O Fantasma de Jackson Pollock: Os estranhos movimentos do pintor pelas lentes do cinema

O artigo se propõe analisar o filme experimental de Hans Namuth, Jackson Pollock 51, sobre o processo de Pollock na fase do dripping. Ao longo do texto serão evidenciados os desajustes entre a tentativa de capturar o segredo dos movimentos do artista em volta da tela e as opacidades introduzidas pela câmera, que ao invés de mostrar mais, paradoxalmente, desnaturaliza o olhar. Os casos de Matisse, que percebe a “estranha excitação” do gesto de sua mão no filme de François Campaux (1946), e da atuação de Picasso no filme de Georges Clouzot, O Mistério Picasso (1956), servirão como contrapontos para explorar o tema da mediação da pintura operada pela imagem em movimento, nesse momento de transição entre o modernismo e as práticas dos anos 1960, quando os artistas exploraram a potência do gesto e de seus duplos na performance, na videoarte e na body art.

What about Your Body Ornament? Experiences of Tattoo and Piercing among Italian Youths

Background: tattooing and piercing are increasingly common, especially among youths. However, several health complications may be associated with these practices if basic hygiene rules are not respected. This multicenter study was aimed at exploring tattoo and piercing experiences reported by a large sample of Italian undergraduate students through a public health perspective. Methods: tattooed and/or pierced students attending 12 Italian universities were asked to complete a web-based questionnaire regarding their body art experience. Results: out of 1472 respondents, 833 (56.6%) were tattooed and 1009 (68.5%) were pierced. The greatest proportion of tattooed students (93.9%) got her/his first tattoo in a tattoo studio, while most of the pierced were serviced in a jewelry store (48.0%). The pierced ones were less informed on health issues related to the procedure (56.0% versus 77.8% of tattooed p < 0.001), and tattooists were reportedly more attentive to hygiene rules (instrument sterilization 91.5% versus 79.1% of piercers, p < 0.001; use of disposable gloves 98.2% versus 71% of piercers, p < 0.001). Conclusions: educational interventions for both professionals and communities are needed to improve the awareness and the control of health risks related to body art throughout the Italian territory.

Virtual Reality Expression of Body Art in the Game Industry

Body art is difficult to be commercialized because of its time limited characteristics. However, the core connotation of the expression of its art form not only satirizes and criticizes the real society, but also exerts a subtle influence on human life. The current virtual reality game upgrades people's experience from a single plane to an immersive mode, reaching a new height in the sense. In a sense, it makes the body and mind touch a broader direction, which provides an excellent medium for the dissemination of body art in the virtual reality game experience.

Undergraduates' perception of health risk of body arts: results of an Italian multicentre study

Background In the last decades, body art practices such as tattooing and piercing have known an increasing popularity, mainly in young people. These procedures are associated with infectious and non-infectious health risks. The aim of this multicenter study was to evaluate the knowledge of health risks related to body art procedures among undergraduate students from ten Italian universities. Methods A cross-sectional study was performed on undergraduate students attending universities in northern, central and southern Italy. An anonymous questionnaire was administered to the participants for collecting their socio-demographic characteristics and for assessing their knowledge about health risks associated with tattoos and piercing. Results A total of 2985 students (mean age 23.15 ± 3.99, 73.9% females) completed the questionnaire. 775 (25.9%) of them were from northern Italy, 906 (30.3%) from the Centre and 1324 (44.4%) from the South. More than 90% of the sample were aware that tattoo/piercing procedures can cause health problems. However, the mean values of correct answers about the health risks associated to body art practices were low (5.38 ± 2.39 on a total of 11 correct answers for tattooing and 5.93 ± 3.12 on a total of 14 for piercing). Higher knowledge of the health risks related to tattooing was found among those attending university since more than four years (p &lt; 0.001), life science courses (p &lt; 0.001) and residing/living in the university area (p = 0.023). Those attending North/Centre universities (p &lt; 0.001), since more than 4 years (p &lt; 0.001), life science courses (p &lt; 0.001), and those with graduated father (p = 0.013) had better knowledge of the health risks related to piercing. Conclusions These results show a lack of knowledge about health risks related to body art practices in the sample. Educational interventions on this issue targeted to youth are needed in Italy. Key messages Undergraduates do not show a good knowledge of health risks related to tattooing and piercing. Educational interventions are needed to raise youth awareness and knowledge of health risks of body art.

Parables for the Virtual

Since its publication twenty years ago, Brian Massumi's pioneering Parables for the Virtual has become an essential text for interdisciplinary scholars across the humanities. Massumi views the body and media such as television, film, and the internet as cultural formations that operate on multiple registers of sensation. Renewing and assessing William James's radical empiricism and Henri Bergson's philosophy of perception through the filter of the postwar French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. Replacing the traditional opposition of literal and figural with distinctions between stasis and motion and between actual and virtual, Massumi tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan's acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multifaceted argument. This twentieth anniversary edition includes a new preface in which Massumi situates the book in relation to developments since its publication and outlines the evolution of its main concepts. It also includes two short texts, “Keywords for Affect” and “Missed Conceptions about Affect,” in which Massumi explicates his approach to affect in ways that emphasize the book's political and philosophical stakes.

Factors associated with medical complications after body art among Israeli adults: a retrospective study

Introduction Body-art, including tattoos and piercings, is steadily increasing world-wide but with relatively limited reporting of adverse outcomes. The objective of the present study was to identify correlates that would facilitate a preventative strategy to minimize adverse effects of body-art. Methods We examined patterns of body-art, health risk and perceptions among 921 participants (54% female, mean age of 35; SD = 10.8) through in-person questionnaire. Results A significantly lower frequency of those with body-art acknowledged that not all venues (parlors, clinics, etc.) are safe in terms of health and hygiene (84.7%t vs. 96.6%, p < .001) as compared to those without body-art. Similarly, knowledge of the need for a Ministry of Health certification was reported with lower frequency (77.2% vs. 94.5%, p < .001) among those with body-art. Those who experienced medical complications reported higher frequencies of smoking cigarettes and hookah as well as using ecstasy (MDMA). The risk of medical complication after body-art was 4 times higher in those who used ecstasy (OR = 3.97; CI 1.0–14.4; p < 0.05). In addition, it was more than 3 times higher for street or home tattooing as compared to studio or a licensed medical center (OR = 3.59; CI 1.32–9.76; p < .01), as well as almost 3 times higher among those who did not receive information before performing body-art (OR = 2.70; CI 1.05–6.92; p < .05) and who had somebody other than themselves decide on the body-art design (OR = 2.68; CI 1.00–7.19; p < .05). Conclusions A targeted informational-preventative program should be developed, informed by the risks highlighted in this study. In addition, it would be necessary to draft policies related to regulation and enforcement in order to more effectively manage body-art service provision. The Ministry of Health should supervise and guide tattooists and practitioners regarding the health risks of body-art and offer training and raise awareness among potential clients.

Assessing Undergraduates’ Perception of Risks Related to Body Art in Italy: The SUPeRBA Multicenter Cross-Sectional Study

Tattooing and piercing may lead to health complications. The present multicenter cross-sectional study aimed to assess awareness and knowledge of health risks related to body art and to identify their possible determinants among a large sample of undergraduates in Italy. A web-based questionnaire collecting information on socio-demographic characteristics, awareness, knowledge, and some potential predictors was administered to undergraduates attending twelve Italian universities. The level of knowledge was expressed as the number of correct answers (0–11 for tattooing, 0–14 for piercing). A total of 2985 participants (mean age 23.15 ± 3.99, 73.9% F) participated in the study. Although 95.4% of the respondents were aware of possible health consequences of body art, a low level of specific knowledge was registered for both tattooing (mean number of correct answers 5.38 ± 2.39) and piercing (5.93 ± 3.12) consequences. Lower knowledge was associated with the attendance of non-life science course and with lower duration of academic education for both tattoo and piercing. Lower knowledge of tattooing risks was related with commuter status, while lower knowledge of piercing risks was associated with lower father’s education. These findings highlight the need to enhance information campaigns targeted to youths to increase their awareness of possible health risk of body art.

Ambivalent Identity: Kusama Yayoi’s Intersectional Body Art of the 1960s

The article discusses how identity was negotiated by the intersectional Japanese artist Kusama Yayoi. I focus on her body-centred works of the 1960s to showcase how she addressed various aspects of identity during her time in the U.S., and how she expressed social critique by means of bodily performance. In this article I will analyse and interpret one photograph by the artist previously discussed in my master’s thesis, an image of the so-called Presidential Orgy, a series of happenings staged in Kusama’s studio in 1968. I apply the method of visual analysis and draw on a variety of sources, both literary and visual, to give insight into the historical background, since it is crucial not to look at Kusama’s artworks as isolated objects. Rather, we need to understand that rapid changes in the art world, as well as in gender relations, the rise of popular media, and major societal events like the changes in the aftermath of World War II on the one hand, and the ongoing Vietnam War on the other, were pivotal factors causing cultural upheavals that became important themes in Kusama’s art in the 1960s.