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Tattoo has been transitioning to become a socially acceptable form of self expression from a stigmatized notion, and the youth are drawing images from the culturally available symbols to put together bodily appearances against conventional cultural standards. The notion associated with tattoos in the mainstream understanding is being challenged by the youth's bodily behaviour, and the widespread consumption of tattoo is breaking the stereotypes linked with the ink. The visibility of the tattoo in the popular culture represents an acceptance of tattoo as a legitimate art form by an increase in its consumption by the youth. The tattooed people started legitimizing their own tattoos by tattoo narratives that ascribe semantic meaning to their images. The identity formation of the youth through bodily comportment is enabling them to express his/her ideology through the social skin. Widespread tattoo consumption reveals how informal social control and judgments about socio-economic status play out in the realm of popular culture and personal embodiment. The current study focuses on how the youth is marking their identity with Tattoo.

This article explores the involvement of interoception in the multisensorial experience “Seeing is believing” by Australian artist Eugenie Lee. At the center of this piece is the experience of pain in the absence of tissue damage. Through cognitive manipulation, immersive experience, and elucidation, the piece involves the physical, mental, and social levels of experience and dissolves a strict separation between them. The new phenomenologies of pain enabled here, I will argue, challenge our common conceptions of health and well-being through the experience of sensorial processes and processes of sense-making that we are usually unaware of and that do not fit the ideals of healthy bodies as whole, intentional, and secluded from the environment. I will use research from cognitive science on interoception as a lens to understand how “Seeing is believing” offers a counter-conception to the flexible, productive, and medicated body of liberal capitalism. And I will think this alternative further with Gilbert Simondon’s concept of the metastable equilibrium to connect my study to the philosophical and media-theoretical discourse about individuation, our becoming of subjects.

The article discusses the temporalities that are configured around audiovisual proposals offered to early childhood as a cultural practice of upbringing. We distinguish two levels of analysis: the family dynamics in relation to these proposals and the audiovisual content offered. We conducted individual and group interviews with families in the province of Córdoba in the context of the SARS-COV-2 pandemic (2020-2021). We recover contributions from sociology, psychoanalysis, psychomotricity, philosophy and discourse analysis. We were able to recognize different configurations of the experience of shared time with others, which allowed us to analyze the ways in which meanings are interwoven according to the variations in terms of the duration structures of the contents, the chronology they propose, the type of perception that prevails and the types of regulation that they enable. These findings allow us to discuss some characterizations of temporal experience in mediatized child culture, which makes visible the fabric of the hegemonic imprint., El artículo discute las temporalidades que se configuran en torno a propuestas audiovisuales ofrecidas a las infancias tempranas como práctica cultural de crianza. Distinguimos dos niveles de análisis: la dinámica familiar en relación a dichas propuestas y los contenidos audiovisuales ofrecidos. Realizamos entrevistas individuales y grupales a familias de la provincia de Córdoba en el contexto de pandemia por SARS-COV-2 (2020-2021). Recuperamos aportes de la sociología, psicoanálisis, psicomotricidad, filosofía y análisis del discurso. Pudimos reconocer diferentes configuraciones de la experiencia del tiempo compartido con otros/as, que permitieron analizar los modos en que se entretejen sentidos según las variaciones en cuanto a las estructuras de duración de los contenidos, la cronología que proponen, el tipo de percepción que prevalece y los tipos de regulación que habilitan. Estos hallazgos permiten discutir algunas caracterizaciones de la experiencia temporal en la cultura infantil mediatizada, que visibiliza la trama de la impronta hegemónica., O artigo discute as temporalidades que se configuram em torno das propostas audiovisuais oferecidas à primeira infância como prática cultural de educação. Distinguimos dois níveis de análise: a dinâmica familiar em relação a essas propostas e o conteúdo audiovisual oferecido. Realizamos entrevistas individuais e em grupo com famílias na província de Córdoba no contexto da pandemia de SARS-COV-2 (2020-2021). Recuperamos contribuições da sociologia, da psicanálise, da psicomotricidade, da filosofia e da análise do discurso. Pudemos reconhecer diferentes configurações da experiência do tempo compartilhado com os outros, o que nos permitiu analisar as formas pelas quais os significados se entrelaçam de acordo com as variações em termos das estruturas de duração dos conteúdos, a cronologia que propõem, o tipo de percepção que prevalece e os tipos de regulação que possibilitam. Esses achados permitem discutir algumas caracterizações da experiência temporal na cultura infantil mediatizada, que torna visível o tecido da marca hegemônica.

A conversation between Gala Knörr, Nada Colectivo, and Mayte Gómez Molina, moderated by Antonio Collados. The central theme of this panel, and hence the title of these third SOBRE Encounters and the day itself, is "Current Communication Dynamics in Contemporary Art." We would like to discuss your work as cultural producers in relation to the use of social communication networks, exploring how these tools impact your practices. The first question I would pose is this: In what ways are these communication spaces on social media today modifying habits and shaping the way cultural production spaces are inhabited? How do you experience this phenomenon?, Una conversación entre Gala Knörr, Nada Colectivo y Mayte Gómez Molina, moderada por Antonio Collados. El eje fundamental de esta mesa, y de ahí el título de estos terceros Encuentros SOBRE y de la jornada, son las “Dinámicas de comunicación actuales en el arte contemporáneo”. Nos gustaría conversar sobre vuestro trabajo como productoras culturales en relación al uso de redes sociales de comunicación para pensar de qué manera se ve afectado por estas herramientas. Y la primera pregunta que os trasladaría es esa, ¿de qué manera esos espacios de comunicación que se dan hoy en las redes sociales están modificando los hábitos y la manera de habitar también el espacio de la producción cultural hoy? ¿Cómo lo vivís vosotras?

The most important challenges in assuming transformations of all kinds in the face of a global crisis is to change the bond we maintain with nature, and this involves, first of all, analyzing how we relate to humans. David Cronenberg, Julio Huayamave and David Jara share in common the performativity of their visual poetics that observe the body linked to a harmful bio-robotic notion; his allegories have an ecocritical character and are nihilistic with respect to supposed technological progress. These authors address the annulment of the human in the face of its transhuman competitor, as well as the deconfiguration of the community as an area where, at some point, we imagine redeeming ourselves and moving forward, Um dos desafios fundamentais para assumir transformações de todo tipo diante de uma crise global é mudar o vínculo que mantemos com a natureza, e isso envolve, antes de tudo, analisar como nos relacionamos com os humanos. David Cronenberg, Julio Huayamave e David Jara partilham em comum a performatividade das suas poéticas visuais que observam o corpo ligado a uma noção bio-robótica nociva; Suas alegorias têm caráter ecocrítico e são niilistas em relação ao suposto progresso tecnológico. Estes autores abordam a anulação do humano face ao seu concorrente transumano, bem como a desconfiguração da comunidade como espaço onde, em algum momento, imaginamos redimir-nos e avançar., Uno de los desafíos fundamentales para asumir las transformaciones de toda índole de cara a una crisis global es cambiar el vínculo que mantenemos con la naturaleza, y ello comporta, en primer lugar, analizar cómo nos relacionamos entre humanos. David Cronenberg, Julio Huayamave y David Jara comparten en común la performatividad de sus poéticas visuales que observan al cuerpo vinculado a una perjudicial noción bio-robótica; sus alegorías tienen un carácter ecocrítico y son nihilistas respecto al supuesto progreso tecnológico. Estos autores abordan la anulación de lo humano ante su contendiente transhumano, así como la desconfiguración de lo comunitario como ámbito donde, en algún momento, imaginamos redimirnos y avanzar.

This article analyzes Guadalupe Maravilla's work "Disease Thrower #2" through Hans-Georg Gadamer's concepts of play, symbol, and festival. Maravilla, a Salvadoran artist, blends his migratory and bodily suffering experiences, particularly his battle with cancer, into an interactive and therapeutic artistic expression. The work, focused on a sanctuary with gongs and ritualistic objects, seeks viewer participation, turning them into co-creators. Gadamer argues that play is essential in the artistic experience, and the festival represents community in its most complete form. The symbolic function of the work, playful interactivity, and the creation of a full temporality highlight its character as a social and transformative event. Together, the artwork challenges traditional art categories by merging the symbolic, playful, and festive in a multisensory experience., Este artigo analisa a obra “Dissease Thrower #2” de Guadalupe Maravilla através dos conceitos de jogo, símbolo e festa de Hans-Georg Gadamer. Maravilla, um artista salvadorenho, funde as suas experiências de migração e sofrimento corporal, especialmente a sua batalha contra o cancro, numa expressão artística interativa e terapêutica. A obra, centrada num santuário com gongos e objetos rituais, busca a participação do espectador, tornando-o cocriador. Gadamer argumenta que a brincadeira é essencial para a experiência artística e que a festa representa a comunidade na sua forma mais completa. A função simbólica da obra, a interatividade lúdica e a criação de uma temporalidade plena destacam seu caráter de acontecimento social e transformador. No seu conjunto, a obra desafia categorias tradicionais de arte ao fundir o simbólico, o lúdico e o festivo numa experiência multissensorial., Este artículo analiza la obra "Disease Thrower #2" de Guadalupe Maravilla a través de los conceptos de juego, símbolo y fiesta de Hans-Georg Gadamer. Maravilla, un artista salvadoreño, fusiona sus experiencias migratorias y de padecimiento corporal, especialmente su batalla contra el cáncer, en una expresión artística interactiva y terapéutica. La obra, centrada en un santuario con gongs y objetos rituales, busca la participación del espectador, convirtiéndolo en co-creador. Gadamer argumenta que el juego es esencial en la experiencia artística, y la fiesta representa la comunidad en su forma más completa. La función simbólica de la obra, la interactividad lúdica y la creación de una temporalidad plena destacan su carácter como evento social y transformador. En conjunto, la obra desafía las categorías tradicionales del arte al fusionar lo simbólico, lúdico y festivo en una experiencia multisensorial.

In this article, we intend to establish a dialogue among the concepts of art-technology-nature, through observation on the capacity of mushrooms to transmit photosensitive, kinetic, and organic messages; bringing closer the works of art’s curatorial process to the communicative process generated by the mycelium network. The mycelium network as a communication model that performs in works of art’s curation and the ubiquitous technology could be a way of understanding the referential phenomena that take place in artistic creation, We believe the process of artistic creation is rooted in a series of relational dynamics that, in their interaction with the contexts in which they are developed, generate curatorial proposals related in such a way that they expand various possibilities of aesthetic connection. We ask ourselves, beyond the use of technologies and referential dynamics in the field of art, which are the communication mechanisms that operate in contemporary art for producing works with conceptual and even aesthetic similarities within this specific historical-temporal framework?, Dans cet article nous cherchons à faire entrer en dialogue les concepts d’art-technologie-nature, à travers des observations sur la capacité des champignons à transmettre des messages photosensibles, cinétiques et organiques; en rapprochant le processus curatorial des oeuvres artistiques au processus de communication créé par le réseau de mycélium. Le réseau de mycélium en tant que modèle de communication qui performe dans la conservation des œuvres d’art et la technologie ubiquiste, pourrait être une manière de comprendre les phénomènes de référence qui sont menés dans la création artistique. Nous considérons que le processus de création artistique est enraciné dans une série de dynamiques relationnelles qui, dans leur interaction avec les contextes dans lesquels elles évoluent, génèrent des propositions curatoriales qui entrent en relation de telle façon qu’elles étendent d’autres possibilités de connexion esthétique. Nous nous demandons, au-delà de l’utilisation des technologies et dynamiques référentielles dans le domaine des arts, quels sont les mécanismes de communication qui opèrent dans l’art contemporain pour réaliser des œuvres avec des similitudes conceptuelles et même esthétiques, dans ce cadre historico-temporel?, Neste artigo procuramos estabelecer um diálogo entre os conceitos de arte-tecnologia-natureza, através de observações sobre a capacidade dos fungos de transmitirem mensagens fotossensíveis, cinéticas e orgânicas; aproximando o processo curatorial de obras artísticas ao processo comunicacional gerado pela rede micelial. A rede micelial, enquanto modelo comunicacional que performa na curadoria de obras de arte e na tecnologia ubíqua, poderá ser uma forma de entender os fenômenos referenciais que ocorrem na criação artística. Consideramos que o processo de criação artística está enraizado em uma série de dinâmicas relacionais que, na sua interação com os contextos em que se desenvolvem, geram propostas curatoriais que se relacionam de forma a permitir diversas possibilidades de conexão estética. Perguntamo-nos, para além do uso das tecnologias e das dinâmicas referenciais no âmbito das artes, quais são os mecanismos comunicacionais que operam na arte contemporânea para a realização de obras com semelhanças conceituais e, até mesmo, estéticas neste quadro histórico-temporal particular?, En este artículo, buscamos poner en diálogo los conceptos de arte-tecnología-naturaleza, a través de observaciones sobre la capacidad que tienen los hongos para transmitir mensajes fotosensibles, cinéticos y orgánicos; acercando el proceso curatorial de obras artísticas al proceso comunicacional generado por la red de micelio. La red de micelio como un modelo comunicacional que performa en la curaduría de obras de arte y la tecnología ubicuiscente podría ser una forma de entender los fenómenos referenciales que se llevan a cabo en la creación artística. Consideramos que el proceso de creación artística está arraigado en una serie de dinámicas relacionales que, en su interacción con los contextos en los que se desarrollan, generan propuestas curatoriales que se relacionan de tal forma que expanden posibilidades varias de conexión estética. Nos preguntamos, más allá del uso de tecnologías y dinámicas referenciales en el campo de las artes, ¿cuáles son los mecanismos comunicacionales que operan en el arte contemporáneo para la realización de obras con similitudes conceptuales e incluso estéticas, en este marco histórico-temporal particular?

A conversation between Gala Knörr, Nada Colectivo, and Mayte Gómez Molina, moderated by Antonio Collados. The central theme of this panel, and hence the title of these third SOBRE Encounters and the day itself, is "Current Communication Dynamics in Contemporary Art." We would like to discuss your work as cultural producers in relation to the use of social communication networks, exploring how these tools impact your practices. The first question I would pose is this: In what ways are these communication spaces on social media today modifying habits and shaping the way cultural production spaces are inhabited? How do you experience this phenomenon?, Una conversación entre Gala Knörr, Nada Colectivo y Mayte Gómez Molina, moderada por Antonio Collados. El eje fundamental de esta mesa, y de ahí el título de estos terceros Encuentros SOBRE y de la jornada, son las “Dinámicas de comunicación actuales en el arte contemporáneo”. Nos gustaría conversar sobre vuestro trabajo como productoras culturales en relación al uso de redes sociales de comunicación para pensar de qué manera se ve afectado por estas herramientas. Y la primera pregunta que os trasladaría es esa, ¿de qué manera esos espacios de comunicación que se dan hoy en las redes sociales están modificando los hábitos y la manera de habitar también el espacio de la producción cultural hoy? ¿Cómo lo vivís vosotras?

This thesis contributes to the fuller project of decolonization by focusing on the development of Yoga in the 20th century and up to the present. The essay considers understandings of Yoga that reinforce the dichotomous West/Non-West image of the world. It develops new research on contemporary yoga in Mexico to show the limits and distortions of this appearance. The research focuses on ensembles of yoga practices, understood as a domain of relational interaction and change, rather than as a finished form of ether non-Western or Western (translated) provenance. From this perspective, we better appreciate that overcoming the unevenness and constraints of any relation come out of the relation itself, rather than from one pole.

Tattoo has been transitioning to become a socially acceptable form of self expression from a stigmatized notion, and the youth are drawing images from the culturally available symbols to put together bodily appearances against conventional cultural standards. The notion associated with tattoos in the mainstream understanding is being challenged by the youth's bodily behaviour, and the widespread consumption of tattoo is breaking the stereotypes linked with the ink. The visibility of the tattoo in the popular culture represents an acceptance of tattoo as a legitimate art form by an increase in its consumption by the youth. The tattooed people started legitimizing their own tattoos by tattoo narratives that ascribe semantic meaning to their images. The identity formation of the youth through bodily comportment is enabling them to express his/her ideology through the social skin. Widespread tattoo consumption reveals how informal social control and judgments about socio-economic status play out in the realm of popular culture and personal embodiment. The current study focuses on how the youth is marking their identity with Tattoo.

El punt de partida de Percepcions simultànies a l'experiència física de l'espai arquitectònic neix del propòsit de saber què transmeten els espais més enllà de la seva arquitectura física. D’on prové el benestar, el malestar, l’estranyesa, la comoditat o el misteri dels llocs que recorrem i habitem? Es tracta d’un fet altament subjectiu, basat en l’experiència, o prové de les conseqüències físiques i quantificables que emanen d’aquests espais? Conèixer un espai a través d’imatges i les seves representacions no és equiparable a poder recórrer-lo i, per tant, a poder generar un vincle tridimensional amb ell. Per respondre a aquestes preguntes, aquest projecte consta d’un assaig teòric on es recullen els principis bàsics sobre fenomenologia acompanyat d’una miscel·lània de treballs que recolzen els punts presentats. En paral·lel, s’ha desenvolupat un exercici d’aproximació a diferents espais en forma de diari visual i escrit, que pretén fer un apropament més visceral i instintiu al tema presentat., El punto de partida de Percepciones simultáneas a la experiencia física del espacio arquitectónico nace del propósito de saber qué transmiten los espacios más allá de su arquitectura física. ¿De dónde proviene el bienestar, el malestar, la extrañeza, la comodidad o el misterio de los lugares que recorremos y habitamos? ¿Se trata de un hecho altamente subjetivo, basado en la experiencia, o proviene de las consecuencias físicas y cuantificables que emanan dichos espacios? Conocer un espacio a través de imágenes y sus representaciones no es equiparable a poder recorrerlo y, por lo tanto, a poder generar un vínculo tridimensional con él. Para responder a estas preguntas, este proyecto consta de un ensayo teórico donde se recogen los principios básicos sobre fenomenología, y se acompaña de una miscelánea de trabajos que respaldan los puntos presentados. En paralelo, se ha desarrollado un ejercicio de aproximación a distintos espacios en forma de dietario visual y escrito, que pretende hacer un acercamiento más visceral e instintivo al tema presentado., The starting point of Simultaneous oerceptions of the physical experience of architectural space arises from the purpose of understanding what spaces convey beyond their physical architecture. Where do the feelings of comfort, discomfort, strangeness, well-being, or mystery of the places we traverse and inhabit come from? Is it a highly subjective matter, based on experience, or does it stem from the physical and quantifiable consequences that these spaces emit? Knowing a space through images and representations is not equivalent to being able to walk through it and, therefore, to generating a three-dimensional connection with it. To answer these questions, this project comprises a theoretical essay that collects the basic principles of phenomenology, combined with a miscellany of works that support the presented points. In parallel, an exercise has been developed to approach different spaces in the form of a visual and written diary, aiming to make a more visceral and instinctive approach to the presented topic.

El objeto de este trabajo es el pensamiento de Simone de Beauvoir relativo a la corporalidad, así como sus reflexiones concernientes a la pregunta «¿qué es una mujer?» Nuestro objetivo será mostrar que la frase «no se nace mujer, se llega a serlo» ha sido erróneamente interpretada por fuentes posestructuralistas como Judith Butler, con la pretensión de reafirmar sus propios postulados. La metodología empleada en este trabajo es la hermenéutica crítica, dado que partiremos de la lectura comparada de distintas fuentes filosóficas. Butler defiende que tanto el sexo como el género son cuestiones completamente culturales y que, por tanto, las mujeres serían una construcción lingüística. En cambio, la filósofa francesa no concibe que la mujer, la hembra humana, sea reductible a un producto cultural o lingüístico. También podemos descartar de plano que Beauvoir suscriba una definición de «mujer» que se remita a su posición como sujeto subordinado de la sociedad. La filósofa francesa sostiene que, cuando la sociedad alcance la igualdad entre los sexos, las diferencias anatómicas subsistirán. Asimismo, para De Beauvoir la mujer no puede ser definida por la feminidad, puesto que esta no es un atributo de las mujeres, sino una invención del hombre que podría proyectarse incluso sobre un objeto inanimado o sobre un varón. La feminidad ha sido hecha a la medida de la hembra para mantenerla sujeta, inhibiendo el libre desarrollo de la identidad de la mujer. La conclusión que extraemos en este trabajo es que la interpretación de Butler resulta contraria a la fenomenología del cuerpo femenino que vertebra la obra de Simone de Beauvoir. La fenomenología existencialista de Simone de Beauvoir se centra en la importancia de la experiencia corporal, que es la forma humana de habitar el mundo. Para ejemplificarlo, De Beauvoir reflexionó sobre la relevancia vital de experiencias del cuerpo sexuado como las relativas a la vulva, el coito, el himen, la pubertad, las molestias de la menstrua, The object of this paper is Simone de Beauvoir’s thought concerning corporeality, as well as her reflections concerning the question «what is a woman?» Our objective will be to show that the phrase «one is not born a woman, one becomes one» has been erroneously interpreted by post-structuralist sources such as Judith Butler, with the pretension of reaffirming their own postulates. The methodology used in this paper is critical hermeneutics, since we will start from a comparative reading of different philosophical sources. Butler argues that both sex and gender are completely cultural issues and that, therefore, women are a linguistic construct. On the other hand, the French philosopher does not conceive that woman, the human female, is reducible to a cultural or linguistic product. We can also flatly rule out that De Beauvoir subscribes to a definition of «woman» that refers to her position as a subordinate subject of society. The French philosopher maintains that, when society achieves equality between the sexes, anatomical differences will persist. Likewise, for De Beauvoir, woman cannot be defined by femininity, since femininity is not an attribute of women, but an invention of man that could be projected even on an inanimate object or on a male. Femininity has been tailor-made for the female to keep her subject, inhibiting the free development of the woman’s identity. The conclusion we draw in this paper is that Butler’s interpretation is contrary to the phenomenology of the female body that underlies De Beauvoir’s work. De Beauvoir’s existentialist phenomenology focuses on the importance of bodily experience, which is the human way of inhabiting the world. To exemplify this, Simone de Beauvoir reflected on the vital relevance of experiences of the sexed body such as those related to the vulva, coitus, the hymen, puberty, the discomforts of menstruation and menopause, among others.

En este artículo propongo una lectura crítica sobre las relaciones entre soberanía y escritura en la novela Yo el Supremo, del escritor paraguayo Augusto Roa Bastos. Centrándome en las distintas alusiones y el rol desempeñado por las manos en la novela, abordo cómo la novela plantea una sofisticada revisión de la soberanía, explorando las dualidades de los cuerpos biológico y político del soberano. Sostengo que la figura del soberano se reconfigura a través de la mimetización y replicación de su letra manuscrita, tensionando la relación entre documento y ficción y propiciando la muerte del cuerpo político del soberano. Mi artículo examine cinco formas singulares de escritura correspondientes a diversos movimientos de manos en la novela que dan cuenta de las ambivalencias de la soberanía. Divido el artículo en estas cinco formas: «la mano que ordena», «la mano que (le) escribe», «las manos que (des)ordenan», «Las manos que mueven» y «La mano que borra». Estas categorías permiten demostrar cómo la figura del soberano trasciende la dualidad cuerpo biológico-cuerpo político, tal como Ernst Kantorowicz argumenta, y se configura como un ensamblaje de múltiples cuerpos, materialidades y escrituras. Este ensamblaje me permite demostrar cómo Roa Bastos supera la representación histórica de la figura del dictador como representante de la soberanía, presentando en cambio una compleja red de manos que hacen viable el poder soberano. En conclusión, sugiero cómo la posibilidad de imitar la letra del soberano resulta en la muerte de la dualidad cuerpo biológico-cuerpo político., In this article, I propose a critical reading of the relationships between sovereignty and writing in the novel «Yo el Supremo» by Paraguayan author Augusto Roa Bastos. Focusing on various allusions and the role played by hands in the novel, I delve into how the narrative offers a sophisticated review of sovereignty, exploring the dualities of the sovereign’s biological and political bodies. I argue that the figure of the sovereign is reconfigured through the mimicking and replication of its handwritten letter, which tensions the relationship between document and fiction and prompts the death of the sovereign’s political body. My article examines five singular forms of writing that correspond to various hand movements in the novel, reflecting the ambivalences of sovereignty. I divide the article into these five forms: «the hand that commands,» «the hand that (writes for) him,» «the hands that (dis)order,» «The hands that move,» and «The hand that erases». These categories demonstrate how the figure of the sovereign transcends the biological-political body duality, as argued by Ernst Kantorowicz, and is instead configured as an assemblage of multiple bodies, materialities, and writings. This assemblage allows me to demonstrate how Roa Bastos surpasses the historical representation of the dictator figure as a representative of sovereignty, instead presenting a complex network of hands that make sovereign power viable. In conclusion, I suggest how the possibility of mimicking the sovereign’s handwriting results in the death of the biological-political body duality.

La novela Trajiste contigo el viento (2022) de Natalia García Freire presenta un escenario apocalíptico en los Andes, donde las identidades de los personajes y la comunidad se resquebrajan por la irrupción fantástica del elemento sobrenatural. Se argumenta que la crisis identitaria cuestiona el sistema hegemónico de significación, lo que implica liberación, pero también, paradójicamente, desaparición. Se tratan tres elementos asociados a la identidad: el nombre, el cuerpo y el espacio. Para ello, se utiliza la propuesta sobre la identidad de Echeverría (2019), como elemento dialéctico que se funda en la diferencia entre lo humano y lo animal. Este precepto se complementa con a la noción de lenguaje de Butler (1997), según la cual hay una violencia intrínseca en la interpelación del sujeto. El análisis se enmarca en la literatura fantástica, según la conceptualizan Roas (2001) y Todorov (2001). Primero, se estudia el nombre de la protagonista, Mildred Capa, que devela que lo mestizo tiene la capacidad de escapar la significación hegemónica que ejerce violencia en la interpelación. Segundo, se analizan los cuerpos que pierden sus límites y cuestiona la integridad de la realidad y la identidad. Las llagas y las figuras espectrales son expresiones de cuerpos maleables, abyectos e irrespetuosos de los límites que impone la religión. Finalmente, se explica cómo el espacio pierde su cotidianidad en Cocuán, cuando aparece el elemento fantástico que provoca la crisis. El pueblo se deconstruye y queda en un estado original de conexión con lo primigenio, desde donde resurge. Se concluye que el elemento fantástico pone en crisis la identidad, develando su punto de origen: el estado presimbólico. La desestabilización permite una reconfiguración identitaria que desemboca en un cambio de orden o la destrucción., Trajiste contigo el viento (2022) by Natalia García Freire presents an apocalyptic setting in the Andes, where the fantastic irruption of the supernatural cracks the characters and the community’s identities. I argue that the identity crisis questions the hegemonic system of signification, which implies liberation, but also disappearance. I study three elements of identity: name, body, and space based on the proposal on the identity of Echeverría (2019), understood as a dialectical element granted on the difference between human and animal. This is complemented by Butler’s (1997) notion of language, according to which there is an intrinsic violence in the interpellation of the subject. The analysis is framed in fantastic literature, as conceptualized by Roas (2001) and Todorov (2001). The name of the protagonist, Mildred Capa, reveals that the mestizo category has the ability to flee hegemonic significance that exerts violence in interpellation. Bodies lose their limits, which questions the integrity of reality and identity. Sores and spectral figures are expressions of malleable bodies, abject and disrespectful of the limits imposed by religion. The space loses its normality in Cocuán, when the fantastic appears, causing crisis. The town is deconstructed and remains in an original state of connection with the original, from where it reappears. I conclude that the fantastic element puts identity in crisis, revealing its point of origin: the pre-symbolic state. Destabilization allows an identity reconfiguration that leads to a change of order or destruction.

This article is the result of a research project with art education teachers from four educational institutions in the city of Cali, which is framed within body studies and aims to understand the aesthetic body from the conceptions constructed from the aesthetic act of thinking about themselves. Methodologically, the research is located in the qualitative approach, specifically the socio-educational one, where the biographical method was developed under the body maps model, implementing its own data collection techniques. For the analysis and interpretation of the data, grounded theory and data triangulation were used. The article presents part of its findings, specifically the selective category, which breaks down the two conceptions that emerge: cohesion and polychromy; revealing an artist body concerning the participants. It is concluded that, in the context of the research, artistic education is not assumed by teachers who teach arts, but by artist bodies who become teachers, in a social and economic context where it is not possible to live only as artist bodies., Este artículo es el resultado de un trabajo investigativo con profesores de educación artística de cuatro instituciones educativas de la ciudad de Cali, el cual se enmarca en los estudios del cuerpo y traza como objetivo la comprensión del cuerpo estético desde las concepciones construidas a partir del acto estético de pensarse a sí mismos y sí mismas. Metodológicamente la investigación se ubica en el enfoque cualitativo, específicamente el socioeducativo, donde se desarrolló el método biográfico bajo el modelo de los mapas corporales, implementándose sus propias técnicas de recolección de datos. Para el análisis e interpretación de los datos se utilizó la teoría fundamentada y la triangulación de datos. El artículo presenta parte de sus hallazgos, específicamente la categoría selectiva, la cual desglosa las dos concepciones que emergen: la cohesión y la policromía; develándose un cuerpo artista tocante a los y las participantes. Se concluye que, en el contexto de la investigación, la educación artística no es asumida por profesores y profesoras que enseñan artes, sino por cuerpos artistas que devienen profesores y profesoras, en un contexto social y económico donde sólo como cuerpos artistas no es posible vivir.

Vital values are aspects that attract the person around health care, body and physical conditioning. In Viktor Frankl's logotherapy, the way of experiencing the body is related to spiritual issues, such as the search for meaning, which has also been addressed by the biopsychosocial-spiritual model, a holistic proposal that seeks to expand the scope of the biopsychosocial model. The objective of this article was to describe the relationship between vital values and body care, based on Frankl's approach to the spiritual dimension and the review of research on the biopsychosocial-spiritual model. Documentary research was carried out based on scientific articles and other academic texts, making use of analysis tools mediated by artificial intelligence (ATLAS.ti version 24 desktop, ATLAS.ti Web and ChatPDF). Information from research carried out in the medical-clinical field in hospitalized patients was analyzed, finding a close relationship between body care, healthy habits, well-being and spiritual categories. The scope of the biopsychosocial-spiritual model proved to be greater than those of the biopsychosocial model in the relationship between vital and spiritual issues, allowing us to understand the importance of a more integrative vision in the generation of strategies for health promotion and disease prevention in multiple contexts., Los valores vitales constituyen aspectos que atraen a la persona en torno al cuidado de la salud, el cuerpo y el acondicionamiento físico. En logoterapia de Viktor Frankl, la forma de vivenciar el cuerpo se relaciona con cuestiones espirituales, tales como la búsqueda de sentido, lo cual también ha sido abordado por el modelo biopsicosocial-espiritual, una propuesta holística que busca ampliar los alcances del modelo biopsicosocial. El objetivo de este artículo fue describir la relación entre los valores vitales y el cuidado del cuerpo, a partir del abordaje de la dimensión espiritual en Frankl y la revisión de investigaciones en torno al modelo biopsicosocial-espiritual. Se realizó una investigación documental a partir de artículos científicos y otros textos académicos, haciendo uso de herramientas de análisis mediadas por inteligencia artificial (ATLAS.ti versión 24 de escritorio, ATLAS.ti Web y ChatPDF). Se analizó la información procedente de investigaciones realizadas en el ámbito médico-clínico en pacientes hospitalizados, encontrando una estrecha relación entre el cuidado del cuerpo, los hábitos saludables, el bienestar y las categorías espirituales. Los alcances del modelo biopsicosocial-espiritual demostraron ser mayores que los del modelo biopsicosocial en la relación entre cuestiones vitales y espirituales, permitiendo comprender la importancia de una visión más integradora de cara a la generación de estrategias de promoción de la salud y prevención de la enfermedad en múltiples contextos.

[ES] La propuesta consiste en una video-instalación a base de máscaras hechas a partir de mi propio rostro. Pretendo abordar de manera introspectiva mi experiencia con la disociación y la complejidad de la identidad. La utilización de máscaras de escayola pretende visualizar la desconexión entre mente y cuerpo, fenómeno que se caracteriza por una sensación subjetiva de incertidumbre y conflicto sobre la propia identidad. Por otro lado también una sensación de atrapamiento y angustia sintiendo nuestro propio cuerpo como una jaula. Un video-montaje documentará el proceso de creación de estas máscaras, siendo una metáfora de la rutina diaria en la que me enfrento a la constante interrogante de quién soy qué identidad adoptar y cómo conciliar mi identidad con las expectativas sociales. Las repetitivas preguntas de "¿Quién soy hoy? ¿Quién quieren que sea? ¿Quién quiero ser?" reflejan la lucha interna constante y el cuestionamiento continuo de mi propia identidad. La incapacidad de ofrecer una respuesta "normal" a los estímulos sociales puede intensificar la sensación de alienación y miedo. La multiplicidad de máscaras busca resaltar la diversidad de identidades posibles, desafiando así la noción estática de la identidad personal. La instalación invita a reflexionar sobre la autenticidad y cómo las dinámicas sociales influyen en la construcción de la identidad, ofreciendo una oportunidad para la contemplación profunda de la complejidad intrínseca a la experiencia humana., [EN] The proposal involves a video installation based on masks crafted from my own face. I aim to introspectively address my experience with dissociation and the complexity of identity. The use of plaster masks seeks to visualize the disconnection between mind and body, characterized by a subjective sense of uncertainty and conflict about one's own identity, as well as a feeling of entrapment and distress, perceiving one's own body as a cage. A video montage will document the process of creating these masks, serving as a metaphor for the daily routine in which I grapple with the constant question of who I am, what identity to adopt, and how to reconcile my authenticity with social expectations. The recurring question of "Who am I today? Who they want me to be? Who I want to be?" reflects the ongoing internal struggle and continuous questioning of my own identity. The inability to provide a "normal" response to social stimuli can exacerbate feelings of alienation and fear. The multitude of masks aims to emphasize the diversity of possible identities, challenging the static notion of personal identity. The installation encourages reflection on authenticity and how social dynamics influence identity construction, providing an opportunity for deep contemplation of the inherent complexity of the human experience.

[ES] La propuesta consiste en una video-instalación a base de máscaras hechas a partir de mi propio rostro. Pretendo abordar de manera introspectiva mi experiencia con la disociación y la complejidad de la identidad. La utilización de máscaras de escayola pretende visualizar la desconexión entre mente y cuerpo, fenómeno que se caracteriza por una sensación subjetiva de incertidumbre y conflicto sobre la propia identidad. Por otro lado también una sensación de atrapamiento y angustia sintiendo nuestro propio cuerpo como una jaula. Un video-montaje documentará el proceso de creación de estas máscaras, siendo una metáfora de la rutina diaria en la que me enfrento a la constante interrogante de quién soy qué identidad adoptar y cómo conciliar mi identidad con las expectativas sociales. Las repetitivas preguntas de "¿Quién soy hoy? ¿Quién quieren que sea? ¿Quién quiero ser?" reflejan la lucha interna constante y el cuestionamiento continuo de mi propia identidad. La incapacidad de ofrecer una respuesta "normal" a los estímulos sociales puede intensificar la sensación de alienación y miedo. La multiplicidad de máscaras busca resaltar la diversidad de identidades posibles, desafiando así la noción estática de la identidad personal. La instalación invita a reflexionar sobre la autenticidad y cómo las dinámicas sociales influyen en la construcción de la identidad, ofreciendo una oportunidad para la contemplación profunda de la complejidad intrínseca a la experiencia humana., [EN] The proposal involves a video installation based on masks crafted from my own face. I aim to introspectively address my experience with dissociation and the complexity of identity. The use of plaster masks seeks to visualize the disconnection between mind and body, characterized by a subjective sense of uncertainty and conflict about one's own identity, as well as a feeling of entrapment and distress, perceiving one's own body as a cage. A video montage will document the process of creating these masks, serving as a metaphor for the daily routine in which I grapple with the constant question of who I am, what identity to adopt, and how to reconcile my authenticity with social expectations. The recurring question of "Who am I today? Who they want me to be? Who I want to be?" reflects the ongoing internal struggle and continuous questioning of my own identity. The inability to provide a "normal" response to social stimuli can exacerbate feelings of alienation and fear. The multitude of masks aims to emphasize the diversity of possible identities, challenging the static notion of personal identity. The installation encourages reflection on authenticity and how social dynamics influence identity construction, providing an opportunity for deep contemplation of the inherent complexity of the human experience.

Serena Obkircher, Masterarbeit Universität Innsbruck 2024

Technological advancements in deep learning for speech and voice have contributed to a recent expansion in applications for voice cloning, synthesis and generation. Invisibilised stakeholders in this expansion are numerous absent bodies, whose voices and voice data have been integral to the development and refinement of these speech technologies. This position paper probes current working practices for voice and speech in machine learning and AI, in which the bodies of voices are "invisibilised". We examine the facts and concerns about the voice-Body in applications of AI-voice technology. We do this through probing the wider connections between voice data and Schaefferian listening; speculating on the consequences of missing Bodies in AI-Voice; and by examining how vocalists and artists working with synthetic Bodies and AI-voices are 'bringing the Body back' in their own practices. We contribute with a series of considerations for how practitioners and researchers may help to 'bring the Body back' into AI-voice technologies.

In response to this year's conference theme of why design and the recognition of instability and uncertainty as factors influencing the future of the field, our workshop "Designing [Im]Material Inventories of Nomadic Belongings"revolves around the experiences of being a nomad in our [im]material world of various entanglements. In this space, we will share our stories through the belongings and technologies we carry and discard, problematising nomadism and impermanence as possibilities for resilience and growth. Through the use of various design methods -including collaborative inventorying, somatic noticing and material fabulations- we will unpack together our experiences of mobility in academia, speaking about the objects and affects we embrace and leave behind, the role of technology in the construction of our changing identities, and possible futures we envision for nomadism., Part of ISBN 9798400706325QC 20240725

Technological advancements in deep learning for speech and voice have contributed to a recent expansion in applications for voice cloning, synthesis and generation. Invisibilised stakeholders in this expansion are numerous absent bodies, whose voices and voice data have been integral to the development and refinement of these speech technologies. This position paper probes current working practices for voice and speech in machine learning and AI, in which the bodies of voices are "invisibilised". We examine the facts and concerns about the voice-Body in applications of AI-voice technology. We do this through probing the wider connections between voice data and Schaefferian listening; speculating on the consequences of missing Bodies in AI-Voice; and by examining how vocalists and artists working with synthetic Bodies and AI-voices are 'bringing the Body back' in their own practices. We contribute with a series of considerations for how practitioners and researchers may help to 'bring the Body back' into AI-voice technologies.

Technological advancements in deep learning for speech and voice have contributed to a recent expansion in applications for voice cloning, synthesis and generation. Invisibilised stakeholders in this expansion are numerous absent bodies, whose voices and voice data have been integral to the development and refinement of these speech technologies. This position paper probes current working practices for voice and speech in machine learning and AI, in which the bodies of voices are "invisibilised". We examine the facts and concerns about the voice-Body in applications of AI-voice technology. We do this through probing the wider connections between voice data and Schaefferian listening; speculating on the consequences of missing Bodies in AI-Voice; and by examining how vocalists and artists working with synthetic Bodies and AI-voices are 'bringing the Body back' in their own practices. We contribute with a series of considerations for how practitioners and researchers may help to 'bring the Body back' into AI-voice technologies.

SUMARIO: Introducción. 1. Santa Teresa o la visión de un mundo caballeresco e idealizado. 1.1. El mundo caballeresco: guerra, valentía y moral. 1.2 El mundo caballeresco: ideal, amor y fe incondicional. 2 Santa Teresa: un cuerpo como arsenal de dolor y comunicación con Dios. 2.1. El cuerpo como arsenal de dolor. 2.2 El Cuerpo como herramienta de comunicación con Dios. 3. Santa Teresa: un cuerpo performático liberado. 3.1. Ausencia de preconcepción dramática. 3.2. El uso del cuerpo como material. 3.3. La performance como gesto político a través de la presencia del Otro. 4. Conclusión. 5. Obras citadas. 6. Referencias bibliográficas., RESUMEN: Santa Teresa de Jesús ha sido presentada como una mujer de carácter afirmado y de salud frágil, capaz de desafiar a las autoridades con el fin de cumplir sus propósitos. Sus limitaciones corporales le permitieron hablar con Dios y seguir adelante con su proyecto: reformar la Orden del Carmelo. Estamos ante un ser influenciado por una literatura que promueve el amor idealizado, la entrega total y el sacrificio como prueba de amor, pero, a la vez convencido de que el sistema establecido y las autoridades son un impedimento a la realización de sus sueños. La Santa es símbolo de sumisión y rebelión. Intentaremos en este artículo averiguar cómo la de Ávila compaginó estos conceptos antagónicos, convirtiéndose en un referente. Para ello, analizaremos las obras de "La Guerra según Santa Teresa" (2016) de María Folguera y "Muero porque no muero, la vida doble de Teresa" (2022), de Paco Bezerra., Saint Teresa of Jesus has been presented as a woman of strong character and fragile health, capable of challenging the authorities in order to fulfill her purposes. His bodily limitations allowed him to talk to God and go ahead with his project: to reform the Order of Carmel. We are before a being influenced by a literature that promotes idealized love, total dedication and sacrifice as proof of love, but, at the same time, convinced that the established system and the authorities are an impediment to the realization of his dreams. The Saint is a symbol of submission and rebellion. In this article we will try to find out how the city of Ávila combined these conflicting concepts, becoming a benchmark. To do this, we will analyze the works of "La Guerra según Santa Teresa" (2016) by María Folguera and "Muero porque no muero, la vida doble de Teresa" (2022), by Paco Bezerra., Depto. de Estudios Románicos, Franceses, Italianos y Traducción, Fac. de Filología, Instituto del Teatro de Madrid (ITEM), TRUE, pub

Extensive literature elucidated the mechanisms underlying the ability to memorize the positions of objects in space. However, less is known about the impact that objects' features have on spatial memory. The present study aims to investigate differences in egocentric and allocentric object-location memory between hand stimuli depicted in a first-person perspective (1PP) or in a third-person one (3PP). Fifty-two adults encoded spatial positions within a virtual museum environment featuring four square buildings. Each of these buildings featured eight paintings positioned along the walls, with two pictures displayed on each of the four walls. Thirty-two stimuli were employed, which represented pictures of the right hand performing various types of gestures. Half of the stimuli depicted the hand in the 1PP, while the other half depicted the hand in the 3PP. Both free and guided explorations served as encoding conditions. Immediately after that, participants underwent a two-step object-location memory task. Participants were provided with a map of the museum and asked to identify the correct building where the image was located (allocentric memory). Then, they were presented with a schematic representation of the exhibition room divided into four sections and instructed to select the section where they thought the picture was located (egocentric memory). Our findings indicate a memory performance boost associated with egocentric recall, regardless of the perspective of the bodily stimuli. The results are discussed considering the emerging literature on the mnemonic properties of body-related stimuli for spatial memory.

Este artigo tem por objetivo apresentar os elementos fundamentais da Infância, Saúde e Corpo em uma abordagem antroplógica ao considerar a criança pequena ativa, produtora de significados e práticas culturais e não apenas como uma receptora passiva de cultura. A metodologia desenvolvida foi de abordagem qualitativa e participativa, com formação de roda de conversas e associação livre de palavras. com as profissionais de educação e com as crianças pequenas em uma creche do município de Duque de Caxias. A análise de dados foi pautada na metodologia do Discurso do Sujeito Coletivo, em conversa com a Teoria das Representações Sociais. Foi evidenciado que a perspectiva antropológica favoreceu a compreensão de que as crianças pequenas sempre têm algo a dizer a respeito de conceitos e poder-se-á conhecê-las em sua profundidade., This article aims to present the fundamental elements of Childhood, Health, and Body in an anthropological approach, considering the young child as an active participant, a producer of meanings and cultural practices, rather than merely a passive recipient of culture. The methodology employed was qualitative and participatory, involving the formation of discussion circles and free association of words with education professionals and young children in a daycare center in the municipality of Duque de Caxias. Data analysis was based on the methodology of the Collective Subject Discourse, in dialogue with the Theory of Social Representations. It was evident that the anthropological perspective facilitated the understanding that young children always have something to say about concepts, and it is possible to comprehend them in their depth., Este artículo tiene como objetivo presentar los elementos fundamentales de la Infancia, Salud y Cuerpo desde un enfoque antropológico, considerando al niño pequeño como un actor activo, productor de significados y prácticas culturales, y no solo como un receptor pasivo de cultura. La metodología utilizada fue cualitativa y participativa, con la formación de círculos de conversación y asociación libre de palabras con profesionales de la educación y niños pequeños en una guardería del municipio de Duque de Caxias. El análisis de datos se basó en la metodología del Discurso del Sujeto Colectivo, en diálogo con la Teoría de las Representaciones Sociales. Se evidenció que la perspectiva antropológica facilitó la comprensión de que los niños pequeños siempre tienen algo que decir sobre conceptos y que es posible conocerlos en su profundidad.

L'articolo analizza le diverse modalità in cui la pratica sportiva e i regimi dietetici si compongono nell’ambito del fitness per costruire una concezione della “forma” fisica che assume anche connotazioni morali. A partire dagli esiti di una ricerca etnografica condotta in una palestra del Nord Italia, si mostrerà come attraverso l’allenamento e specifici regimi alimentari, i praticanti elaborino codici e significati sociali che non devono essere compresi esclusivamente in termini normativi ma come spazi di riappropriazione del corpo in cui diventano possibili processi di soggettivazione e di attribuzione di significato talvolta resistenziali rispetto a quelli dominanti. In particolare, si analizzeranno i processi di ri-significazione degli utenti di alcune retoriche e pratiche che informano la cultura della palestra, finalizzate al raggiungimento di una condizione di “benessere” che passa attraverso l’apprendimento della capacità di “sentire il corpo”., In this paper I analyse the different ways in which sport and diet are put together in the context of fitness in order to construct a concept of physical ‘fitness’ that also takes on moral connotations. Drawing on the results of an ethnographic study in a Northern Italian gym, I will show how gym-goers elaborate social codes and meanings through training and specific dietary plans that are not exclusively normative but as spaces of reappropriation of the body that enable processes of subjectivation and meaning attribution that sometimes resist dominant ones. In particular, I will analyse the processes of re-subjectifi- cation of certain rhetorics and practices that shape gym culture in order to achieve a state of ‘wellbeing’ that comes from learning the ability to ‘feel the body’.

Contemporary environmental crises, the migration dynamics related to them, current forms of border management, and all the resulting body phenomena are areas that need a gaze capable of grasping their intersections and interactions. In recent years, anthropology has extensively inquired into these issues. What we need today is the development of an ethnographic practice capable of capturing the interactions between these domains. In this direction, we outline the contours of an environmental ethnography of the body at the borders. It is a perspective that, moving from a focus on the reconceptualizations offered by recent studies on these issues, is based on the idea that analyzing the environmental crisis and its bodily dimensions from the perspective of borders emerges as an effective revealer of issues that go far beyond what is at stake in the border areas themselves. This article describes this approach through a dual perspective: on the one hand, a state of the art in anthropological and social science studies about these issues; and, on the other, a programmatic reflection for an ongoing research program.

In this thesis, I want to analyze the Amazon Prime series “Antonia” to shed the light on the representation of the embodied subjectivity of a woman affected by endometriosis in Italy. Through a semiotic film analysis, I will explore the representation of endometriosis and the experience of a person affected by endometriosis.

This essay examines the dance pedagogical method Dance a Book together with a group of children aged four to five in preschool. The purpose is to investigate and make visible children's expressions when dance and words meet, based on children's agency in rhizome-based learning. Methodologically, this study is based on a/r/tography, which is a practical and aesthetically based research method where the researcher, through the body and own participation, can stay close to what has been investigated. Sequential analysis was used as the analysis method, which meant that analysis took place in the moment when the researcher gave instructions to the children to lead the work forward. Other documentation was logbook notes. The research results are analyzed with inspiration from some concepts in Gilles Deleuze and Felix Guattari's philosophy of immanence. Child agency was also a concept that was consistently present in the studies. The results showed, when the children have opportunities to be creative in the dance pedagogical method Dance a Book, the children express themselves with variety both verbally and physically. Through improvisation and own creativity, not only children's development in dance was made visible, but also children's acquisition of the language and understanding of the book. The creative moment also led to joyful learning. Furthermore, this essay contributes additional knowledge to the field for showing a changed way of thinking, based on the philosophy of immanence that can create new ways of doing and learning in dance practice., Den här uppsatsen undersöker den danspedagogiska metoden Dansa en bok tillsammans med en barngrupp i fyra till femårsåldern i förskolan. Syftet är att undersöka och synliggöra barns uttryck när dans och ord möts utifrån barns aktörskap i rhizomsikt lärande. Metodologiskt tar denna studie avstamp från a/r/tografi som är en praxisnära och estetik-baserad forskningsmetod där forskaren genom sin kropp och sitt egna deltagande kan hålla sig nära det som undersöktes. Som analysmetod användes sekventiell analys vilket innebar att analysen skedde direkt i forskningsstunden där forskarens instruktioner i växelspel med barnen ledde arbetet framåt. Övrig dokumentation skedde via loggboksanteckningar. Forskningsresultatet är analyserat med inspiration från några begrepp av Gilles Deleuze och Felix Guattaris immanensfilosofi. Även barns aktörskap var ett begrepp som genomgående var närvarande i studien. Resultatet visar att när barnen får möjlighet att vara kreativa i den danspedagogiska metoden Dansa en bok uttrycker sig barnen med variation både verbalt och kroppsligt. Genom improvisation och eget skapande synliggjordes inte bara barns utveckling i dans utan även barns tillägnande av språket och förståelse av boken. Den kreativa stunden ledde även till ett lustfyllt lärande. Ett ytterligare kunskapsbidrag i denna studie är att visa hur ett förändrat tänkande utifrån immanensfilosofi kan producera nya sätt för görande och lärande i danspraktiken.

Technological advancements in deep learning for speech and voice have contributed to a recent expansion in applications for voice cloning, synthesis and generation. Invisibilised stakeholders in this expansion are numerous absent bodies, whose voices and voice data have been integral to the development and refinement of these speech technologies. This position paper probes current working practices for voice and speech in machine learning and AI, in which the bodies of voices are "invisibilised". We examine the facts and concerns about the voice-Body in applications of AI-voice technology. We do this through probing the wider connections between voice data and Schaefferian listening; speculating on the consequences of missing Bodies in AI-Voice; and by examining how vocalists and artists working with synthetic Bodies and AI-voices are 'bringing the Body back' in their own practices. We contribute with a series of considerations for how practitioners and researchers may help to 'bring the Body back' into AI-voice technologies.

Through a literature review, the attention given to the body during teaching cello music performance was examined as a main topic. The objectives were to discover what the role of the body has been during teaching musical instruments; demonstrate what theoretical bases connect the body with music performance; and propose an interdisciplinary approach to integrating body knowledge with a musician's education. In conclusion, the fragmented vision of the body continues, particularly in the teaching of cello music performance. Although there are significant perspectives on body knowledge, disarticulation between them and music education may cause a limited understanding of the body while cello music is performed. During an interview, twenty-one cellists answered if they had injuries while practising. It was observed that intellectual, hearing, and motor skills were more developed during their careers than other internal skills such as body awareness or mental practice. It is important for students, to encourage body integration, which is one of the main issues at music schools. Thus, an interdisciplinary perspective of joining body and music performance could be useful to enrich music education and musicians' wellness. Keywords: Body, Cellist, Interdisciplinary, Music education, Music performance., Resumen. Una revisión de literatura en torno a la práctica del violonchelo permitió examinar el tratamiento que se le brinda al cuerpo en la enseñanza de la interpretación musical. Los objetivos más importantes fueron el descubrir cuál ha sido el papel del cuerpo en la enseñanza de los instrumentos musicales, el evidenciar las bases teóricas que relacionan al cuerpo con la interpretación musical, y el proponer la interdisciplinariedad para integrar conocimientos científicos y humanísticos en la educación musical. Aunque existen aportes significativos, se estima que los conocimientos corporales continúan ausentes en algunos ambientes educativos Particularmente en la enseñanza de la música, la desarticulación entre disciplinas y la escasez de información disponible dejan al músico sin un nivel de comprensión corporal básico para su práctica instrumental. Mediante veintiún entrevistas semiestructuradas, se evidenció la existencia de lesiones corporales en violonchelistas. Durante su formación, desarrollaron ampliamente las habilidades intelectuales, auditivas y motrices en contraste con las psíquicas y las sensoperceptivas que no se incluyen, por la ausencia de un enfoque integral. Como conclusión, es necesario ampliar la consciencia corporal por medio de una perspectiva interdisciplinaria que incorpore el bienestar del músico en su formación. Palabras clave: Cuerpo, Educación musical, Interdisciplina, Interpretación musical, Violonchelo.

In recent decades, the body has occupied an important role in theoretical analysis, it is worth saying that the body is what constitutes us and what we are. In this sense, the text seeks to resume the understanding and importance of the body from the discourse, and the bioethical contribution, in a topic as relevant as the end of life; to achieve the above, this work will address three moments: First, the category of body will be clarified from various supports to arrive at the theoretical conclusion of the importance of the same. Subsequently, in a second item, the body and total pain categories will be worked through questions pertaining to the surveys of 11 patients of the Advent- Health Hospital of Florida, to achieve a measurement of vulnerability.

This article contributes to the literature theorizing military social order, embodiment, and resistance in IR. The military institution is known to resist change, and much research have been devoted to challenges to the gendered order of the military. One area that has received little attention, however, is the reluctance of many militaries in the West to facilitate veganism during service in spite of the increasing demand for vegan food options, diversity, and sustainability. Drawing on research on the military social order and gender theory, I conduct an unpacking of conflicting elements and representations of military and vegan bodies, and theorize this reluctance as institutional resistance. Typically, the military does not offer motivations for its stance – which makes it difficult to detect and counter. As a consequence, vegans are silenced and excluded, not facilitated to enter the military. This is a challenge to increasing attempts at governing sustainability and diversity in the military.

This essay examines the dance pedagogical method Dance a Book together with a group of children aged four to five in preschool. The purpose is to investigate and make visible children's expressions when dance and words meet, based on children's agency in rhizome-based learning. Methodologically, this study is based on a/r/tography, which is a practical and aesthetically based research method where the researcher, through the body and own participation, can stay close to what has been investigated. Sequential analysis was used as the analysis method, which meant that analysis took place in the moment when the researcher gave instructions to the children to lead the work forward. Other documentation was logbook notes. The research results are analyzed with inspiration from some concepts in Gilles Deleuze and Felix Guattari's philosophy of immanence. Child agency was also a concept that was consistently present in the studies. The results showed, when the children have opportunities to be creative in the dance pedagogical method Dance a Book, the children express themselves with variety both verbally and physically. Through improvisation and own creativity, not only children's development in dance was made visible, but also children's acquisition of the language and understanding of the book. The creative moment also led to joyful learning. Furthermore, this essay contributes additional knowledge to the field for showing a changed way of thinking, based on the philosophy of immanence that can create new ways of doing and learning in dance practice., Den här uppsatsen undersöker den danspedagogiska metoden Dansa en bok tillsammans med en barngrupp i fyra till femårsåldern i förskolan. Syftet är att undersöka och synliggöra barns uttryck när dans och ord möts utifrån barns aktörskap i rhizomsikt lärande. Metodologiskt tar denna studie avstamp från a/r/tografi som är en praxisnära och estetik-baserad forskningsmetod där forskaren genom sin kropp och sitt egna deltagande kan hålla sig nära det som undersöktes. Som analysmetod användes sekventiell analys vilket innebar att analysen skedde direkt i forskningsstunden där forskarens instruktioner i växelspel med barnen ledde arbetet framåt. Övrig dokumentation skedde via loggboksanteckningar. Forskningsresultatet är analyserat med inspiration från några begrepp av Gilles Deleuze och Felix Guattaris immanensfilosofi. Även barns aktörskap var ett begrepp som genomgående var närvarande i studien. Resultatet visar att när barnen får möjlighet att vara kreativa i den danspedagogiska metoden Dansa en bok uttrycker sig barnen med variation både verbalt och kroppsligt. Genom improvisation och eget skapande synliggjordes inte bara barns utveckling i dans utan även barns tillägnande av språket och förståelse av boken. Den kreativa stunden ledde även till ett lustfyllt lärande. Ett ytterligare kunskapsbidrag i denna studie är att visa hur ett förändrat tänkande utifrån immanensfilosofi kan producera nya sätt för görande och lärande i danspraktiken.

The main theme of the text is to show the vision that education has about the body, limiting itself to technical and tactical aspects while ignoring everything that the body entails as an integration of all human capabilities. The aim is to give visibility to creative and artistic activities that, through the use of one's own body and movement, can make the teaching-learning process of Primary Education students profitable. Working through the integration of the body involves the acquisition of significant learning that helps disinhibition and expression with complete ease and autonomy of the students, allowing them to socialize with the rest of the educational community and with other people. From this perspective, a case study is presented that deals with Biodanza in the Primary Education period, showing the benefits and advantages of the implementation of artistic activities, through the body itself, in the education and learning of students. In addition, it contributes directly and positively to the health and well-being of the people who carry out this emerging discipline., Le thème principal du texte est de montrer la vision que l'éducation a du corps, se limitant aux aspects techniques et tactiques tout en ignorant tout ce que le corps implique comme intégration de toutes les capacités humaines. L'objectif est de donner de la visibilité aux activités créatives et artistiques qui, grâce à l'utilisation de son propre corps et de son mouvement, peuvent rentabiliser le processus d'enseignement-apprentissage des élèves de l'enseignement primaire. Travailler par l'intégration du corps implique l'acquisition d'apprentissages significatifs qui favorisent la désinhibition et l'expression en toute aisance et autonomie des élèves, leur permettant de socialiser avec le reste de la communauté éducative et avec d'autres personnes.Dans cette perspective, on présente une étude de cas qui traite de la Biodanza dans la période de l'enseignement primaire, montrant les bénéfices et les avantages de la mise en œuvre d'activités artistiques, à travers le corps lui-même, dans l'éducation et l'apprentissage des élèves. De plus, elle contribue directement et positivement à la santé et au bien-être des personnes qui exercent cette discipline émergente., Il tema principale del testo è quello di mostrare la visione che l'educazione ha del corpo, limitandosi agli aspetti tecnici e tattici e ignorando tutto ciò che il corpo comporta come integrazione di tutte le capacità umane. L'obiettivo è quello di dare visibilità ad attività creative e artistiche che, attraverso l'uso del proprio corpo e del movimento, possano rendere proficuo il processo di insegnamento-apprendimento degli studenti della Scuola Primaria. Lavorare attraverso l'integrazione del corpo comporta l'acquisizione di apprendimenti significativi che aiutano la disinibizione e l'espressione con completa facilità e autonomia degli alunni, permettendo loro di socializzare con il resto della comunità educativa e con le altre persone.In questa prospettiva viene presentato un caso studio che affronta la Biodanza nel periodo dell'Istruzione Primaria, mostrando i benefici e i vantaggi derivanti dall'attuazione di attività artistiche, attraverso il corpo stesso, nell'educazione e nell'apprendimento degli studenti. Inoltre, contribuisce direttamente e positivamente alla salute e al benessere delle persone che praticano questa disciplina emergente., O tema principal do texto é mostrar a visão que a educação tem sobre o corpo, limitando-se aos aspectos técnicos e táticos, ignorando tudo o que o corpo acarreta como integração de todas as capacidades humanas. Pretende-se dar visibilidade a atividades criativas e artísticas que, através do uso do próprio corpo e movimento, possam rentabilizar o processo de ensino-aprendizagem dos alunos do Ensino Básico. Trabalhar através da integração do corpo envolve a aquisição de aprendizagens significativas que facilitam a desinibição e a expressão com total facilidade e autonomia dos alunos, permitindo-lhes socializar com o resto da comunidade educativa e com outras pessoas.Nessa perspectiva, é apresentado um estudo de caso que trata da Biodança no período do Ensino Fundamental, mostrando os benefícios e vantagens da implementação de atividades artísticas, por meio do próprio corpo, na educação e aprendizagem dos alunos. Além disso, contribui direta e positivamente para a saúde e o bem-estar das pessoas que realizam esta disciplina emergente., El tema principal del texto es mostrar la visión que tiene la educación sobre el cuerpo, limitándose a aspectos técnicos y tácticos mientras se ignora todo lo que supone el cuerpo como integración de todas las capacidades humanas. Se pretende dar visibilidad a actividades creativas y artísticas que, a través de la utilización del propio cuerpo y del movimiento, se pueda rentabilizar el proceso de enseñanza-aprendizaje del alumnado de Educación Primaria. Trabajar a través de la integración del cuerpo supone la adquisición de aprendizajes significativos que ayudan a la desinhibición y expresión con total desenvoltura y autonomía de los discentes, permitiéndoles socializar con el resto de la comunidad educativa y con otras personas. Desde esta perspectiva, se presenta un estudio de casos que tratan la Biodanza en el periodo de Educación Primaria, mostrando los beneficios y ventajas que supone la implantación de actividades artísticas, a través del propio cuerpo, en la educación y el aprendizaje del alumnado. Además, se contribuye de manera directa y de forma positiva, a la salud y bienestar de las personas que llevan a cabo esta disciplina emergente.

From one's own body to relational space, from the collective body to potential space, from the potential body to expanded space. Based on three collections of art works and performances, this article delves into the exploration of the hypothesis that space is revealed to us through the body and its movement. In a methodological process of analyzing, mapping, collecting, and conversing on these collections, we can observe that space is not only a material, static and visible dimension that contains us and that happens in the here and now, but that it is also the product of loads, movements, and extensions, both of the body itself and of the relations of collective bodies. The back and forth between theoretical reflections and the study of spatial practices allows us to identify and discuss concepts such as the appearance of the trace, understood as a possibility of extending the movement of a body; the collective and the vulnerable of the body when it becomes aware of its own limits in relation to space; as well as the emergence of a common spatiality through the movement of "other" bodies., Del cuerpo propio al espacio relacional, del cuerpo colectivo al espacio potencial, del cuerpo potencial al espacio expandido. A partir de tres colecciones conformadas por obras de arte y performance, este artículo ahonda en la hipótesis de que el espacio se nos devela mediante el cuerpo y su movimiento. En un proceso metodológico entre analizar, cartografiar, coleccionar y conversar sobre dichas colecciones, podemos observar que el espacio no es tan solo una dimensión material, estática y visible que nos contiene y que sucede en el aquí y el ahora, sino que también es producto de cargas, movimientos y extensiones tanto del cuerpo propio como de las relaciones de los cuerpos colectivos. El vaivén entre reflexiones teóricas y el estudio de prácticas espaciales permite identificar y discutir conceptos como la aparición del rastro, entendiendo este como una posibilidad de extender el movimiento de un cuerpo; lo colectivo y lo vulnerable del cuerpo al hacer consciencia sobre sus propios límites en relación con el espacio; así como, el surgimiento de una espacialidad común a través del movimiento de “otros” cuerpos.

Antígona González (2012) de Sara Uribe (Querétaro, 1978) es una obra que no debe ser reducida al lenguaje jurídico y político de la denuncia y los derechos humanos sino que puede ser leída como una poética de lo sagrado. A partir de su vinculación con la Antígona de Sófocles y de la discusión con el homo sacer de Agamben, este artículo contempla Antígona González como una obra que critica el principio de soberanía y subraya la importancia del nombre y del cuerpo, en una poética sagrada de la desapropiación., Antígona González (2012) by Sara Uribe (Querétaro, 1978) is a play that cannot be reduced to the legal and political language of denunciation and human rights but can be read as a poetics of the sacred. From its link with Sophocles’ Antigone and the discussion with Agamben’s homo sacer, this article contemplates Antígona González as a play that criticizes the principle of sovereignty and underlines the importance of the name and the body, in a sacred poetics of dispossession

The aim of this article is to analyse the theme of maternity linked to pain in the most recent Spanish poetry to offer a representational panorama of the pregnant body, and to identify some of the discursive and rhetorical strategies that have guided and characterized this topic in contemporary lyric poetry. In contrast to the maternal figure of the Spanish tradition, the first twenty years of the 21st century have brought new realities and socio-cultural ways of understanding this process, which have direct repercussions on artistic creation. Thus, and integrated in the phenomenological discipline of body studies, this analysis provides the interpretative keys that allow us to differentiate the renewal of pregnancy in this period: the inclusion of intimist aspects, the autobiographical dimension, the enunciative plurivocity, and other resources that are transferred from the vital experience to the poetic space., El objetivo de este artículo es analizar la temática de la maternidad vinculada al dolor en la poesía española más reciente con el fin de ofrecer un panorama representacional del cuerpo gestante y discriminar algunas de las estrategias discursivas y retóricas que han guiado y caracterizado dicho tópico en la lírica contemporánea. Frente a la figura maternal de la tradición española, en los primeros veinte años del siglo XXI han aparecido nuevas realidades y modos socioculturales de comprender este proceso, lo que repercute, de manera directa, en la creación artística. Así, e integrado en la disciplina fenomenológica de los estudios del cuerpo, el análisis proporciona las claves interpretativas que permiten diferenciar la renovación del embarazo en este periodo: la inclusión del plano íntimo, la dimensión autobiográfica, la plurivocidad enunciativa y otros recursos que, desde la experiencia vital, se trasladan al espacio poemático.

The present article studies the last three plays of the playwriter Javier Liñera (Bilbao, 1975): Red mud (2015), What happened to Ana García? (2019) and Antonia (2021). In all of them there is an exploration of the limits of the body turned into performativity, the narrative speech gets on the stage, the telling becomes acting; times get mixed, the past affects the present, and the reality and fiction of the story are overlapped; the main characters are bodies in the periphery of the social system, which have gone through a structural violence that takes away their freedom of being subjects. In short, this is a sample of a not so well-known author, with a clear awareness of the spectacular dimension of theatre., El presente artículo pretende indagar en las tres últimas obras del dramaturgo Javier Liñera (Bilbao, 1975): Barro rojo (2015), ¿Qué fue de Ana García? (2019) y Antonia (2021). En todas ellas se da una exploración de los límites de lo somático llevado a la performatividad, el discurso diegético trasciende en escénico, haciendo que el contar lleve a actuar; los tiempos se mezclan, el pasado afecta al presente, y la realidad y la ficción del relato se superponen en un mismo plano; sus protagonistas son cuerpos en la periferia del sistema social, atravesados por una violencia estructural que les arrebata su condición de ser sujetos libres. En definitiva, se trata de una muestra de un autor no tan conocido, con una clara conciencia de la dimensión espectacular del teatro.

At the frontier of research in neuroprosthetic limb technology, experimenters are developing systems for sensory feedback (prosthetic touch). Drawing upon two years of ethnographic fieldwork chronicling neuroprosthetic clinical trials, I interpret neurostimulation experiments as a reverse-engineering: in which efforts to engineer sensory feedback recursively inform basic scientific understanding about touch itself. In this article, I analyse reverse-engineering as technoscientific practice, phenomenological experience, and mode of knowledge-making, in which gaps between natural and artificial (or ‘electric’) touch get sustained and undone. In tracing the ways touch becomes constructed, abstracted, and experienced – including through phantom sensations and syn-aesthetic description – I examine how multiple coinciding versions of touch get produced at the level of the nervous system. I analyse the consequences of this multiplicity on theorizations of human and nonhuman touch, haptic experience, and touching subjects, sustaining epistemological and ontological openness amid efforts to pinpoint touch as a site of knowledge-making.

The workshop suggests an educational experience of embodied knowledge about the animated image and an exploration into the power of the filmic dispositif in terms of the generation, perception and incorporation that is linked to the dimension of bodily experience. The filmic dispositif will be adopted as an apparatus (Barad, 2007), endowed with an agentiveness on its own capable of making "dimensions of our aisthesis habitually neutralised by our sensorial limitations and/or habits appear to our senses" (Kittler, 1986). By constructing an experience of inhabitation within the threshold (Genette, 1969), we will wonder about the limits of the body and the dialectical positioning between human and non-human creatures, giving space for the otherness of the world. The course will allow one to explore the possibility of becoming-otherthan-self as a becomingself, experiencing one's own non-being. During the workshop, excerpts from Miyazaki's film Howl's Moving Castle, containing hybrid and metamorphic body images, will be shown, enabling participants to experience a "becoming-animated" process (Bissonnette 2019). This process involves the creation of an empathic contact with the filmic image that generates affective reverberations in the subject, thereby making permeable and extending its perceptive boundaries. The participant can thus perceive the animated image in an embodied dimension, experiencing neural, sensorimotor and emotional reconfigurations. Such reconfigurations, entangled with the enactive interpretation (Varela, 1992) of the percipient's experience, can be interpreted as a breakdown that triggers a mutation of the individual's emotional and affective states, bringing about a cognitive restructuring (Barone, 1997). The animated image thus generates a sudden conjunction of something ordinary, within an animated dimension of transformation, to the bodily memory of situated experiences, which "literally raises another memory that reconfigures the present itself"

The present study aims to understand how the identity affirmation of masculinities takes place from thecorporal experience in liturgical dance in two evangelical churches in the city of Teresina-PI, Brazil. For thispurpose, this investigation involved conducting semi-structured interviews as a data collection technique,which were analyzed using the hermeneutic-dialectic method and problematized in the light of poststructuralistand cultural gender studies. The results then demonstrated that the construction of masculinitiesby the interviewed subjects occurs amid four main factors that are very recurrent in their speeches and thatconstitute the themes discussed here, such as generational conflicts, gender patterns in dance, body controland perceptions of masculinity. It was inferred, therefore, that the question is not even so much that mendance, but how they dance, in which they are inspected as to the coherence between body condition andtheir proper gendered representation of masculinity., Este estudio tiene como objetivo comprender cómo se produce la afirmación identitaria de las masculinidadesa partir de la experiencia corporal en la danza litúrgica en dos iglesias evangélicas de la ciudad de Teresina-PI, Brasil. Para ello, esta investigación implicó la realización de entrevistas semiestructuradas como técnicade recolección de datos, los cuales fueron analizados mediante el método hermenéutico-dialécticoy problematizados a la luz de los estudios posestructuralistas y culturales de género. Los resultadosdemostraron entonces que la construcción de masculinidades por parte de los sujetos entrevistados ocurreen medio de cuatro factores principales que son muy recurrentes en sus discursos y que constituyen lostemas discutidos aquí, tales como conflictos generacionales, patrones de género en la danza, control de loscuerpos y percepciones de la masculinidad. Se infirió, por lo tanto, que la cuestión no es tanto si los hombresbailan, sino cómo bailan, en lo que son inspeccionados en cuanto a la coherencia entre la condición corporaly su adecuada representación de género de la masculinidad.

En este escrito intenté retratar cómo la práctica de bhakti (como emoción) transforma el cuerpo en cuerpoyóguico y devocional dentro del corpus del grupo religioso de sahajiyā. Las manifestaciones tanto de Kṛṣṇacomo de Kṛṣṇa bhakti contribuyen al concepto a priori de la práctica tanto del bhakti, como del yoga a travésde la encarnación en sahajiyā. Con la ayuda de mi trabajo de campo (que incluye entrevistas en profundidad)y algunas explicaciones teóricas intenté desvelar cómo la realización de la verdad del cuerpo conduce a larealización de la verdad del universo a través de la práctica del bhakti que involucra al cuerpo. Bhakti necesitacuerpo. El cuerpo divino de Kṛṣṇa y los cuerpos devocionales de Kṛṣṇa bhakta-s son partes integrales desahajiyā. También traté de explicar que el discurso gauḍīya sobre la encarnación divina abarca una seriede taxonomías jerárquicas que clasifican las formas divinas de Kṛṣṇa y que prueban la existencia de Kṛṣṇacomo yogīn. También consta de una jerarquía multidimensional de ontologías, caminos y metas donde elKṛṣṇa bhakti encarnado se representa como la cima de la realización espiritual. Las ontologías jerárquicasrepresentan diferentes dimensiones de encarnación. La valorización del cuerpo yóguico, tanto teórica comoprácticamente, reformuló el concepto de cuerpo de yoga en cuerpo de yoga devocional., In this present writing I tried to portray how the practice of bhakti (as an emotion) transforms body intoboth yogic and devotional body within the corpus of the religious group of sahajiyā. The manifestations ofboth Kṛṣṇa and Kṛṣṇa bhakti contribute to the a priori concept of practice of both bhakti and yoga throughthe embodiment in sahajiyā. With the help of my field work (that includes in-depth interviews) and a fewtheoretical explanations I tried to unveil how the realization of truth of the body leads to the realization ofthe truth of the universe through the practice of bhakti involving body. Bhakti needs body. The divine bodyof Kṛṣṇa and the devotional bodies of Kṛṣṇa bhakta-s are integral parts in sahajiyā. I also tried to explain thatthe Gauḍīya discourse of divine embodiment embraces a number of hierarchical taxonomies that classify thedivine forms of Kṛṣṇa that proves Kṛṣṇa’s existence as a yogīn. It also consists of multidimensional hierarchy ofontologies, paths and goals where embodied Kṛṣṇa bhakti is represented as the acme of spiritual realization.The hierarchical ontologies represent different dimensions of embodiment. The valorization of yogic bodyboth theoretically and practically refigured the concept of yoga body into devotional yoga body.

The essay will focus on the complex relationship Grazia Toderi (Padua, 1963) has established with the photographic medium over time. Prominent in her formative years at the Academy of Fine Arts in Bologna, this relationship, although changed, has survived even when Toderi’s production focused mainly on video and immersive light installations. The suspended atmospheres of the first photographs were soon replaced by video recorded with a fixed camera in which minimal movements and ephemeral gestures become the protagonists, followed by projections in which terrestrial and celestial cartographies merge. According to this perspective and with reference to unpublished archival material, the essay will investigate the artist’s first exhibitions, in a period spanning from her participation in the Aperto ’93 section of the Venice Biennale to the personal show set up in 1998 at the Castello di Rivoli Museo d’Arte Contemporanea. The essay will provide crucial insights into: the relationship between the private and public spheres in the artist’s photographic and video practices; the presence of autobiographical elements and their mixing with references drawn from high and popular culture; the use of the body and language; the work of art as a field of confrontation/encounter among opposite energies; the critical reception of Toderi’s exhibition activity during the nineties.&nbsp

Iole de Freitas (1945) is a Brazilian artist who, escaping a totalitarian regime, set up in Milano between 1970 and 1978, initially working for Olivetti. During 1972 she began to experiment with photography and video, making short films in super 8 in color and intricate photographic series, which she exhibited for the first time in June 1973 at the Diagramma gallery, run by Luciano Inga-Pin, opening a decade filled with invitations to major exhibitions devoted to new media, body art and feminist art. Indeed, she catch the attention of the critics and curators Anne Marie Sauzeau, Romana Loda and Barbara Radice, with works that show a meticulous and slow process of analyzing her own body, thanks to the camera's eye and other reflective tools such as mirrors, metal objects and knives. They are works in which her woman-being is central, yet they escape an explicit definition of feminist art. Therefore, I propose to rethink the works of de Freitas taking into account this ambiguity, which underlies questions that have never been resolved. In addition to the international bibliography, but considering the absence of archival sources, a prolonged conversation with the artist has been vital, especially to focus on the radical change in her artistic practice upon returning to Brazil. &nbsp

This paper proposes to inquire the problem of our spatial situation in existential terms. In order to do so, we will take into account the considerations on space outlined in Martin Heidegger’s Dasein-analysis, to highlight a character of concern according to which existence unfolds as a relationship of occupation to the world. Based in Oskar Becker’s descriptions, we will ask whether an inclusion of phenomenon of body can contribute to an understanding of our particular «being in a place». An answer will be sketched by characterizing the sensible qualities in terms of an exhortative «speak of themselves» and by conceiving our body as a possibility of listening to the exhortation of singulars things. Thus, by establishing a strong unity between spatial situation, exhortation of sensitive qualities and body as possibility of allowing itself to live in them, we will attempt to go beyond Heidegger’s indications in order to propose a concrete understanding of our existential possibility of taking places., El presente artículo propone indagar el problema de nuestra ubicación espacial en términos existenciales. Para ello atenderemos a las consideraciones del espacio planteadas en la analítica del Dasein de Martin Heidegger, destacando un carácter de concernimiento según el cual el existir se despliega en cuanto relación ocupada con el mundo. Atendiendo a las descripciones de Oskar Becker, se planteará la pregunta si acaso una inclusión del fenómeno del cuerpo puede contribuir a una comprensión de nuestro particular «hallarnos en un lugar». Una respuesta será esbozada realizando una caracterización de las cualidades sensibles en términos de un exhortativo «hablar de ellas mismas» y planteando nuestro ser cuerpo como posibilidad de escuchar la exhortación de las cosas singulares. Así, estableciendo una íntima unidad entre ubicación espacial, exhortación de las cualidades sensibles y el cuerpo como posibilidad de dejarse vivir en ellas, intentaremos ir más allá de los índices heideggerianos para proponer una comprensión concreta de nuestra posibilidad existencial de ocupar espacios.

Advances in intimate care technologies and on-body wearables are disrupting how and where we think about and care for our bodies. The boundaries between private and public are increasingly porous. This offers new sites for studying intimate care as technology-use-inpractice. We present a qualitative study on the use of breast pumps in the workplace, based on semi-structured interviews with 19 individuals. Through this, we contribute an illustration of the complexities in carrying out intimate care work at the workplace and what it means to be pumping at the workplace. Our analysis unpacks (in)visibility as a crucial tension in the use of breast pumps in the workplace. We discuss how (in)visibility of personal medical devices plays a mediating role in how individuals exercise bodily rights, and the norms of who fits into professional settings., Part of ISBN 9781450394215QC 20231115

The introduction of plus-size models in high fashion has been a highly discussed topic in recent years. Plus-size female models are slowly breaking their way through the boundaries of fashion’s standard for thinness and this can be observed through their visibility within major runway shows. However, this change does not seem as prevalent within high fashion menswear shows since plus-size men are barely being included. Nevertheless, plus-size men exist and fashion can no longer choose to ignore them as they deserve to be acknowledged and represented. Therefore, the purpose of this thesis is to include the plus-size male body within the scope of fashion. A multimethodological approach, combining critical visual analysis, semi-structured interviews and critical theory by Susan Bordo, Michel Foucault and Pierre Bourdieu are used as a way to examine to what extent plus-size men are being included in high fashion, and how this influences the field of fashion. The outcome of the visual analysis reveals that there is still a large lack of inclusion of plus-size men. Furthermore, the field analysis reveals that there is an imbalance within the current field of fashion, and this is one of the main reasons why there is a lack of inclusion of plus-size men within (high) fashion.