vol 52 (4) ◽  
pp. 174-182 ◽  
Author(s):  
Petra Kuppers
Keyword(s):  
New York ◽  
The Body ◽  
Public Performance ◽  
Public And Private ◽  
The Gaze ◽  
Disability Culture ◽  
The Media ◽  
Extreme Performance ◽  
Performance Project ◽  
Union Square

Given the media frenzy over Hillary Clinton's unsuccessful presidential bid, and the ensuing questions about the state of feminism, it seems a serendipitous moment to feature two pieces—written by the women who conceived and performed them—that offer very different but complementary takes on agency, identity, and the conflation of the public and private as one's body becomes the locus of the gaze. Petra Kuppers's dramaturgical meditation on her experiences as part of Tiresias, a disability culture performance project, investigates erotics, change, mythology, and identity. A collaboration between photographers, writers, and dancers, the project, occurring over six months in 2007, posits the body as the site at which myth might be reshaped and movement might become poetry. Lián Amaris critically analyzes her feminist public performance event Fashionably Late for the Relationship, which took place over three days in July 2007 on the Union Square traffic island in New York City. Informed by Judith Butler's citational production of gender, the piece focused on exposing and critiquing the marked visibility of gender construction and maintenance within an extreme performance paradigm.

scholarly journals Shaping Toronto: female economy and agency in the corset industry, 1871-1914

2021 ◽  
Author(s):  
Alanna M. M. McKnight
Keyword(s):  
Nineteenth Century ◽  
Material Culture ◽  
The Body ◽  
Fashion History ◽  
Women's Bodies ◽  
The Gaze ◽  
Female Consumers ◽  
Private And Public ◽  
Female Bodies ◽  
The Relationship

In amplifying the contours of the body, the corset is an historical site that fashions femininity even as it constricts women’s bodies. This study sits at the intersection of three histories: of commodity consumption, of labour, and of embodiment and subjectivity, arguing that women were active participants in the making, selling, purchasing and wearing of corsets in Toronto, a city that has largely been ignored in fashion history. Between 1871 and 1914 many women worked in large urban factories, and in small, independent manufacturing shops. Toronto’s corset manufacturers were instrumental in the urbanization of Canadian industry, and created employment in which women earned a wage. The women who bought their wares were consumers making informed purchases, enacting agency in consumption and aesthetics; by choosing the style or size of a corset, female consumers were able to control to varying degrees, the shape of their bodies. As a staple in the wardrobe of most nineteenth-century women, the corset complicates the study of conspicuous consumption, as it was a garment that was not meant to be seen, but created a highly visible shape, blurring the lines between private and public viewing of the female body. Marxist analysis of the commodity fetish informs this study, and by acknowledging the ways in which the corset became a fetishized object itself, both signaling the shapeliness of femininity while in fact augmenting and diminishing female bodies. This study will address critical theory regarding the gaze and subjectivity, fashion, and modernity, exploring the relationship women had with corsets through media and advertising. A material culture analysis of extant corsets helps understand how corsets were constructed in Toronto, how the women of Toronto wore them, and to what extent they actually shaped their bodies. Ultimately, it is the aim of this dissertation to eschew common misconceptions about the practice of corsetry and showcase the hidden manner in which women produced goods, labour, and their own bodies in the nineteenth century, within the Canadian context.

scholarly journals El Hombre / Mujer, el Ángel / Demonio. Cuerpo, misterio e inquietud en Sirena Selena Vestida de Pena

2014 ◽  
Vol 4 (1) ◽  
Author(s):  
Guillermo A Severiche
Keyword(s):  
Gender Stereotypes ◽  
The Body ◽  
The Other ◽  
The Gaze

Resumen: En la novela de Mayra Santos-Febres, la mirada de los demás personajes configura el cuerpo de Sirena Selena como un cuerpo que reconcilia dicotomías, que las fusiona: hombre / mujer, ángel / demonio. Este cuerpo fusionado se idealiza con el fin de despertar el deseo. El mismo sirve como motivación para generar una inquietud tanto en los demás personajes como en los lectores: ¿qué cuerpo es digno de ser amado, de ser deseado? Exploraremos el armado de su cuerpo a través de una subversión de ciertos estereotipos y para ello nos centraremos en dos nociones: la de disidentification y la de tropicalization. El cuerpo funciona aquí como una suerte de entidad que revitaliza estereotipos de género (hombre/mujer), religiosos (angel/demonio) y al mismo tiempo, los deconstruye. El cuerpo se erige como superficie de inscripción y de crítica frente a la artificialidad de estos discursos para mostrar que justamente son artificiales, que son construcciones. Abstract: In Mayra Santos-Febres’ novel, Sirena Selena, the gaze of the other characters configures the protagonist’s body; a body that reconciles dichotomies and merges them: man/woman, angel/demon. This merged body is idolized and its aim is to provoke desire. This body also becomes a motivation to generate an anxiety in the other characters as well as readers: what body deserves to be loved, to be desired? We will explore the assembly of her body through the subversion of certain stereotypes and in order to do that we will focus on two notions: disidentification and tropicalization. The body works as a sort of entity that revitalizes gender stereotypes (man/woman) and at the same time, it deconstructs them. The body becomes a surface of inscription and a form of criticism for the artificiality of these discourses; and it shows their artificiality, their constructiveness.

Kubrick’s audible bodies: unseen subjectivities in 2001 and The Shining

Semiotica ◽  
2021 ◽  
Vol 0 (0) ◽  
Author(s):  
James Batcho
Keyword(s):  
The Body ◽  
Stanley Kubrick ◽  
The Gaze ◽  
The World ◽  
Film Spectatorship ◽  
Visual Gaze

Abstract Stanley Kubrick is regarded as a filmmaker of complex imagery. Yet the vitality of his more metaphysical works lies in what is unseen. There is an embodiment to Kubrick’s films that maintains a sense of subjectivity, but one which is unapparent and non-visual. This opens another way into Kubrick’s works, that of conditions of audibility (hearing/listening), affectivity, and signs. To think of embodiment from such an audible perspective requires one to subvert film spectatorship (the frame) and instead enter the reality of the film’s immanent, borderless unfolding as itself. This essay applies Gilles Deleuze’s semiotic concepts of cinema, metaphysics, and subjectivity to conditions of audibility and unseeing, a connection Deleuze largely ignored in his writings. These dual concepts of audibility and unseeing break prevailing analytical norms in cinema discourse that affirm limitations via material, visual, textual, and spatial reification: subjective-objective delineations, the body and the gaze, sound as necessarily spatial/material, and the dominance of images in regard to aesthetics, surveillance, and evidence. Instead, this essay moves through Kubrick’s constructions of milieu that are unseen in the midst of an otherwise visual unfolding, and audible in the midst of an otherwise sonic unfolding. To consider Kubrick’s films through their audible embodiment, one must detach (1) the microphone from its adherence to space, (2) the body from its visual gaze. Here, sounds, images, and objects become secondary to hearing and signs in a temporal unfolding, resulting in a cinema that is experiential rather than representational. This opens to an actuality of spirit within the world of the film, offering new opportunities for creativity in the cinematic form.

Black Witnessing, Body Cams, and the Enduring Fight for the Whole Truth

2020 ◽  
pp. 179-190
Author(s):  
Allissa V. Richardson
Keyword(s):  
Moral Panic ◽  
The Body ◽  
The Gaze ◽  
Black Lives Matter ◽  
Additional Layer ◽  
Street Corner

Chapter 9 investigates how the moral panic inspired by Black Lives Matter triggered the body cam backlash. This additional layer of surveillance is more invasive than any other form of police video, such as cruiser dash cams, helicopter camera footage, or street corner blue lights, as Dr. Richardson has argued. Body cams also privilege the viewpoint of the officer and restore the official narrative into the hands of the powerful. Dr. Richardson explains how this next frontier of “toutveillance,” where everyone is watching everyone, could imperil the gaze of black witnesses.

scholarly journals Age-Related Differences in Fixation Pattern on a Companion Robot

Sensors ◽  
2020 ◽  
Vol 20 (13) ◽  
pp. 3807
Author(s):  
Young Hoon Oh ◽  
Da Young Ju
Keyword(s):  
Older Adults ◽  
Physical Attractiveness ◽  
The Body ◽  
Robot Design ◽  
Body Parts ◽  
Gaze Behavior ◽  
Younger Adults ◽  
The Gaze ◽  
Age Related ◽  
Companion Robots

Recent studies have addressed the various benefits of companion robots and expanded the research scope to their design. However, the viewpoints of older adults have not been deeply investigated. Therefore, this study aimed to examine the distinctive viewpoints of older adults by comparing them with those of younger adults. Thirty-one older and thirty-one younger adults participated in an eye-tracking experiment to investigate their impressions of a bear-like robot mockup. They also completed interviews and surveys to help us understand their viewpoints on the robot design. The gaze behaviors and the impressions of the two groups were significantly different. Older adults focused significantly more on the robot’s face and paid little attention to the rest of the body. In contrast, the younger adults gazed at more body parts and viewed the robot in more detail than the older adults. Furthermore, the older adults rated physical attractiveness and social likeability of the robot significantly higher than the younger adults. The specific gaze behavior of the younger adults was linked to considerable negative feedback on the robot design. Based on these empirical findings, we recommend that impressions of older adults be considered when designing companion robots.

Gaze-related activity of putative inhibitory burst neurons in the head-free cat

1993 ◽  
Vol 70 (6) ◽  
pp. 2678-2683 ◽  
Author(s):  
K. E. Cullen ◽  
D. Guitton ◽  
C. G. Rey ◽  
W. Jiang
Keyword(s):  
The Body ◽  
Head Movements ◽  
Related Activity ◽  
Visual Axis ◽  
Abducens Nucleus ◽  
Gaze Shifts ◽  
Burst Neurons ◽  
The Gaze ◽  
Output Neurons ◽  
The Relationship

1. Previous studies in the cat have demonstrated that output neurons of the superior collicular as well as brain stem omnipause neurons have discharges that are best correlated, not with the trajectory of the eye in the head but, with the trajectory of the visual axis in space (gaze = eye-in-head + head-in-space) during rapid orienting coordinated eye and head movements. In this study, we describe the gaze-related activity of cat premotor “inhibitory burst neurons”(IBNs) identified on the basis of their position relative to the abducens nucleus. 2. The firing behavior of IBNs was studied during 1) saccades made with the head stationary, 2) active orienting combined eye-head gaze shifts, and 3) passive movements of the head on the body. IBN discharges were well correlated with the duration and amplitude of saccades made when the head was stationary. In both head-free paradigms, the behavior of cat IBNs differed from that of previously described primate “saccade bursters”. The duration of their burst was better correlated with gaze than saccade duration, and the total number of spikes in a burst was well correlated with gaze amplitude and generally poorly correlated with saccade amplitude. The behavior of cat IBNs also differed from that of previously described primate “gaze bursters”. The slope of the relationship between the total number of spikes and gaze amplitude observed during head-free gaze shifts was significantly lower than that observed during head-fixed saccades. 3. These studies suggest that cat IBNs do not fit into the categories of gaze-bursters or saccade-bursters that have been described in primate studies.(ABSTRACT TRUNCATED AT 250 WORDS)

scholarly journals Shaping Toronto: female economy and agency in the corset industry, 1871-1914

2021 ◽  
Author(s):  
Alanna M. M. McKnight
Keyword(s):  
Nineteenth Century ◽  
Material Culture ◽  
The Body ◽  
Fashion History ◽  
Women's Bodies ◽  
The Gaze ◽  
Female Consumers ◽  
Private And Public ◽  
Female Bodies ◽  
The Relationship

In amplifying the contours of the body, the corset is an historical site that fashions femininity even as it constricts women’s bodies. This study sits at the intersection of three histories: of commodity consumption, of labour, and of embodiment and subjectivity, arguing that women were active participants in the making, selling, purchasing and wearing of corsets in Toronto, a city that has largely been ignored in fashion history. Between 1871 and 1914 many women worked in large urban factories, and in small, independent manufacturing shops. Toronto’s corset manufacturers were instrumental in the urbanization of Canadian industry, and created employment in which women earned a wage. The women who bought their wares were consumers making informed purchases, enacting agency in consumption and aesthetics; by choosing the style or size of a corset, female consumers were able to control to varying degrees, the shape of their bodies. As a staple in the wardrobe of most nineteenth-century women, the corset complicates the study of conspicuous consumption, as it was a garment that was not meant to be seen, but created a highly visible shape, blurring the lines between private and public viewing of the female body. Marxist analysis of the commodity fetish informs this study, and by acknowledging the ways in which the corset became a fetishized object itself, both signaling the shapeliness of femininity while in fact augmenting and diminishing female bodies. This study will address critical theory regarding the gaze and subjectivity, fashion, and modernity, exploring the relationship women had with corsets through media and advertising. A material culture analysis of extant corsets helps understand how corsets were constructed in Toronto, how the women of Toronto wore them, and to what extent they actually shaped their bodies. Ultimately, it is the aim of this dissertation to eschew common misconceptions about the practice of corsetry and showcase the hidden manner in which women produced goods, labour, and their own bodies in the nineteenth century, within the Canadian context.

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

Foucauldian Docile Body in Dennis Lehane’s Shutter Island

2016 ◽  
Vol 6 (10) ◽  
pp. 2052
Author(s):  
Robab Beheshti ◽  
Mahdi Shafieyan
Keyword(s):  
The Body ◽  
Cellular Distribution ◽  
The Novel ◽  
Positive View ◽  
The Gaze ◽  
Medical Gaze ◽  
Medical Facilities ◽  
Key Concepts ◽  
The Individual ◽  
Disciplinary System

This article presents a Foucauldian reading of Dennis Lehane’s Shutter Island. Depicting modern medical facilities, the book demonstrates disciplinary system and power manipulation on psychotic patients who are confined to cellular spaces, and are subjugated under medical gaze. Despite the patients’ resistance to the power, they are ultimately expected to be dominated and normalized. The ideas presented in the novel are in line with Foucault’s notion of “docile body”, discussed in his Discipline and Punish, which are considered as the key concepts of the research and are explored within the designated novels. Power as a penetrating force transforms the individual into a docile being which refers to a submissive and dynamic body; surveillance acts as physics of power and holds a constant gaze on the individual in a way that he is subjugated by the invisible observing power; confinement along with cellular distribution turns the individual to an analytical body. This research aims to explore the docilizing elements and achieved level of normalization within the novel of the study; it tries to investigate the extent to which the gaze held on the patients performs a positive result as discussed by Foucault. The study inspects the response of the body to disciplinary techniques and reveals that in Lehane’s novel, the effect of power manipulation is displayed as possibly counter-productive and repressive in docilizing the body which is contradictory to Foucault’s positive view of power.

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