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Journal articles on the topic 'Body representation in art'
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1
Olsn, Jan Eric. "The Body Voyage as Visual Representation and Art Performance." Nuncius 26, no. 1 (2011): 222–41. http://dx.doi.org/10.1163/182539111x569838.
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AbstractThis paper looks at the notion of the body as an interior landscape that is made intelligible through visual representation. It discerns the key figure of the inner corporeal voyage, identifies its main elements and examines how contemporary artists working with performances and installations deal with it. A further aim with the paper is to discuss what kind of image of the body that is conveyed through medical visual technologies, such as endoscopy, and relate it to contemporary discussions on embodiment, embodied vision and bodily presence. The paper concludes with a recent exhibition by the French artist Christian Boltanski, which gives a somewhat different meaning to the idea of the body voyage.
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Han, Eunjung, Chee-Onn Wong, Keechul Jung, and Kyung Ho Lee. "Emotion Gesture Art." Leonardo 43, no. 3 (June 2010): 308–9. http://dx.doi.org/10.1162/leon.2010.43.3.308.
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Emotion gesture art is a new type of user modeling and representation in a form of aesthetic art. It consists of a unique combination of color, sound and animation (shape) that in itself creates the same emotional feeling for spectators. Emotion gesture art takes the body posture expression and remaps the communication of emotions into an aesthetic representation. This paper also presents an emotion gesture art installation (eG-art), a system prototype for affective computing. This installation will allow a smart blend of a system for affective computing with aesthetic art representation.
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홍지석. "The Face and Body of Communist: Body-Representation in Contemporary North Korean Art." Journal of Korean Studies ll, no. 54 (September 2015): 233–54. http://dx.doi.org/10.17790/kors.2015..54.233.
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Cleveland, Kimberly. "Appropriation and the Body: Representation in Contemporary Black Brazilian Art." Journal of Black Studies 41, no. 2 (November 23, 2009): 301–19. http://dx.doi.org/10.1177/0021934709349458.
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Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (July 13, 2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.
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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a narrative (Venus is emerging from her bath, for example) or attempts by artists to suggest movement within static forms. The essay places Clark’s rich typology in conversation with other thinkers, such as Fredric Jameson, Erwin Panofsky, E. H. Gombrich, and Michel Foucault. The piece ends with a discussion of androgyny and hermaphroditism as they relate to the expression of gender in plastic art, especially the notion that all representations of the body necessarily include a gender spectrum within one figure. Artists whose work is looked at in some detail include Da Vinci, Michelangelo, and Donatello.
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Roper, Emily A., and José A. Santiago. "Representation of Athletic Girls on Young Adult Sport Fiction Cover Art." Women in Sport and Physical Activity Journal 29, no. 1 (April 1, 2021): 12–19. http://dx.doi.org/10.1123/wspaj.2020-0027.
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The purpose of this study was to examine how and how often athletic girls were represented on the cover art of young adult (YA) sport fiction. In this research, 154 YA sport fiction books were analyzed using quantitative content analysis. Using existing sport research and theory focused on women’s representation in sport media, the researchers developed a coding scheme to assess cover art for each of the following categories: (a) presence and racial representation of female character/s on cover; (b) portrayal of female body on cover (whole body, partial body/with head, or partial body/without head); (c) portrayal of female character as active or passive; (d) portrayal of female character in or out of athletic uniform; (e) portrayal of female character in or out of the sport setting; (f) presence of sport equipment; and (g) type of cover. Findings revealed that 81% of the book covers had a female character in which 29% of the covers displayed the whole body, 47% displayed partial body/with head, and 23% displayed partial body/with no head of the female character. Only 0.06% of the book covers had a female character of color. Approximately 31% of the female characters were displayed in active positioning, 58% in athletic attire, and 44% in the sport setting. Of the books reviewed, 55% displayed equipment on the cover. The findings indicate that athletic girls have few images on YA sport fiction cover art that accurately represent their athleticism, and there is a clear absence of diverse representation. It is critical that those responsible for the design and layout of book covers clearly represent active females in action, in uniform, and in the sport context.
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Kesić, Saša. "Theory of Queer Identities: Representation in Contemporary East-European Art and Culture." AM Journal of Art and Media Studies, no. 14 (October 15, 2017): 123. http://dx.doi.org/10.25038/am.v0i14.211.
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Starting from the general theory of identity, gender theory, queer theory and theory of bio/necropolitics, as theoretical platforms, in a few case studies I will analyze the Pride Parade as a form of manifestation of gender body and queer body representations in visual arts, and gender and queer body representations in mass media. My hypothesis is that the key for understanding the chosen case studies is in understanding the relation between their aesthetics, political and social interventions. This will consider political involvement, social injustice, alienation, stereotypes on which ideological manipulations are based etc., as well as the creative strategies used for moving the borders of visual art in searching for authentically-performed creative expressions and engagements. In the time we live it is necessary for the politicization of art to use queer tactics, which work as political strategies of subversion of every stable structure of power. Queer tactics, in my opinion, are weapons in disturbance of the stable social mechanisms, which every power tries to establish and perform over any ‘mass’, in order to transform it to race, gender, tribe, nation or class. Article received: June 6, 2017; Article accepted: June 20, 2017; Published online: October 15, 2017; Original scholarly paperHow to cite this article: Kesić, Saša. "Theory of Queer Identities: Representation in Contemporary East-European Art and Culture." AM Journal of Art and Media Studies 14 (2017): 123-131. doi: 10.25038/am.v0i14.211
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FFRENCH, PATRICK. "Belief in the Body: Philippe Garrel's Le Révélateur and Deleuze." Paragraph 31, no. 2 (July 2008): 159–72. http://dx.doi.org/10.3366/e0264833408000175.
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In Cinema II Deleuze proposes, via early film theorists, that cinema can realise the potential inherent in art to act directly on the nervous system. Cinema had the ‘sublime’ capacity to shock thought into activity, and awaken the ‘spiritual automaton’ in us through vibrations and affects, rather than representations. Deleuze finds a variant of this argument in the writings of Artaud on cinema, in which film forces the realisation of an impotence at the heart of thought. Deleuze then proposes that the only response to this impotence is belief in the connection between man and the world, as expressed and realised in a corporeal cinema of gestures, the prime example of which, in his view, is the work of Philippe Garrel. I will address Garrel's film Le Révélateur in relation to these propositions, focussing also on how the film works primarily at the level of sensory and gestural dynamics, rather than narrative or representation.
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Sardenberg, Trajano, Gilberto José Cação Pereira, Cleide Santos Costa Biancardi, Sergio Swain Müller, and Hamilton da Rosa Pereira. "Evolution of representation of the hands in plastic arts." Acta Ortopédica Brasileira 10, no. 3 (September 2002): 15–24. http://dx.doi.org/10.1590/s1413-78522002000300003.
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The interaction between art and science was high during the Renaissance and it declined later to return significantly in the 20th century, mainly with the use of identification techniques, dating of art works and the development of new materials. The relationship between plastic arts and hand surgery is intense and artistic reproductions of hands are frequent in the illustration of scientific texts. With the objective of understanding the role of the hand in plastic arts, reproductions of works of art (sculptures and paintings) representative of several periods or styles in the history of art were analyzed emphasizing the study of the hands. Anatomical details, relationship with other structures of the human body, role in the composition and symbolic aspects of the hands were studied in historical and artistic contexts of art works in the Paleolithic period (pre-history) until the 20th century. The representation of the hands in plastic arts is directly related to the style or period of the work and to the individual ability of interpretation and execution by the artist.
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Longo, Matthew R. "Implicit and Explicit Body Representations." European Psychologist 20, no. 1 (January 1, 2015): 6–15. http://dx.doi.org/10.1027/1016-9040/a000198.
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Several forms of perception require that sensory information be referenced to representations of the size and shape of the body. This requirement is especially acute in somatosensation in which the main receptor surface (i.e., the skin) is itself coextensive with the body. This paper reviews recent research investigating the body representations underlying somatosensory information processing, including abilities such as tactile localization, tactile size perception, and position sense. These representations show remarkably large and stereotyped distortions of represented body size and shape. Intriguingly, these distortions appear to mirror distortions characteristic of somatosensory maps, though in attenuated form. In contrast, when asked to make overt judgments about perceived body form, participants are generally quite accurate. This pattern of results suggests that higher-level somatosensory processing relies on a class of implicit body representation, distinct from the conscious body image. I discuss the implications of these results for understanding the nature of body representation and the factors that influence it.
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Silva Oyaneder, Vladimir. "Trascender la superficie: El cuerpo como enunciante retórico e ideológico en el documental Noticias." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (January 5, 2018): 67–83. http://dx.doi.org/10.5195/ct/2017.272.
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The text raises a critical interpretation about the representation of the body in the documentary Noticias (2009) of the Chilean directors Bettina Perut and Ivan Ossnovikof. To this end, it is emphasize on the capacity of the concept of a body without organs to destroy the intellectual reflection that has been universally hegemonic when it comes to appreciating a work of art. In this way, it is argued that the body in the analyzed film, aims to the de-hierarchization of the gaze in the intellectual act of appreciating cinematographic work. The body understood,then, as a sensitive organicity that inverts the reflection of body/intellect, shows the capacity of making a critique of the classic cinematic representation and a questioning to the ideological and social configuration in which, historically, the cinema has developed its discourse.
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Lin, Tiffany Ying-Yu, and I.-Hsuan Chen. "How Semantics is Embodied through Visual Representation: Image Schemas in the Art of Chinese Calligraphy." Annual Meeting of the Berkeley Linguistics Society 38 (September 25, 2012): 328. http://dx.doi.org/10.3765/bls.v38i0.3338.
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<p>This study aims to investigate abstract reasoning and embodied cognition through the analysis of image schemas and conceptual metaphors in the interplay of art and language. Chinese calligraphy is noteworthy due to its unique embodied characteristics and image-schematic representations of visual art and language. The art of Chinese calligraphy not only represents the visual forms of Chinese characters but also conveys meanings, emotion, and style, demonstrating the aesthetics of language and art. By analyzing image schemas and metaphors in classical works of art, this paper shows how semantics is conceptualized and embodied through visual representation of Chinese calligraphy. In this study, we examine how semantics is visualized within the topological structure of cognitive mechanisms of a CONTAINER schema, the crucial image schema that structures the conceptualization of spatial relation concepts. This paper proposes that the CONTAINER schema, the BALANCE schema, the FORCE schema, as well as the metaphors SIGNIFICANCE IS SIZE and MIND IS A BODY, which may motivate the calligrapher’s creative process, underlie the art of Chinese calligraphy.</p>
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Tamošaitis, Mantas. "Augustine’s critique of representation in arts: Confessions." Literatūra 61, no. 3 (December 20, 2019): 75–85. http://dx.doi.org/10.15388/litera.2019.3.6.
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This article is concerned with the critique of representation in art found in Augustine’s Confessions. The aim of the author is not only to reveal the fundamental influence of Plato and Aristotle on Augustine’s criticism, but to show the unique aspects of Augustine’s thought. The article considers Augustine’s critique of art in the Confessions to be three-fold: the ontological critique, the ethical (psychological) critique of intention and the critique of pagan ethos in art. The article considers the ontological critique as based on the neoplatonic dualism of body and soul as well as the platonic concept of image. Therefore Augustine considers artistic representation to be three-times removed from reality and sees the experience of God as the perfect aesthetical experience. Author states that the ethical critique considers art as a form of idolatry, which projects the innermost desires of the soul (the desire of God) onto the material pleasures of the outer world. Even though Augustine’s thinking is based on the Aristotelian concept of catharsis, the conclusions are entirely different – in Augustine’s opinion the aesthetical experience does not free the audience of its corporal appetites. Quite the contrary, the appetites get more intense. It should also be brought to the attention of the reader, that Augustine holds a certain hostility towards theatre and pagan literature as a pagan social practices. Augustine develops the thought of these Greek philosophers from the Christian point of view and bases his ethical critique of the aesthetic experience along with the critique of aesthetic practices on it. Moreover, he is more open to the concept of art as a fiction than Plato.
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Thisted, Kirsten. "De-framing the Indigenous Body. Ethnography, Landscape and Cultural Belonging in the Art of Pia Arke." Nordlit 16, no. 1 (May 1, 2012): 279. http://dx.doi.org/10.7557/13.2318.
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The article presents the Greenlandic-Danish artist Pia Arke (1958-2007) and gives readings of various of her artworks, arguing that they attempt to negotiate a postcolonial condition. Arke was fascinated by the male European explorers and their fascination with the Arctic landscape, the Inuit and, not the least, the Inuit women. "Arctic Hysteria" is one of the main metaphors she used to describe this fascination - giving a whole new meaning to this concept invented by explorers and scientists to describe a special kind of pathology by which the inhabitants of the Arctic were classified and distinguished from other people. Where so many male intellectuals have responded to the European representations with resentment and anger, Arke chooses curiosity as her main approach. What did these men see? What made them see in this way? What did the women feel? How does it feel to take upon oneself this subject position of the cultural and sexual "Other"? Thus, instead of repeating the dichotomizing constructions, as is often the outcome of "Anti-Orientalist" or "Anti-Othering" studies, Arke re-lives and thereby out-lives and deconstructs the colonial representations, leaving the stage open for new images and encounters. Arke thus addresses some of the key problems in the discussion of representation, and her work becomes an important critique not only of the colonial representations itself, but of the way in which the postcolonial response has dealt with these issues, trying to bring us further and beyond.
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Twardoch, Ewelina. "Affective Tales of the Body: Narration and Narrativity in Biological Art." Tekstualia 4, no. 43 (April 1, 2015): 91–112. http://dx.doi.org/10.5604/01.3001.0013.4248.
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The paper aims to introduce biological art projects into the fi eld of narration studies, with a focus on two examples: physiological architecture projects (including Jean-Gilles Decosterd’s and Philippe Rahm’s ‘Hormonorium’ and ‘Split time café’), which go beyond classical representation and concentrate on the hormonal dimensions or the movement of retina, trying to explore the affective aspects of the body, and the artistic experiments of Turkish artist Pinar Yoldas (‘Fabula: Origins of Species’, ‘Speculative Biologies’, ‘After Evolution’ and ‘Remembering The Future’) – sculptures, photos and instalations based on organic materials. The article combines the theory of affect, cognitive narratology, the concepts of storyworld and possible worlds, and redefi nes the terms of post-classical narratology in order to determine whether it is possible to construct a narrative beyond language, an embodied one.
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Twardoch-Raś, Ewelina. "Affective Tales of the Body: Narrative and Narrativity in Biological Art." Tekstualia 1, no. 3 (February 1, 2017): 61–80. http://dx.doi.org/10.5604/01.3001.0013.5930.
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The paper aims to introduce biological art projects into the fi eld of narration studies, with a focus on two examples: physiological architecture projects (including Jean-Gilles Decosterd’s and Philippe Rahm’s ‘Hormonorium’ and ‘Split time café’), which go beyond classical representation and concentrate on the hormonal dimensions or the movement of retina, trying to explore the affective aspects of the body, and the artistic experiments of Turkish artist Pinar Yoldas (‘Fabula: Origins of Species’, ‘Speculative Biologies’, ‘After Evolution’ and ‘Remembering The Future’) – sculptures, photos and instalations based on organic materials. The article combines the theory of affect, cognitive narratology, the concepts of storyworld and possible worlds, and redefi nes the terms of post-classical narratology in order to determine whether it is possible to construct a narrative beyond language, an embodied one.
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Barnard-Wills, Katherine, and David Barnard-Wills. "Invisible Surveillance in Visual Art." Surveillance & Society 10, no. 3/4 (December 14, 2012): 204–14. http://dx.doi.org/10.24908/ss.v10i3/4.4328.
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Contemporary art has recently started to engage with surveillance. Before this trend developed art theory had developed a rangeof approaches to understanding identity in art, sometimes borrowing from social, psychoanalytic and political theory. Art work atthe intersection of surveillance and identity tends to focus upon the representation of the human body as subject of surveillanceand bearer of identity. However, contemporary surveillance is data, categorisation and flows of information as much as it isCCTV and images of the person. There are notably fewer works of art that engage with ‘dataveillance’. This paper engages withsuch artwork as a case study for assessing the suitability of contemporary art historical theories of identity to make sense ofidentity in a surveillance society.
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Stackelberg, Katharine T. Von. "Garden Hybrids." Classical Antiquity 33, no. 2 (October 1, 2014): 395–426. http://dx.doi.org/10.1525/ca.2014.33.2.395.
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This article discusses representations of hermaphrodites in the domestic context of Roman gardens and argues that the spatial context of the hermaphrodite body is as germane to critical understanding as the intersexed body itself. The spatial and semantic interrelations between Roman gardens and hermaphrodite images focus on the dynamics of viewing hermaphrodite types in Italo-Roman art (section 1), the spatial configuration of hermaphrodites with documented findspots (section 2), Ovid's introduction of garden imagery in the tale of Salmacis and Hermaphroditus (Met. 4. 285–388) compared to the Salmakis inscription from Kaplan Kalesi at Halicarnassus (section 3), and the historical correlation to Augustan Rome's vegetative symbolism (section 4). This synthesis of material, literary, and historical evidence for hermaphrodite images indicates that their representation in Roman domestic art can be read as an expression of domestic harmony that mirrored the emphasis on heterosexual union and political concord ushered in by Augustus and Livia.
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Müller, Wolfgang G. "The body within the body: Ian McEwan’s creation of a new world in Nutshell." Frontiers of Narrative Studies 4, no. 2 (November 26, 2018): 374–92. http://dx.doi.org/10.1515/fns-2018-0029.
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AbstractThis article looks at Ian McEwan’s latest novel, Nutshell, as a great innovative contribution to narrative art. As far as its basic plot is concerned, it looks like crime fiction with Shakespearean resonances, but the choice of an unborn child as narrator and the consistent perspective from within the body of a heavily pregnant woman result in the disclosure and exploration of an entirely new world. Aspects investigated are the novel’s narrative situation, its relation to Shakespeare’s Hamlet as a reference text, the use of quotations and allusions and the representation of bodily processes and the relation between the I-narrator and the author. The ethical substance of the work is shown to be generated by its specific narrative form.
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Reason, Matthew. "Representing Soldiers to Soldiers Through Dance: Authenticity, Theatricality, and Witnessing the Pain of Others." Dance Research Journal 49, no. 2 (August 2017): 79–95. http://dx.doi.org/10.1017/s0149767717000213.
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Representations of war recur throughout art, whether celebrating the glories and heroism of conflict, or depicting its horrors and follies. This paper uses qualitative audience research to examine soldiers' own responses to the representation of soldiers in choreographer Rosie Kay's dance performance 5 Soldiers: The Body is the Frontline. This article explores how for military audiences the satisfaction of an internalized sense of authenticity allowed them to accept the performance as a legitimate representation; at the same time the presentation of war in a choreographic language meant that the performance was also abstracted, with theatrical and stylized elements that were far from authentic as a documentary. This paper proposes that it was the combination of authenticity with theatricality that generated empathetic investment and made 5 Soldiers an articulate witness to the military experience.
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Phillips, Wendy E. "Representations of the Black Body in Mexican Visual Art." Journal of Black Studies 39, no. 5 (May 29, 2007): 761–85. http://dx.doi.org/10.1177/0021934707301474.
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Gordon, Anthea. "Classifying the body in Marlene Dumas' The Image as Burden." Medical Humanities 44, no. 1 (June 19, 2017): 64–70. http://dx.doi.org/10.1136/medhum-2016-011061.
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Medical photography, and in particular dermatological imagery, is often assumed to provide an objective, and functional, representation of disease and that it can act as a diagnostic aid. By contrast, artistic conceptions of the images of the body tend to focus on interpretative heterogeneity and ambiguity, aiming to create or explore meaning rather than enact a particular function. In her 2015 retrospective exhibition at the Tate Modern, South African artist Marlene Dumas questions these disciplinary divides by using medical imagery (among other photographic sources) as the basis for her portraits. Her portrait ‘The White Disease’ draws on an unidentified photograph taken from a medical journal, but obscures the original image to such a degree that any representation of a particular disease is highly questionable. The title creates a new classification, which reflects on disease and on the racial politics of South Africa during apartheid. Though, on the one hand, these techniques are seemingly disparate from the methods of medical understanding, features such as reliance on classification, and attempts at dispelling ambiguity, bring Dumas’ work closer to the history of dermatological portraits than would usually be perceived to be the case. In considering the continuities and disparities between conceptualisations of skin in dermatology and Dumas’ art, this paper questions assumptions of photographic objectivity to suggest that there is greater complexity and interpretative scope in medical dermatological images than might initially be assumed.
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School, Veronika, and Amélie Zosso. "“You Cannot Perform Music Without Taking Care of Your Body”: A Qualitative Study on Musicians’ Representation of Body and Health." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 129–36. http://dx.doi.org/10.21091/mppa.2012.3024.
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OBJECTIVE: To identify professional musicians’ representation of health and illness and to identify its perceived impact on musical performance. METHODS: A total of 11 professional musicians participated in this phenomenological study. Five of the musicians were healthy, and the others suffered debilitating physical health problems caused by playing their instruments. Semi-structured interviews were conducted, transcribed verbatim and analysed. Thematic analysis, including a six-step coding process, was performed (ATLAS-ti 6). RESULTS: Three major themes emerged from the data: music as art, the health of musicians, and learning through experience. The first theme, music as art, was discussed by both groups; they talked about such things as passion, joy, sense of identity, sensitivity, and a musician’s hard life. Discussions of the second theme, the health of musicians, revealed a complex link between health and performance, including the dramatic impact of potential or actual health problems on musical careers. Not surprisingly, musicians with health problems were more concerned with dysfunctional body parts (mostly the hand), whereas healthy musicians focused on maintaining the health of the entire person. The third theme, learning through experience, focused on the dynamic nature of health and included the life-long learning approach, not only in terms of using the body in musical performance but also in daily life. CONCLUSIONS: The centre of a musician’s life is making music in which the body plays an important part. Participants in this study evidenced a complex link between health and musical performance, and maintaining health was perceived by these musicians as a dynamic balance. Our results suggest that learning through experience might help musicians adapt to changes related to their bodies.
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Aspinall, Peter J. "Social Representations of Art in Public Places: A Study of Everyday Explanations of the Statue of ‘A Real Birmingham Family’." Genealogy 5, no. 3 (June 22, 2021): 59. http://dx.doi.org/10.3390/genealogy5030059.
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This article focuses on the social/cultural representations of the statue of A Real Birmingham Family cast in bronze and unveiled in Britain’s second city in October 2014. It reveals a family comprising two local mixed-race sisters, both single mothers, and their sons, unanimously chosen from 372 families. Three of the four families shortlisted for the statue were ‘mixed-race’ families. The artwork came about through a partnership between the sculptress, Gillian Wearing, and the city’s Ikon Gallery. A number of different lay representations of the artwork have been identified, notably, that it is a ‘normal family with no fathers’ and that it is not a ‘typical family’. These are at variance with a representation based on an interpretation of the artwork and materials associated with its creation: that a nuclear family is one reality amongst many and that what constitutes a family should not be fixed. This representation destabilizes our notion of the family and redefines it as empirical, experiential, and first-hand, families being brought into recognition by those in the wider society who choose to nominate themselves as such. The work of Ian Hacking, Richard Jenkins, and others is drawn upon to contest the concept of ‘normality’. Further, statistical data are presented that show that there is now a plurality of family types with no one type dominating or meriting the title of ‘normal’. Finally, Wearing’s statues of families in Trentino and Copenhagen comprise an evolving body of cross-national public art that provides further context and meaning for this representation.
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TRENTIN, LISA. "Deformity in the Roman Imperial Court." Greece and Rome 58, no. 2 (September 26, 2011): 195–208. http://dx.doi.org/10.1017/s0017383511000143.
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Over the past two decades, the study of deformity and disability in the ancient world has stimulated intense scholarly debate. Recognizing a relatively unexplored body of ancient evidence, scholars have sought to reintegrate the anomalous human body (placed rather unceremoniously under the broad category of ‘Other’) into the (art-) historical record, classical scholarly consciousness, and our understanding of ancient representation more broadly. This article works towards that end, considering the representation of deformity as documented in extant literary sources of the Roman world. It will employ the hunchback as linchpin, since the figure of the hunchback has remained essentially outside this (albeit still developing) field of research.
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Elander, Maria. "Visualizing Law and Justice at the Extraordinary Chambers in the Courts of Cambodia." AJIL Unbound 114 (2020): 128–32. http://dx.doi.org/10.1017/aju.2020.20.
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The body is falling backwards, facing the sky. The hands are clasped together in a sampeah, as if in greeting, as if in prayer. For the artist of the Cambodian Tragedy Memorial, also called A ceux qui ne sont plus là (For those who are no longer here), the body “speak[s] both to and beyond individual identity.” By standing both as personal testimony of loss and “in memory of the Cambodian genocide and its impossible representation,” the memorial raises longstanding questions on the authority and limits of testimony, on representation, and, importantly for this symposium, on the relation between art and international criminal law.
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Zenovich, Jennifer A., and Shane T. Moreman. "Third Wave Feminist Analysis of a Second Wave Feminist's Art." Departures in Critical Qualitative Research 4, no. 1 (2015): 57–80. http://dx.doi.org/10.1525/dcqr.2015.4.1.57.
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A third wave feminist approach to feminist oral history, this research essay blends both the visual and the oral as text. We critique a feminist artist's art along with her words so that her representation can be seen and heard. Focusing on three art pieces, we analyze the artist's body to conceptualize agentic ways to understand the meanings of feminist art and feminist oral history. We offer a third wave feminist approach to feminist oral history as method so that feminists can consider adaptive means for recording oral histories and challenging dominant symbolic order.
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Kohring, Sheila. "Materiality, Technology, and Constructing Social Knowledge through Bodily Representation: A View from Prehistoric Guernsey, Channel Islands." European Journal of Archaeology 17, no. 2 (2014): 248–63. http://dx.doi.org/10.1179/1461957114y.0000000055.
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The role of the human body in the creation of social knowledge—as an ontological and/or aesthetic category—has been applied across social theory. In all these approaches, the body is viewed as a locus for experience and knowledge. If the body is a source of subjective knowledge, then it can also become an important means of creating ontological categories of self and society. The materiality of human representations within art traditions, then, can be interpreted as providing a means for contextualizing and aestheticizing the body in order to produce a symbolic and structural knowledge category. This paper explores the effect of material choices and techniques of production when representing the human body on how societies order and categorize the world.
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Grzinic, Marina. "The Representation of the Body Under 'Communism'." Convergence: The International Journal of Research into New Media Technologies 4, no. 2 (June 1998): 27–30. http://dx.doi.org/10.1177/135485659800400205.
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Giannachi, Gabriella. "Representing, Performing and Mitigating Climate Change in Contemporary Art Practice." Leonardo 45, no. 2 (April 2012): 124–31. http://dx.doi.org/10.1162/leon_a_00278.
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Over the last quarter-century, an increasing number of artists have been variously engaging the public in artworks addressing the anthropogenic phenomenon known as climate change. Focusing specifically on works developed in the fields of visual arts, performance and new media, and on a body of theory attempting to distinguish between terms such as nature, landscape, weather, climate and environment, this article aims to offer an exploration of how these works, by adopting, often concurrently, three strategies—representation, performance and mitigation—affect our understanding of our changing relationship to nature and climate.
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Dias, Rosário M., Maria C. Pires, Maria R. Carvalho, Helcília D. Santos, Ana Ferreira, Samir Ahmad, Isabel Ritto, and José G. Evangelista. "Art Students: Do They Really Draw What They Know about the Inner Body?" Journal of Educational and Developmental Psychology 11, no. 1 (April 27, 2021): 60. http://dx.doi.org/10.5539/jedp.v11n1p60.
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The aim of the present study was to examine seven case studies and ascertain whether the imagos internalized by students of Fine Arts, a Young Person and an Elderly Person can be reworked, after the students have been submitted to a course in Anatomy. In the present study, we have combined two methods - gathering written responses and drawings - and examined what students know about the organs they drew and used a content analysis grid to evaluate the mental representation of the interior of the body of both profiles (Young Person and Elderly Person), before and after academic training (Anatomy classes). The preliminary data collected provided a prima facie scenario for the existence of at least one sequencial comulative progression in the development of the art students drawings. However further research is needed to establish the extent to which this finding might apply beyond the tasks assigned in the present protocol.
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Jennings, Sheila. "Review of Re-Membering by Millett-Gallant." Canadian Journal of Disability Studies 4, no. 3 (October 19, 2015): 145. http://dx.doi.org/10.15353/cjds.v4i3.237.
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Re-Membering: Putting Mind and Body Back Together Following Traumatic Brain Injury is an interesting, sensitive, and thoughtful volume that will appeal to those interested in the power of disability to shape art in new and profound ways. This slim four-chapter book, written as a series of essays with illustrations, would be of interest to art students seeking to explore disability representation in the setting of a still relatively novel genre. Re-Membering would also be useful to undergraduate students interested in learning something new at the intersections of disability, impairment, art, medicine, and culture.
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Kokanović, Renata, and Meredith Stone. "Listening to what cannot be said: Broken narratives and the lived body." Arts and Humanities in Higher Education 17, no. 1 (September 27, 2017): 20–31. http://dx.doi.org/10.1177/1474022217732871.
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The core of this special issue of Arts and Humanities in Higher Education emerged from the Broken Narratives and the Lived Body conference held in 2016. The ‘Broken Narrative’ essays included in this issue open up a critical space for understanding and theorising illness narratives that defy a conventional cognitive ordering of the self as a bounded spatial and temporal entity. Here, we discuss how narratives might be ‘broken’ by discourse, trauma, ‘ill’ lived bodies and experiences that exceed linguistic representation. We trouble distinctions between coherent and incoherent narratives, attending to what gaps, silences and ‘nonsenses’ can convey about embodied illness experiences. Ultimately, we suggest that ‘breaks’ are in fact a continuation of embodied narration. This is shown in the ‘Art and Trauma’ forum of essays, which reveal how narrative silences can ‘infect’ other embodied subjects and be transformed, achieving musical or visual representation that allow us to apprehend the ‘constitutive outside’ of narratives of illness or trauma.
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Tian, Kun, Houjing Huang, Yun Ye, Shiyu Li, Jinbin Lin, and Guan Huang. "End-to-End Thorough Body Perception for Person Search." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 07 (April 3, 2020): 12079–86. http://dx.doi.org/10.1609/aaai.v34i07.6886.
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In this paper, we propose an improved end-to-end multi-branch person search network to jointly optimize person detection, re-identification, instance segmentation, and keypoint detection. First, we build a better and faster base model to extract non-highly correlated feature expression; Second, a foreground feature enhance module is used to alleviate undesirable background noise in person feature maps; Third, we design an algorithm to learn the part-aligned representation for person search. Extensive experiments with ablation analysis show the effectiveness of our proposed end-to-end multi-task model, and we demonstrate its superiority over the state-of-the-art methods on two benchmark datasets including CUHK-SYSU and PRW.
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Braidotti, Rosi. "Body‐images and the pornography of representation." Journal of Gender Studies 1, no. 2 (November 1991): 137–51. http://dx.doi.org/10.1080/09589236.1991.9960486.
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Marshall, Fiona, and Tom Pilgram. "NISP vs. MNI in Quantification of Body-Part Representation." American Antiquity 58, no. 2 (April 1993): 261–69. http://dx.doi.org/10.2307/281968.
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In an effort to understand the relative advantages and drawbacks of the minimum number of individuals (MNI) and number of identifiable specimens (NISP) for quantifying body-part representation in faunas from archaeological sites, we analyzed relations among NISP, MNI, fragmentation, and bulk density in the fauna from Ngamuriak, a Kenyan pastoral Neolithic site. Our findings suggest that MNI is at least as sensitive as NISP to effects of fragmentation. While MNI decreases with increasing fragmentation, NISP moves in two directions with fragmentation, increasing at low levels of fragmentation and decreasing at high levels of fragmentation. In addition, MNI appears more sensitive than NISP to the relative identifiability of different body parts. We believe MNI may be a less representative descriptor of relative element frequency than NISP in highly fragmented assemblages.
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Niu, Guanglin, Yongfei Zhang, Bo Li, Peng Cui, Si Liu, Jingyang Li, and Xiaowei Zhang. "Rule-Guided Compositional Representation Learning on Knowledge Graphs." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 03 (April 3, 2020): 2950–58. http://dx.doi.org/10.1609/aaai.v34i03.5687.
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Representation learning on a knowledge graph (KG) is to embed entities and relations of a KG into low-dimensional continuous vector spaces. Early KG embedding methods only pay attention to structured information encoded in triples, which would cause limited performance due to the structure sparseness of KGs. Some recent attempts consider paths information to expand the structure of KGs but lack explainability in the process of obtaining the path representations. In this paper, we propose a novel Rule and Path-based Joint Embedding (RPJE) scheme, which takes full advantage of the explainability and accuracy of logic rules, the generalization of KG embedding as well as the supplementary semantic structure of paths. Specifically, logic rules of different lengths (the number of relations in rule body) in the form of Horn clauses are first mined from the KG and elaborately encoded for representation learning. Then, the rules of length 2 are applied to compose paths accurately while the rules of length 1 are explicitly employed to create semantic associations among relations and constrain relation embeddings. Moreover, the confidence level of each rule is also considered in optimization to guarantee the availability of applying the rule to representation learning. Extensive experimental results illustrate that RPJE outperforms other state-of-the-art baselines on KG completion task, which also demonstrate the superiority of utilizing logic rules as well as paths for improving the accuracy and explainability of representation learning.
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Enwezor, Okwui. "The body in question: Whose body? ‘Black Male: Representations of Masculinity in Contemporary American Art’." Third Text 9, no. 31 (June 1995): 67–70. http://dx.doi.org/10.1080/09528829508576545.
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Kerscher, Mônica Maria, and Cláudia Regina Flores. "Mathematical Forms in the Look about the Human Body: Thought, Technique, Art and Education." Acta Scientiae 22, no. 1 (March 20, 2020): 134–50. http://dx.doi.org/10.17648/acta.scientiae.5599.
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This article is an analytical exercise on a way of thinking in which mathematics operates in the ways of representing and speaking about human body drawing. With a problematic attitude, one asks: how and where does a technique that colonize ways of representing and looking at the body in art and math activities in the classroom come from? This means analysing a modulation of look and thinking that organizes the imagetic representation of the human body, shapes the image, and orders thought, in which mathematics operates as the agent and effect of a mode of colonization. Therefore, it takes different ways of representing the body in art history, operating in a theoretical-methodological movement, with “the perspective of visuality for visualization in Mathematical Education”. Thus, other possibilities of (re) thinking with images are raised, analysing them under the bias of a decolonial mathematical thought, that is, a thought that questions and denounces the effects of truth and the hegemonic mathematical visualities. From this, then reinventing itself to re-exist in Mathematical Education.
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Fryer, Judith. "Women's Camera Work: Seven Propositions in Search of a Theory." Prospects 16 (October 1991): 57–117. http://dx.doi.org/10.1017/s036123330000449x.
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Anaked woman stands before an artist seated in front of his easel, the elegance of his hat and frock coat, his little Vandyke beard somewhat anachronistic for 1914 (Figure 1). Light molds the back of the woman's body, outlining her outstretched right arm and her bent right leg, accenting her discarded dress draped over the seat of the chair. The shadows, the dark places of her body, echo the partial covering of the representation of nature that hangs like a sign on the screen on the wall behind her. All of the conventions of the artist's studio are here, from the black-and-white tiles to the linking of woman both with nature and pet; but this is a photograph, and it documents without irony certain institutions and practices - a form of representation — that dominated “art” photography at the turn of the century. The tradition upon which this photograph, The Artist and His Model (1914) by Richard Polack, draws, and the ideology to which it subscribes, has to do with notions of power. The light that idealizes, the gaze that possesses, are not always gentle, as Foucault suggests, but sometimes as penetrating as the surgeon's knife. The context for photographs like this one would include Eadweard Muybridge's studies of “the geometry of bodies” of 1887, a series of figures in motion called Animal Locomotion (Figure 2), as well as a whole range of representations of naked human bodies, from what Martha Banta calls the “soft porn” of Clarence White's and Alfred Stieglitz's “genteel ‘art photography’” to E. J. Bellocq's photographs of Storyville prostitutes to anatomical documentary studies for ethnographic, military, and medical purposes.
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Guenther, Frank H., Daniel Bullock, Douglas Greve, and Stephen Grossberg. "Neural Representations for Sensorimotor Control. III. Learning a Body-Centered Representation of a Three-Dimensional Target Position." Journal of Cognitive Neuroscience 6, no. 4 (July 1994): 341–58. http://dx.doi.org/10.1162/jocn.1994.6.4.341.
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A neural model is described of how the brain may autonomously learn a body-centered representation of a three-dimensional (3-D) target position by combining information about retinal target position, eye position, and head position in real time. Such a body-centered spatial representation enables accurate movement commands to the limbs to be generated despite changes in the spatial relationships between the eyes, head, body, and limbs through time. The model learns a vector representation—otherwise known as a parcellated distributed representation—of target vergence with respect to the two eyes, and of the horizontal and vertical spherical angles of the target with respect to a cyclopean egocenter. Such a vergence-spherical representation has been reported in the caudal midbrain and medulla of the frog, as well as in psychophysical movement studies in humans. A head-centered vergence-spherical representation of foveated target position can be generated by two stages of opponent processing that combine corollary discharges of outflow movement signals to the two eyes. Sums and differences of opponent signals define angular and vergence coordinates, respectively. The head-centered representation interacts with a binocular visual representation of nonfoveated target position to learn a visuomotor representation of both foveated and nonfoveated target position that is capable of commanding yoked eye movements. This head-centered vector representation also interacts with representations of neck movement commands to learn a body-centered estimate of target position that is capable of Commanding coordinated arm movements. Learning occurs during head movements made while gaze remains fixed on a foveated target. An initial estimate is stored and a VOR-mediated gating signal prevents the stored estimate from being reset during a gaze-maintaining head movement. As the head moves, new estimates are compared with the stored estimate to compute difference vectors which act as error signals that drive the learning process, as well as control the on-line merging of multimodal information.
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Valera, António Carlos, and Lucy Shaw Evangelista. "Anthropomorphic Figurines at Perdigões Enclosure: Naturalism, Body Proportion and Canonical Posture as Forms of Ideological Language." European Journal of Archaeology 17, no. 2 (2014): 286–300. http://dx.doi.org/10.1179/1461957114y.0000000057.
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This paper focusses on a set of anthropomorphic figurines. It suggests that realistic human proportion and canonical body posture were pursued in the carving of these objects as a means of expressing ideology, in a context of diversified forms of manipulation of bodies in funerary practices. It is argued that, against a background of predominantly schematic art, the more realistic and canonical anthropomorphic representation of the human body was used to communicate a set of ideological statements in a more controlled and immediate way, in a period of ontological and cosmological transition.
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Coelho, Maria Luísa. "Family portrait." Diacrítica 34, no. 2 (July 31, 2020): 92–106. http://dx.doi.org/10.21814/diacritica.566.
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Helena Almeida (1934-2018) is one of the most interesting and relevant artists in Portuguese contemporary art, having produced an oeuvre of great integrity and consistency, in which the body of the artist and processes of self-representation (always in an ambivalent, subversive and transgressive relation with that same art tradition) took centre stage. Taking the work Family portrait (1979) as its starting point, this article will explore the relation Almeida had with the familiar, be it in personal, artistic or national terms, as all these dimensions of the concept cannot be dissociated from each other when we look at this artist’s oeuvre.
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Ploeger, Daniël. "Abject Digital Performance: Engaging the Politics of Electronic Waste." Leonardo 50, no. 2 (April 2017): 138–42. http://dx.doi.org/10.1162/leon_a_01159.
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Building on anthropologist Mary Douglas’s writing on the ritual function of dirt, this article presents a strategy in digital performance art that engages with electronic waste (e-waste). It is suggested that planned obsolescence in electronics is of a particular nature that facilitates the representation of consumer technologies within the logic of a “symbolic order of technological progress,” where digital devices act as mere signifiers for abstract notions of connectivity, well-being and innovation. Conceptualizing discarded electronic devices as abject technology that is positioned outside this symbolic structure, a performance practice is proposed where abject body parts and abject technologies are connected to challenge this techno-ideology.
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Spackman, Helen. "Minding the matter of representation: Staging the body (politic)." Contemporary Theatre Review 10, no. 3 (January 2000): 5–22. http://dx.doi.org/10.1080/10486800008568593.
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Coca, Diana. "Corporealities to the limit." apropos [Perspektiven auf die Romania], no. 6 (July 20, 2021): 336. http://dx.doi.org/10.15460/apropos.6.1748.
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I propose a theoretical-practical approach to the presentation and representation of the female body in artistic creation. That is, the use of the body as a space at the limit, liminal, of danger and transgression, with the consequent potentially re-signifying effects of territory and common space through art. This narration is accompanied by the dissection of the creative process in phases and its final product, where I start from my own body, as testimony, meeting place, object and subject, studying its relationship with the context in an act of defiance to patriarchal authority. In this sense, we could relate it to the de-hierarchisation and proximity to others, in an unregulated but vital encounter of desiring, non-docile subjectivities, which eroticize politics with their irruption into the public sphere, with the intention of living, creating, loving, inventing another society, another perception of the world and other value systems.
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Soares, Maria Andrea Dos Santos. "Look, blackness in Brazil!: Disrupting the grotesquerie of racial representation in Brazilian visual culture." Cultural Dynamics 24, no. 1 (March 2012): 75–101. http://dx.doi.org/10.1177/0921374012452812.
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This article experiments with collage to explore the visual representation of black people in Brazilian media, popular culture and politics, examining how these representations constitute statements regarding dynamics of racial domination. The work proposes that the introduction of disruptive elements into the very images that objectify the black body could create the necessary conditions for a valuable criticism of how blackness is disposed within the nation’s formation. The articulation with black studies in visual culture and performance, black feminism, African diaspora and post-colonial theories intends to develop analytical frames to examine the interconnection between the representational process of ‘stereotyping’, symbolic violence and anti-black ideologies in the context of the national formation narratives. Methodologically, the articulation of these fields of inquiry intends to provide tools able to highlight and disrupt the regimes of racial representation circulating in Brazilian popular culture.
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Bezzubova, O. V., P. A. Dvoinikova, and A. V. Smirnov. "School in the Soviet Painting of the 1950s: Pictorial Representation of Ideological Strategie." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 158–69. http://dx.doi.org/10.24833/2541-8831-2020-4-16-158-169.
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The main issue the paper concerns is the theoretical and cultural interpretation of the 1940- 1950s social realist art depicting the Soviet school. The study advocates for a closer attention of cultural studies to the intertwining phenomena of Soviet mundanity and politically-charged painting. Hypothetically, the interconnection could be attributed to the transformation of the Soviet culture as a whole, with the pedagogical model of Soviet school as one key institutional elements. As Soviet art represented the state political project, each topic and body served some ideological needs. Thus, the paper aims at clarifying the cultural functions school art played. The analysis is dedicated to the post-WW2 canvases, to the period of the late 1940s‒1950s in particular due to the basic shifts in socialist realist painting both in terms of form and essence, which paralleled social and political transformations. The visual studies’ approach to artistic objects adopted by the authors serves as methodological contribution to cultural studies closely connected to political history, as it highlights the ideological sources of Soviet school painting and implicit pedagogical strategies designed to implement the Soviet social policy. The article provides the examples of the most significant paintings concerning the issue. The study has revealed that the era of school art combined a significant feature of early Soviet art – monumental pathos (however, deprived of motifs connected with the Great patriotic war and the 1917 revolution) – with micro-level mundane topics, mostly labour episodes. What is particular about school as such a topic is the role this institution played in the Soviet anthropologic project. As early stages of education are proved to be the most efficient in accelerating a new type of a socialist person, a future Soviet worker, the school realm was the base of value and practices indoctrination. The state policy translated the societal needs and purposes into the art. Having examined the key ideological concepts of the Soviet culture being inherent in Soviet school painting, certain functions were discovered. School is firstly depicted just as a background of state apotheosis. Secondly, it is perceived as a sacral locus where one becomes a Soviet person is both rituals and practices. Thirdly, school art is used to explain the novel principles of constructing a new person – personal approaches combined with growing group responsibility. And, finally, all that contributes to depicting the character traits which pupils was supposed to develop at school.
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Bezzubova, O. V., P. A. Dvoinikova, and A. V. Smirnov. "School in the Soviet Painting of the 1950s: Pictorial Representation of Ideological Strategie." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 158–69. http://dx.doi.org/10.24833/2541-8831-2020-4-16-158-169.
Full textAbstract:
The main issue the paper concerns is the theoretical and cultural interpretation of the 1940- 1950s social realist art depicting the Soviet school. The study advocates for a closer attention of cultural studies to the intertwining phenomena of Soviet mundanity and politically-charged painting. Hypothetically, the interconnection could be attributed to the transformation of the Soviet culture as a whole, with the pedagogical model of Soviet school as one key institutional elements. As Soviet art represented the state political project, each topic and body served some ideological needs. Thus, the paper aims at clarifying the cultural functions school art played. The analysis is dedicated to the post-WW2 canvases, to the period of the late 1940s‒1950s in particular due to the basic shifts in socialist realist painting both in terms of form and essence, which paralleled social and political transformations. The visual studies’ approach to artistic objects adopted by the authors serves as methodological contribution to cultural studies closely connected to political history, as it highlights the ideological sources of Soviet school painting and implicit pedagogical strategies designed to implement the Soviet social policy. The article provides the examples of the most significant paintings concerning the issue. The study has revealed that the era of school art combined a significant feature of early Soviet art – monumental pathos (however, deprived of motifs connected with the Great patriotic war and the 1917 revolution) – with micro-level mundane topics, mostly labour episodes. What is particular about school as such a topic is the role this institution played in the Soviet anthropologic project. As early stages of education are proved to be the most efficient in accelerating a new type of a socialist person, a future Soviet worker, the school realm was the base of value and practices indoctrination. The state policy translated the societal needs and purposes into the art. Having examined the key ideological concepts of the Soviet culture being inherent in Soviet school painting, certain functions were discovered. School is firstly depicted just as a background of state apotheosis. Secondly, it is perceived as a sacral locus where one becomes a Soviet person is both rituals and practices. Thirdly, school art is used to explain the novel principles of constructing a new person – personal approaches combined with growing group responsibility. And, finally, all that contributes to depicting the character traits which pupils was supposed to develop at school.
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Dipti D. Patil, Dewanand A. Meshram,. "DIGITAL REPRESENTATION TECHNIQUES FOR OLFACTORY FEATURES." INFORMATION TECHNOLOGY IN INDUSTRY 9, no. 1 (March 1, 2021): 288–94. http://dx.doi.org/10.17762/itii.v9i1.131.
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Digital representation of odor has a basic principal of chemosensory organism of sensory molecules. A body organism responds to external odor environments. A body of animal/human perceives the odor in the form of molecule structure. But the questions still arises how that odor molecule is presented in the digital format. Also how it act a specific odor behavior. The mechanism used in animal/human body is to solve the problem as per thought process level. Thought process retrieve the stored molecule of odor in a visual smell. Similar concepts are carrying forward to store in a computer system with the help of electron. The system is applied to perform Machine-learned odor recognition from physico-chemical properties of volatile molecules. The properties of volatile molecules are to match the pattern of chemosensory organisms. Artificial intelligence is used to predict the molecule of smell by applying neural network. This paper focuses on the behavior of odors and its digital representation techniques for olfactory features.