The body at close range: volume and the unlistenable in Catherine Breillat's Anatomy of Hell -- Sonic subjection: Gaspar Noé's Irreversible and the dystopian limits of the resonant body -- A stranger everywhere: the écho-monde of Tony Gatlif's Exiles -- Feedback, asynchronicity, and sonic sociabilities: Arnaud des Pallière's Adieu -- Listening at the limit: non-human noise in Lars von Trier's Antichrist -- Listening to things: Foley as "alien phenomenology" and Peter Strickland's Berberian sound studio.

Norbert Elias’s project in The process of civilization involved reconstructing invisible movement—both the slow tempoof long-term historical change and the modification of psychic structures and embodied dispositions. To do this, he resorted to uncommon devices: treating historical texts as constituting a series amenable to a rudimentary discourse analysis, he constructed an imagined ‘curve of civilization’ serving as an approximation of the hidden process of change. Elias’s curve was not supposed to represent single past states, but movement itself, its direction and (...) pace. This novel concept of historical representation was related to the perception of cinema as a new medium making actual movement visible. But beyond making it possible to imagine how one could telescope long-term historical process, cinema also held the promise of serving as a microscope, making the minute movements of the human body, gestures and manners available for close inspection. While anthropologists were devising ways of using the new medium to document fleeting gestures and bodily postures, it was used by popular audiences as a source for remodelling behaviour and acquiring polite manners and body techniques, as noticed by such acute observers as Marcel Mauss and Joseph Roth. Hence, popular appropriation of the cinema gave rise to a heightened awareness of the historicity of gestures and the changing modalities of their transmission. Cinema was itself part of the accelerated motion of history, of a perceived change of pace in the process of civilization, which in its turn shed light on its historical antecedents and played an essential role in rethinking the notion of civilization and culture.Keywords: Norbert Elias; Marcel Mauss; Joseph Roth; Cinema; Gestures; Body; Discourse; Historiography; Sociology of culture. (shrink)

Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about the (...) human self and our interaction with the world. Apart from these well-known science fiction epics, her analysis also draws on recent works, such as Inception, The Thirteenth Floor, eXistenZ, Aeon Flux, Total Recall (2012), Transcendence and TRON: Legacy. These films stimulate an engaging discussion on what makes us human, the role memory plays in understanding ourselves, and how virtual realities challenge the moral concepts that govern human relationships. (shrink)

This collection examines the peculiarly modern phenomena of voyeurism as it is experienced through the digital screen. Violence, voyeurism, and power populate film more than ever, and the centrality of the terrified body to many digital narratives suggests new forms of terror and angst, where bodies are subjected to an endless knowing look. The particular perils of the digital age can be seen on, by, and through screen bodies as they are made, remade, represented, and used. The essays in (...) this book examination the machinations of voyeurism in the digital age and the realization of power through digital visual forms. They look at the uses of power over the female body, at the domination and repression of women through symbolic violence, at discourses of power as they are played out onscreen, and at how the digital realm might engage the active/passive dichotomy in new ways."-Provided by publisher. (shrink)

The horror and psychological denial of our mortality, along with the corruptibility of our flesh, are persistent themes in drama. Body horror films have intensified these themes in increasingly graphic terms. The aesthetic of body horror has its origins in the ideas of the Marquis de Sade and the existential philosophies of Arthur Schopenhauer and Friedrich Nietzsche, all of whom demonstrated that we have just cause to be anxious about our physical reality and its existence in the world. (...) This book examines the relationship between these writers and the various manifestations of body horror in film. The most characteristic examples of this genre are those directed by David Cronenberg, but body horror as a whole includes many variations on the theme by other figures, whose work is charted here through seven categories: copulation, generation, digestion, mutilation, infection, mutation, disintegration and extinction. (shrink)

This paper aims to establish that, for Aristotle, the state of the physical body is crucial to the human capacity for theoretical understanding. In recent years, scholars have begun to recognise the importance of Aristotle’s biological writings for understanding his psychology, after the relative neglect of these connections. The relevance in particular of the so-called Parva naturalia, small works on what is common to body and soul, and the De motu animalium, a work devoted to animal (...) class='Hi'>motion in broad terms, has begun to fill in the picture of how the living body is involved in cognition. This paper will support this point of view by adding the De generatione animalium, a work which gives an account of the advent of soul capacities through the development of the body from the blood, under the control of the nutritive soul. An Aristotelian science of human physiology is a study of the “thinking body”, a person as a whole rather than disembodied nous. I will first set out factors that have made it difficult to integrate Aristotle’s biological treatises into our understanding of human thinking. Next, I will distinguish the thinking shared with other animals, from theoretical understanding, which is something only humans can achieve. I will then explain the aspects of the body that must facilitate and eventually bring about the capacity for thinking, before turning to Aristotle’s embryology where nutritive soul is ultimately responsible for the construction and maintenance of the thinking body. It will be concluded that only a human body leads to theoretical understanding and only a healthy human body can do so adequately. (shrink)

Thomas Lynch, called "a cross between Garrison Keillor and William Butler Yeats" (New York Times), reminds us not only of how we die but also of how we live. "The facts of life and death remain the same. We live and die, we love and grieve, we breed and disappear. And between these existential gravities, we search for meaning, save our memories, leave a record for those who will remember us." So writes Thomas Lynch, poet and funeral director, and author (...) of the highly praised The Undertaking, winner of an American Book Award and finalist for the National Book Award, as he continues to examine the relations between the "literary and mortuary arts." The essays assembled here explore the human condition at the intersection of millennia, beleaguered by choices and changes, encumbered by merger and acquisition, numbed by maths and technologies, in search of the meaning of life and time, our lives and times. Lynch tenders life and times--sextons, muckrakers, clergy, caskets, condoms, loved poems, a hated cat, the mall, Main Street. In an age that seeks to define human experience in retail, high-tech, or pop-psyche terms, these essays speak to the existentials: between being human and ceasing to be, between birth and death, we are bodies in motion and at rest. (shrink)

Explores the encounter between Emmanuel Levinas' ethical thought and aesthetic realisms of the body.

A new take on our bio-cultural evolution explores how the "inner theatre" of the brain and its "animal-human stages" are reflected in and shaped by the mirror of cinema. Vampire, werewolf, and ape-planet films are perennial favorites—perhaps because they speak to something primal in human nature. This intriguing volume examines such films in light of the latest developments in neuroscience, revealing ways in which animal-human monster movies reflect and affect what we naturally imagine in our minds. Examining (...) specific films as well as early cave images, the book discusses how certain creatures on rock walls and movie screens express animal-to-human evolution and the structures of our brains. The book presents a new model of the human brain with its theatrical, cinematic, and animal elements. It also develops a theory of "rasa-catharsis" as the clarifying of emotions within and between spectators of the stage or screen, drawing on Eastern and Western aesthetics as well as current neuroscience. It focuses on the "inner movie theater" of memories, dreams, and reality representations, involving developmental stages, as well as the "hall of mirrors," ape-egos, and body-swapping identifications between human beings. Finally, the book shows how ironic twists onscreen—especially of contradictory emotions—might evoke a reappraisal of feelings, helping spectators to be more attentive to their own impulses. Through this interdisciplinary study, scholars, artists, and general readers will find a fresh way to understand the potential for interactive mindfulness and yet cathartic backfire between human brains—in cinema, in theater, and in daily life. (shrink)

This chapter focuses on the human body and how it falls out of Spinoza's physical picture in a natural way that it is a modification of something more fundamental. Spinoza's further view that the human mind is Substance's understanding of the universe when restricted to the human body implies that the mind, too, is a modification of something more basic, namely, Substance's thought. The appearance of a human body in Spinoza's plenum is merely (...) the emergence of a new pattern of motion and rest within Extension. The Aristotelian thesis that the real definition of a human being is rational animal may sound to us too “logical” or “formal” to count as a piece of natural philosophy, a piece of natural science. Spinoza's view that finite things depend on the invariant structure of some more basic order brings his natural philosophy much closer to ours than to Aristotelian natural philosophy. (shrink)

The two essays in the volume follow a long tradition in critical discourse that turns to Art's domain as a source of inspiration, instruction, and as material for the construction of its concepts and the development of its problems. The case study of Suite Grunewald, 159+1 variations, by the artist Titus-Carmel, returns to a subject that has been eclipsed in past decades by the imperative to remember: namely, the creation of the new as an event, or rather, the event of (...) the new as creation. This is an especially vexatious problem following, on the one hand, the massive displacement of the subject as the author and creator of its works and, on the other, the introduction of the influential Deleuzian-Bergsonian notion of the new as immanent continuity rather than - as the commonsense notion would have it - a rupture, interruption, and discontinuity. The first essay develops this problematic by working alongside with Titus-Carmel variations / deconstruction of Grunewald's original painting of the "Crucifixion" as an exemplary site where the creation of the new - at once incalculable and necessary - finds a living and urgent expression. The second essay stages an encounter and sets free the resonances between the writing of Jean-Luc Nancy on and around the "body" and the cinema of Claire Denis as a cinema that mobilizes the force of bodies that it itself invents, and to which it gives a unique form of presence. (shrink)

Introduction. Flesh and its reversibility ; Defining the baroque ; 'Good looking' ; A cinema of baroque flesh -- 1. Flesh, cinema and the baroque : the aesthetics of reversibility. Baroque vision and painting the flesh ; Baroque flesh ; Analogous embodiments : the film's body ; Baroque vision and cinema ; Summation : face to face-feeling baroque deixis -- 2. Knots of sensation : co-extensive space and a cinema of the passions. Synaesthesia, phenomenology, and the senses ; Cinesthesia (...) and the Bel composto ; A passionate baroque : emotion, excess, and co-extensive space ; Assault and absorption : cruel baroque ; Summation : beside oneself -- 3. Baroque skin/semiotics. Chiasm : language and experience ; Baroque poetic language and the seventeenth-century infinite ; Baroque luxury ; Skin-deep : baroque texturology ; Tickles : baroque wit ; Summation : cine-mimesis -- 4. One hand films the other : baroque haptics. Touching-touched ; Haptic visuality and the baroque ; Baroque haptics and cinema ; Analogical assemblages : Baroque databases ; Summation: TEXXTURE -- Conclusion : or the baroque 'Beauty of the act'. (shrink)

Plusieurs épreuves peuvent être engagées avec l’image, depuis les "devinettes" du Sphinx auxquelles répond brillamment Oedipe jusqu’à la panique télévisuelle que déclenche l’entrée en eau d’Éric Moussambani aux jeux Olympiques de Sydney. Chacune des épreuves prises en compte dans cet ouvrage implique la mise en relation de l’image et du corps. Cet ouvrage se propose de mener une enquête pour tenter de comprendre comment, pour faire-image, un corps doit s’insérer dans une nouvelle configuration du sensible, à partir d’un choix d’objets (...) issus du théâtre, de la littérature, de la philosophie, du cinéma et de la télévision. Depuis Oedipe jusqu’aux Monty Pythons, de La Bruyère à Hrundi V. Bakshi, le héros du film The Party, de Blake Edwards, avec les traités de Balzac, de Barbey d’Aurevilly ou de Marcel Mauss, une "épreuve de l’image" se précise dans une nouvelle transaction des corps et de l’espace, où se déploient également de nouvelles puissances des corps. (shrink)

Introduction: sport and the event -- Ron Artest: the black body at rest (Alain Badiou) -- Eric Cantona: the body in motion (Gilles Deleuze) -- Zinedine Zidane: coup de boule (Jacques Derrida) -- Epilogue: being, event, and the philosophy of sport.

In an age characterised by an increasing integration of advanced technology into our everyday lives, posthumanism has developed into a major intellectual force. It affects research agendas, economic developments, social policies, philosophical theories, and ultimately the way we understand ourselves. This handbook provides a comprehensive overview of the various aspects of posthumanism and how they are represented, discussed and exemplified in the cultural medium of film and television. Understood broadly as any critical engagement with the possibility that the human (...) condition is no longer a given, that it is more fluid than we once thought, and that we are, or will soon be, free to remould our constitutive framework and value systems, posthumanism is the next step in critical engagement in the humanities. It reflects upon the malleability of the human condition and acknowledges the fact that we are no longer the beings we thought we were, and that perhaps we never were. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Breath of Fresh Air:Or, Why the Body is Not Embodied1Tim Ingold (bio)One of the more irritating affectations of much recent writing in the humanities and social sciences is the habit of inserting the word "embodied" in front of the topic in question, as though by doing so the specter of binary thinking could be magically exorcised. Almost anything, it seems, can be embodied–the mind, consciousness, experience, knowledge, (...) skills, practices, the self, meaning. If there is one thing that cannot be embodied, however, it is the body itself. At first glance, the phrase "embodied body" looks like a simple case of tautology, of saying the same thing twice. "How can a body not be embodied?" you will protest. "It's the embodiment that makes it a body!" But on second thought, the matter is not so straightforward. For if the body is the predicate of a process of embodiment–if it comes after embodiment, so to speak–then all the other things we claim can be entered into the process must come before it. Thus, the dualism of mind and body, to take just one example, is still there, just as categorical as it ever was, but it no longer equates to a schism between ideal and material worlds. It is, rather, a matter of separating what is poured into the funnel of embodiment from what is extruded at the other end of it. It is a division between what goes in, and what comes out. Only things that go in can be embodied. The body, since it comes out of the process, cannot.A body, however, if it is to remain alive, has to breathe. Does it make sense, then, to regard breathing as a practice of embodiment, or to add breath to the list of things that can be embodied? That a body breathes goes without saying; that breath is thereby embodied is another matter entirely. Fundamental to breathing is the rhythmic alternation of air going in, and air coming out. Perhaps there's a sense in which breath is embodied on the inhalation, as air is drawn into the oxygenating process essential to bodily metabolism. But the release of air on the exhalation seems like the reverse, since it serves to expel gases–principally carbon dioxide–which in concentration would be lethal. If your body absorbs as you breathe in, it exudes as you breathe out. Embodiment, then, catches only half the picture, minus its complement of vaporization. Likewise, with [End Page 100] the body itself we have only half of the living being: the fleshy part. The other, gaseous part is normally invisible, though under certain conditions it can be seen, for example in a room full of smokers, in which everyone is wreathed in a haze, or when it is very cold, causing the warm, humid air issuing from the lungs to condense into a little cloud. As vaporization appears to be the complement of embodiment, so the cloud, whether of tobacco smoke or condensed moisture, seems to complement the body made up of flesh and blood.In the Western world there is a long tradition of prioritizing body over breath. This is consistent with an ontology of naturalism that tends to put the being of things before their becoming, as though everything there is had already precipitated out into bodies of one form or another, which have then to be set in motion in order to have the effects they do. Among many so-called Indigenous peoples, however, most especially those credited by anthropological observers with an ontology of animism, this priority is reversed. For them the vital complement of the living being wafts in smoke and resonates in song, whereas the bodily complement is but an ephemeral, almost ghostly appearance.2 Although a comparison of Western and animic ontologies might appear to lend support to the thesis of complementarity, pitching western naturalists into a world of bodies and indigenous animists into a world of vapors–both demi-worlds which, if only they could be combined, would make a perfect whole–I shall argue, to the contrary, that with a focus on breath and breathing, the division between the... (shrink)

Explores how the fragments of Heraclitus might yield an implicit understanding of the human body in distinction to the soul. In the history of scholarship on Heraclitus, soul is a much better understood concept, whereas it is normally assumed that Heraclitus, along with other figures of early Greek thought, shows only the most limited comprehension of the human being in terms of bodily form or substance. In this work I sketch some different ways in which Heraclitus’ accounts (...) of nature and human life can be said to exhibit a rudimentary picture of body. I suggest that Heraclitus depicts the human body as a special form of soul’s self-differentiation and logos. I attempt to consider how Heraclitus may represent an historical moment in understanding the human in terms of its physical makeup. (shrink)

A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical arguments, historical discussion, (...) empirical research, and specific case studies of the direct and indirect public value developed through motion pictures. Organized into seven thematic sections, this Companion identifies and discusses the various kinds of values that motion pictures can deliver, including artistic and aesthetic, ethical and moral, spiritual and religious, cultural, environmental, political, and cognitive. Throughout the text, readers are provided with deep insight into the issue of public value as it relates to cinema and its positive impact on human life and society. A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines. (shrink)

It is necessary to take into account the data of science in the theoretical debates conducted by scientists contributing ontological theories in order to develop new approaches to theological issues in Islamic thought. Even, Kalam scholars with the duty of defending and basing the principles of Islam in the classical sense have established a theological understanding intertwined with science in understanding both existence philosophically and the Script theologically. With its discoveries and theories in the last century, it can be argued (...) that modern science has made a serious progress compared to the past. Maintaining its own methodology and paradigm, every scientific discipline has the opportunity to benefit from the methods and data of other disciplines. Consequently, it is possible to assert that Kalam can enjoy the same opportunity too, as long as staying in its own problem area. According to modern science, the motion system is the unity of structures that enable living things to move. Moreover, Bones and joints, which are the structures of the skeletal system, are passive elements of the movement system. Muscles, on the other hand, are the active elements of the movement system and provide the movement of the body by affecting the bones and joints. Muscle tissue shapes the body by adhering to the bones, besides enabling movement activity to occur. One of the most important systems that provide movement is the nervous system. Because for a person to have movement, the muscles must contract, and the muscles must be stimulated for the contraction of the muscles. The system that enables this contraction to occur is the nervous system. Energy is also required for contraction to occur in the human body. Muscles create energy for movement by first providing their energy from the ATP molecule present in the muscle cells. Considering the movement theories of classical theology scholars, it is seen that they shaped the occurrence of human actions through the concept of potency. While the scholars classify power as spiritual/mental and physical strength in terms of its structure, they have characterized it as accident in terms of its nature. In this context, we can say that the equivalent of the power, which is regarded as necessary for the formation of human acts by the theologians, is the movement system in today's science. The spirit/mental that scholars regard as a structure of power for the occurrence of human action can be regarded as the electrical activity that activates muscles when considered within the framework of the movement system of today's science. It is seen that Kalam scholars emphasize physical competence in their definitions of power as well. At this point, Ash'arians defined the power as the soundness of organs, Mu’tazila expressed it as the presence of organs and their being away from disasters, and the Mâturîdîs stated it as the organs being healthy. With these definitions, Kalam scholars mean that a person should also be physically competent to make a movement. The structures scientifically accepted as biological and physical competence in the movement system are the skeletal system, muscles and nervous system. Therefore, we can say that the strength of the physical fitness/well-being emphasized in the definition of power by theologians corresponds scientifically to the skeletal system, muscles and nervous system. One of the issues that Kalam scholars discuss about power is the issue of the accident of power. The reason why they describe power as an accident is to emphasize its impermanence and to show that it was created by Allah. So, in modern science, electrical activity must occur in the brain in order for human organs to move. The occurrence of this electrical activity is independent of the human being. The fact that electrical activity occurs independently from human beings shows that it conforms to Kalam scholars’ definition of the accident. As a result, we can say that the theory of power created by scholars for human movement has a counterpart in the movement system put forward by today's science. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

Scholarship on Plato's Timaeus has paid relatively little attention to Tim. 77a–81, a seemingly disjointed passage on topics including plants, respiration, blood circulation, and musical sounds. Despite this comparative neglect, commentators both ancient and modern have levelled a number of serious charges against Timaeus' remarks in the passage, questioning the coherence and explanatory power of what they take to be a theory of respiration. In this paper, I argue that the project of 77a–81e is not to sketch theories of respiration, (...) circulation, and digestion, but to explain how the human body is maintained in light of and despite constant environmental depletion. Further, I argue that in order to understand this account of “the replenishing system,” we need to understand Timaeus' striking analogy of the fish trap or nassa. Commentators have generally focused directly on the workings of the bodily construction that Timaeus likens to a fish trap, but without considering how we should understand the analogy qua analogy. I develop a functional reading of the analogy that yields a coherent account of the replenishing system on which previous criticisms of Timaeus' remarks on respiration do not arise. Aside from lending greater unity to the passage, both internally and within its immediate context in the dialogue, this account of the replenishing system contributes to our understanding of Timaeus' reason-and-necessity explanatory framework as applied to the human body and has noteworthy implications for specific explanatory principles, in particular like-to-like motion and circular thrust. (shrink)

From the fundamental rights proclaimed in the American and French declarations of independence to the 1948 Universal Declaration of Human Rights and Hannah Arendt’s furious critiques, the definition of what it means to be human has been hotly debated. But the history of human rights—and their abuses—is also a richly illustrated one. Following this picture trail, _Human Rights In Camera_ takes an innovative approach by examining the visual images that have accompanied human rights struggles and the (...) passionate responses people have had to them. Sharon Sliwinski considers a series of historical events, including the 1755 Lisbon earthquake and the Holocaust, to illustrate that universal human rights have come to be imagined through aesthetic experience. The circulation of images of distant events, she argues, forms a virtual community between spectators and generates a sense of shared humanity. Joining a growing body of scholarship about the cultural forces at work in the construction of human rights, _Human Rights In Camera_ is a novel take on this potent political ideal. (shrink)

BackgroundThe increasing debate on financial incentives for organ donation raises concerns about a "commodification of the human body". Philosophical-ethical stances on this development depend on assumptions concerning the body and how people think about it. In our qualitative empirical study we analyze public attitudes towards organ donation in their specific relation to conceptions of the human body in four European countries (Cyprus, Germany, the Netherlands and Sweden). This approach aims at a more context-sensitive picture of (...) what "commodification of the body" can mean in concrete clinical decisions concerning organ donation.ResultsWe find that moral intuitions concerning organ donation are rooted in various conceptions of the human body and its relation to the self: a) the body as a mechanical object owned by the self, b) the body as a part of a higher order embodying the self, and c) the body as a hierarchy of organs constitutive of the self.ConclusionThe language of commodification is much too simple to capture what is at stake in everyday life intuitions about organ donation and organ sale. We discuss how the plurality of underlying body-self conceptions can be taken into account in the ethical debate, pointing out consequences for an anthropologically informed approach and for a liberal perspective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, escaping (...) the vindictive wrath of John Reed. Repulsed by her angry brother, Maggie Tulliver flees to the house attic, fantasizing that her family will fear that she has died. Little Dorrit withdraws from the common space of the Marshalsea into her private room above the prison, and Little Nell hides behind trees and walls, silently observing clandestine meetings. Finally the seven-year-old Alice falls down a rabbit-hole into a Wonderland, the dreamspace of her own psyche.Of these images, none can be more embedded in our cultural imagination than the child Alice dropping into the subterranean well of Wonderland. Indeed, of the many celebrated scenes in the Alice narratives, the most memorable, most potent, most quoted is Alice’s initial descent to the bottom of the rabbit-hole. The lastingness of this scene seems even greater when we realize that, although neither Carroll in Alice’s Adventures Underground nor Tenniel in the first edition of Wonderland illustrated the moment with a picture, it still became (along with the Mad Hatter’s tea party) one of the signature images of the Alice stories. Why, we must ask, did the Victorians retain, with a powerful tenacity, this vision of a little girl moving through a tight space toward the hidden world of Wonderland?The answer to this question is not—at least not wholly—that the scene simply represents a child’s metaphorical progress through the [End Page 1] birth canal 1 and that this, in turn, symbolizes some kind of rite of passage, a movement towards some deeper knowledge. For then how do we explain Alice’s conspicuous lack of internal development in both stories? Indeed, for a narrative that thematizes motion, Alice’s psychical growth remains disturbingly static. Throughout both narratives, Alice displays little emotional variation, for when she is not frustrated or anxious, she is, for the most part, vapid or expressionless. In fact, one is immediately struck by her coolness and indifference as she drops through the rabbit-hole. 2 Thus, because scene changes in Wonderland and Looking-Glass rarely betoken any emotional or intellectual modulations, Alice’s falling into Wonderland signals no internal transition.But the image does relocate her body and within this fictive world, location is everything. The scene gestures Alice’s departure, her separation, her movement towards an autonomy of which every child dreams when, in play, retreating to a hidden space. A child’s impulse to hide, to create a secret space, is one of the most compelling of all human wishes, the wish for autonomy and autarchy—“to be cut off from the word and yet owner of the world.” 3 Throughout Victorian literature, the fantasy of autonomy sets children dreaming of far-away worlds and hidden gardens. The young Cathy and Heathcliff flee to the isolated moors, filling the open, empty space with dreams of unrestricted freedom. Little Dorrit envisages the locked garden behind the Marshalsea as an alternative world to the foul prison atmosphere. And what are the Brontës’s Angria and Gondol but disconnected, self-governing realms imagined from the standpoint of childhood powerlessness? The image, then, of Alice’s fall begins to fulfill this powerful wish for autonomy, which culminates, finally, in Alice’s self-coronation at the end of Looking-Glass. Yet it is only within the child’s willing imagination that a secret space can encroach so closely upon autonomy, for as we shall see, secrecy and autonomy are irreconcilable not only in the demanding world of realism, but even in the more elastic world of Carrollian fantasy.IAlice’s descent into Wonderland and her entrance into the Looking-Glass kingdom would seem like ripe metaphors for Carroll to explore the thoughts and fantasies of Alice’s psyche. What could be more... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, escaping (...) the vindictive wrath of John Reed. Repulsed by her angry brother, Maggie Tulliver flees to the house attic, fantasizing that her family will fear that she has died. Little Dorrit withdraws from the common space of the Marshalsea into her private room above the prison, and Little Nell hides behind trees and walls, silently observing clandestine meetings. Finally the seven-year-old Alice falls down a rabbit-hole into a Wonderland, the dreamspace of her own psyche.Of these images, none can be more embedded in our cultural imagination than the child Alice dropping into the subterranean well of Wonderland. Indeed, of the many celebrated scenes in the Alice narratives, the most memorable, most potent, most quoted is Alice’s initial descent to the bottom of the rabbit-hole. The lastingness of this scene seems even greater when we realize that, although neither Carroll in Alice’s Adventures Underground nor Tenniel in the first edition of Wonderland illustrated the moment with a picture, it still became (along with the Mad Hatter’s tea party) one of the signature images of the Alice stories. Why, we must ask, did the Victorians retain, with a powerful tenacity, this vision of a little girl moving through a tight space toward the hidden world of Wonderland?The answer to this question is not—at least not wholly—that the scene simply represents a child’s metaphorical progress through the [End Page 1] birth canal 1 and that this, in turn, symbolizes some kind of rite of passage, a movement towards some deeper knowledge. For then how do we explain Alice’s conspicuous lack of internal development in both stories? Indeed, for a narrative that thematizes motion, Alice’s psychical growth remains disturbingly static. Throughout both narratives, Alice displays little emotional variation, for when she is not frustrated or anxious, she is, for the most part, vapid or expressionless. In fact, one is immediately struck by her coolness and indifference as she drops through the rabbit-hole. 2 Thus, because scene changes in Wonderland and Looking-Glass rarely betoken any emotional or intellectual modulations, Alice’s falling into Wonderland signals no internal transition.But the image does relocate her body and within this fictive world, location is everything. The scene gestures Alice’s departure, her separation, her movement towards an autonomy of which every child dreams when, in play, retreating to a hidden space. A child’s impulse to hide, to create a secret space, is one of the most compelling of all human wishes, the wish for autonomy and autarchy—“to be cut off from the word and yet owner of the world.” 3 Throughout Victorian literature, the fantasy of autonomy sets children dreaming of far-away worlds and hidden gardens. The young Cathy and Heathcliff flee to the isolated moors, filling the open, empty space with dreams of unrestricted freedom. Little Dorrit envisages the locked garden behind the Marshalsea as an alternative world to the foul prison atmosphere. And what are the Brontës’s Angria and Gondol but disconnected, self-governing realms imagined from the standpoint of childhood powerlessness? The image, then, of Alice’s fall begins to fulfill this powerful wish for autonomy, which culminates, finally, in Alice’s self-coronation at the end of Looking-Glass. Yet it is only within the child’s willing imagination that a secret space can encroach so closely upon autonomy, for as we shall see, secrecy and autonomy are irreconcilable not only in the demanding world of realism, but even in the more elastic world of Carrollian fantasy.IAlice’s descent into Wonderland and her entrance into the Looking-Glass kingdom would seem like ripe metaphors for Carroll to explore the thoughts and fantasies of Alice’s psyche. What could be more... (shrink)

The Dimensions of Difference examines space, time, and bodies in the works of three contemporary women directors and four continental philosophers, leading to a new approach to the question of sexual difference and its place within film criticism.

This book begins at the intersection of Dracula and War of the Worlds, both published in 1897 London, and describes the settings of Transylvania, Mars, and London as worlds linked by the body of the vampire. It explores the "vampire from another world" in all its various forms, as a manifestation of not just our anxieties around alien others, but also our alien selves. Unsurprisingly, many of the tropes these novels generated and particularly the themes they have in common (...) have been used and adapted by vampire narratives that followed. From Nosferatu to Alien, Interstellar, Stranger Things, and many others, this book examines how these narratives have evolved since the end of the nineteenth century. Bringing together texts and films from across the 19th, 20th, and 21st centuries, from the far reaches of outer space and the distant future, it concludes that the unexpected and the unknown are not always to be feared, and that humanity does have the power to write its own future. (shrink)

Motion pose capture technology can effectively solve the problem of difficulty in defining character motion in the process of 3D animation production and greatly reduce the workload of character motion control, thereby improving the efficiency of animation development and the fidelity of character motion. Motion gesture capture technology is widely used in virtual reality systems, virtual training grounds, and real-time tracking of the motion trajectories of general objects. This paper proposes an attitude estimation algorithm (...) adapted to be embedded. The previous centralized Kalman filter is divided into two-step Kalman filtering. According to the different characteristics of the sensors, they are processed separately to isolate the cross-influence between sensors. An adaptive adjustment method based on fuzzy logic is proposed. The acceleration, angular velocity, and geomagnetic field strength of the environment are used as the input of fuzzy logic to judge the motion state of the carrier and then adjust the covariance matrix of the filter. The adaptive adjustment of the sensor is converted to the recognition of the motion state. For the study of human motion posture capture, this paper designs a verification experiment based on the existing robotic arm in the laboratory. The experiment shows that the studied motion posture capture method has better performance. The human body motion gesture is designed for capturing experiments, and the capture results show that the obtained pose angle information can better restore the human body motion. A visual model of human motion posture capture was established, and after comparing and analyzing with the real situation, it was found that the simulation approach reproduced the motion process of human motion well. For the research of human motion recognition, this paper designs a two-classification model and human daily behaviors for experiments. Experiments show that the accuracy of the two-category human motion gesture capture and recognition has achieved good results. The experimental effect of SVC on the recognition of two classifications is excellent. In the case of using all optimization algorithms, the accuracy rate is higher than 90%, and the final recognition accuracy rate is also higher than 90%. In terms of recognition time, the time required for human motion gesture capture and recognition is less than 2 s. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reply to My CriticsExperience Embodied: Early Modern Accounts of the Human Place in NatureAnik Waldow (bio)I would like to thank Dario Perinetti and Hynek Janoušek for their thoughtful comments and the time and effort they invested into my work. Their reflections drive attention to important questions and make helpful suggestions about how some of the arguments of the book can be further developed and clarified. In what follows, (...) I will first discuss the proposal to distinguish between a narrow and a broad sense of experience, then specify how I understand the connection between having a body and being able to engage in experiences. In this context, I will also discuss Janoušek’s suggestion to draw further distinctions between the different senses in which the concept of body relates to experience in Descartes and Hume. In the last section, I address the question of whether the focus on bodies risks undermining the claim that experience is intersubjectively constituted.1. Narrow versus Broad Concept of ExperienceDario Perinetti raises the worry that during the early modern period, and even before, the concept of experience was mainly used to discuss epistemological questions, and that therefore the Broad Experience Thesis fails. According to this thesis, it is reductive to think of experience in exclusively epistemological terms, since this ignores that many early modern writers approached questions about the benefits and dangers of experience from a wider moral perspective. This perspective, as I argue in [End Page 329] Experience Embodied, was concerned with the training of the mind’s intellectual and moral capacities, the role of pleasure and pain (and other affects) in epistemic and moral judgement, and, more generally, the question of how it is possible to be self-determined agents who do more than simply respond to the experiences they have.To support his claim, Perinetti cites the Historische Wörterbuch der Philosophie, Cauvin’s Lexicon Rationale sive Thesaurus Philosophicus, but also Aristotle, Bacon, and Hobbes. The approach I pursue in my book is based on the usage of the concept of experience by the authors examined (Descartes, Locke, Hume, Rousseau, Herder, Kant). I will turn to the analysis of this usage in a moment, but before this let me say a few words about dictionaries.It is in principle not surprising that a dictionary like the Historische Wörterbuch der Philosophie—and its discussion of Aristotle, Bacon, and Hobbes—supports the traditional approach to experience as a centrally epistemological concept. Its entry on “experience” revolves around the idea that philosophers are either empiricists or rationalists.1 Yet it is precisely the establishment of this distinction that has substantially contributed to promoting a reductive concept of experience. After all, rationalism and empiricism are labels typically used to describe competing epistemological positions.2 It is also worth noting that the dictionary’s entry is from the 1970s. Because of this, it operates with a picture of the history of philosophy that has long been challenged by studies that show that there is far more to early modern philosophy than the standard works of some selected canonical figures.3 When dealing with Locke, the entry for instance exclusively focuses on An Essay Concerning Human Understanding and does not even mention that experience is a key concept in Some Thoughts Concerning Education.The rather short and general entry on experience in Chauvin’s Lexicon Philosophicum (1692) is not very telling either—at least not if treated in isolation from other dictionaries and encyclopedias of the period, such as D’Alembert and Diderot’s Encylopédie: a tremendously influential work, that, according to its editors, is in itself committed to the Baconian method.4 And here César Chesneau Du Marsais’s entry on experience straightforwardly highlights the moral dimension of the knowledge acquired through experience:Experience, abstract term, commonly means the knowledge acquired through a long life, combined with the reflections made on what one has seen, and on the good and bad that has happened to us. In this sense, reading history is a highly profitable way of gaining experience; it tells us of events, and shows us the good or bad repercussions and consequences of these events.5The... (shrink)

Human motion gesture recognition is the most challenging research direction in the field of computer vision, and it is widely used in human-computer interaction, intelligent monitoring, virtual reality, human behaviour analysis, and other fields. This paper proposes a new type of deep convolutional generation confrontation network to recognize human motion pose. This method uses a deep convolutional stacked hourglass network to accurately extract the location of key joint points on the image. The generation and (...) identification part of the network is designed to encode the first hierarchy and the second hierarchy and show the spatial relationship of human body parts. The generator and the discriminator are designed as two parts in the network, and they are connected together in order to encode the possible relationship of appearance and, at the same time, the possibility of the existence of human body parts and the relationship between each part of the body and its parental part coding. In the image, the key nodes of the human body model and the general body posture can be identified more accurately. The method has been tested on different data sets. In most cases, the results obtained by the proposed method are better than those of other comparison methods. (shrink)

How can human experience, vibrant with colours, sounds, flavours, emotions and meanings, arise from the skeletal dance of matter depicted in the physical sciences? Today the mind-body problem confronts not only metaphysicians and moral philosophers, but also workers in the fields of cognitive science, artificial intelligence and neuroscience. Paul Marshall offers a radical solution to the mind-body problem by rejecting the idea of a purely material world and asserting instead the primacy of experience. As many have recognized (...) before, experience is not reducible to material bodies and processes alone. Marshall goes a step further and suggests that the matter investigated by modern science corresponds to structural features of an experiential universe that supports and includes our familiar experiences. Utilizing clues furnished by mystical experience and responding to a challenge posed by the physics of motion, Marshall takes up Leibniz's philosophy of 'living mirrors' and arrives at a holistic world-picture that has suggestive links with quantum physics and the visionary cosmologies of East and West. (shrink)

The article expounds the concept of substance as a unified system in which all of its properties cannot be determined by its components parts alone. Instead the system as a whole verifies the notion of existence. Everything that exists, noetic and aesthetic, animate or inanimate, is governed by the fundamental status of substance. Hence, none of the parts (humans, angels, rocks, bacteria) can claim for absoluteness against the other. This idea goes back to Ancient Greek scholars, such as Aristotle, while (...) it reaches its climax throughout the Byzantine Philosophy with John of Damascus theories. Accordingly and as the image is concerned, one can encounter this kind of ontology in various artworks, from the frescoes of Lascaux caves, to early Renaissance. Beyond the substance there is the un-substance, which is often confused with western philosophical duality course such as those of the matter and the idea, of the sensible and the intelligible, of the body and the soul and finally of the born and the unborn. Nevertheless, and as for the Byzantine philosophy, these entities are lodged into the unity of the substance irrespective of their tangibility because they all contain some kind of materiality at variance to the immateriality of the un-substance. The most representative version of this theory appears in archaic and late antiquity imagery, a type of imagery that has been scattering into early motion pictures and into late Technoetic practices. (shrink)

Human interaction has two principle functions: building and maintaining relationships with others and exchanging information. The function of building and maintaining relationships with others relates to interpersonal coordination; this behavior pattern is expected to predict the outcome of social relationships, such as between therapists and patients. It is unclear, however, whether the exchange of information is associated with interpersonal coordination. In the present study, we tested a hypothesis of whether body movement synchrony occurs in a natural conversation and (...) whether this synchrony has a positive correlation with the degree of information exchange. Fifty participants were engaged in a conversation task; each had different roles in the conversation. We measured their body movements during this conversation using an optical motion capture system. Similar to methods that can be found in previous research, we calculated body movements and quantified their synchrony applying the methods previously reported that automatically quantified their body movements. Moreover, we determined the participants’ degree of information exchange concerning the conversation using a questionnaire. We observed that the body movement synchrony of pairs who talked with each other was significantly higher than that of pairs who did not talk with each other, and that this synchrony was positively associated with the degree of information exchange. These results suggest that body movement synchrony predicted information exchange. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Natural Philosophy: On Retrieving a Lost Disciplinary Imaginary by Alister E. McGRATHJack ZupkoMcGRATH, Alister E. Natural Philosophy: On Retrieving a Lost Disciplinary Imaginary. Oxford: Oxford University Press, 2023. viii + 248 pp. Cloth, $39.95This book attempts to retrieve and reimagine the tradition of natural philosophy as an antidote for what the author sees as the fragmented, instrumentalized, and ethically disengaged understanding of the natural world most of us (...) have today. The idea is not to reinstate the older vision of Aristotle and Thomas Aquinas, with its final causes and animated spheres, or even the early modern culmination of natural philosophy in Newton’s universe of mathematically fixed natural laws; rather, the author hopes to engender a newer and deeper understanding of nature that is at once scientific, ethical, and poetic, which he explains in terms of the conceptual framework of Popper’s “Three Worlds”: objective, subjective, and theoretical. What is recovered thereby is said to be a “lost conceptual space” wherein human beings learn both about and from nature, modes of knowing rendered obsolete by disciplinary specialization in the sciences as well as our commitment to objective methods that leave no room for ethical or spiritual approaches to understanding the natural world and our place in it.The author covers quite a bit of ground on the historical side, from the ancient Greeks through the Middle Ages, moving on to the idea of natural philosophy as it was gradually transformed during the early modern period by Copernicus, Kepler, Galileo, Bacon, Boyle, and Newton—a picture finally eclipsed by the objective, empirical concept of natural science familiar to us today. Curiously, the book says very little about the Platonic tradition of natural philosophy that grew up around the Timaeus. Because it was available in Latin (or the first half of it, anyway, in a Latin translation by the Roman Neoplatonist Calcidius, who also wrote an influential commentary on the work), the Timaeus was, for almost a millennium, the authoritative text in natural philosophy in the West, at least until Aristotle’s nonlogical and scientific writings were recovered in the twelfth century. The Timaeus was the subject of many commentaries and philosophical discussions, from Calcidius in the fourth century to Bernardus Silvestris, William of Conches, and Alan of Lille in the twelfth. It fell out of favor among philosophers with the rise of Aristotle’s Physics and Aristotelian natural philosophy, though it continued to shape the popular imagination of nature in other genres, such as art and literature—recall, for example, the well-known image of “God the Geometer” (c. 1230), measuring the cosmos with a compass. If the author’s project is about “retrieving” natural philosophy “as a lost disciplinary imaginary” (the book’s subtitle), then surely the Platonic vision of the universe deserves equal billing with the Aristotelian. [End Page 158]That said, there is much to like in the project sketched here. The author’s diagnosis of the epistemic malaise of modern-day science sounds right to anyone familiar with the history of philosophy and natural science. So, even though we can now correctly describe the velocity constant of earth’s gravity as 9.8 m/s2, among other scientific achievements, we take ourselves to be wearing a different hat when we wax poetic at the beauty of the sky and the stars. Early-and pre-modern authors were more adept at bringing together science and poetry, but that might be because their epistemic position was radically different from our own. Calcidius, for example, finds it easy to draw moral and aesthetic conclusions from the motions of the cosmos because he really believed heavenly bodies are, like us, animated by souls. Even a materialist like Lucretius accepts that the gods exist; his (still) very radical thesis is that they don’t care about us. (And why should they? The Pythagorean theorem is much more beautiful and edifying to consider than the troubles of ignorant and weak-willed mortals.) Enlightened moderns that we are, we no longer believe the heavens are populated by super-intelligent beings; yet we continue to marvel at Van Gogh’s Starry Night and feel it is wrong to cause gratuitous... (shrink)

Available in English for the first time, The Bodies of Others investigates, through a series of close readings of several theatrical and film productions in Europe and South America, the relationship between “representation” and ethics. The main concepts are exposed through a comparative analysis of historical processes, political actions and artistic works from different periods. Thus, the dialogue between the film La carrose d'or by Jean Renoir and Rosa Cuchillo by Yuyachkani serves to address the problem of the multiple meanings (...) of representation. The dialogue between the play El Señor Galíndez by Eduardo Pavlovsky, the performance The Conquest of America by Las Yeguas del Apocalipsis and the novel 2666 by Roberto Bolaño allows the concept of an 'ethic of the body' to be addressed. Other key concepts such as identity, care, cruelty, violence, memory and testimony are considered through investigation of work such as Angelica Liddel's theatre pieces, Rabih Mroué and Lina Majdalanie's performances, Albertina Carri, Basilio Martín Patino and Apichatpong Weerasethakul's films, and Mapa Teatro's trans-disciplinary creations. (shrink)

Thomas Hobbes often includes powers and abilities in his descriptions of the world. Meanwhile, Hobbes’s philosophical picture of the world appears quite reductive, and he seems sometimes to say that nothing exists but bodies in motion. In more extreme versions of such a picture, there would be no room for powers. Hobbes is not an eliminativist about powers, but his view does tend toward ontological minimalism. It would be good to have an account of what Hobbes thinks powers are, (...) and how they fit into his understanding of the world. In this chapter, I investigate Hobbes’s account of the metaphysics of powers and abilities. Section 1 considers three important aspects of Hobbes’s account of powers: the connection between powers and causes; the modal aspects of powers; and the connection between powers and motions. Sections 2 and 3 then consider interpretive arguments about whether Hobbes identifies powers with underlying corporeal features. (shrink)

Contemporary debate suggests that the new genetics may be changing ideas about the body and what it is to be human. Specifically, there are notions that the new genetics seems to erode the ideas that underpin modernity, such as the figure of the integrated, discrete, conscious individual body-self. Holding these ideas against the practices of genetic medicine, however, this article suggests a quite different picture; one that does not erase, but helps to keep in play, some crucial (...) tenets of humanism. The article examines how the genetic clinic constructs clinical pictures as new forms of portraiture: assemblages in which multiple and heterogeneous images of bodies and their parts are juxtaposed. Rather than these portraits just making the distributed and hybrid nature of personhood explicit, shifts in ground mean that what is being portrayed is the possibility of a ‘syndrome–genotype’ relation. At first sight this appears as a straightforward geneticization of the body and the unravelling of the figure of the individual. But the article illustrates how, at the same time as the portraits of syndrome–genotypes are made up of many heterogeneous parts, the clinic still keeps in play an idea of persons that remains, unlike their bodies, much more than the sum of their parts. All the parts that make up the body of the person can still, at moments, be transcended, to refigure the human: the complex individual of humanist thought. (shrink)

Human Life in Motion presents for the first time the previously unpublished transcripts of the seminars on Aristotle Martin Heidegger gave in the 1920s. These transcripts reveal much about the evolution of his thought during that time. Detailed student transcripts for these seminars appear among the papers of one of Heidegger's students, Helene Weiss, held today in the Special Collections Department of Stanford University. Analyzing and organizing hundreds of pages of these transcripts written by different students, Francisco Gonzalez (...) brilliantly reconstructs the original seminars. He summarizes what Heidegger presented and claimed in each class. Gonzalez also throws into relief the overarching philosophical significance of the seminars, showing how the different interpretative moves or claims are connected and where they lead, something which in turn requires explicating them in the context of both the Aristotelian texts discussed and Heidegger's own thought during this period. Essential reading for students and scholars of Heidegger or Aristotle, Human Life in Motion is a publishing event that forces a reconsideration of the thought and legacy of both philosophers. (shrink)

In a wide-ranging argument moving from Sumerian demons to Lucian Freud, from Syriac prayer books to John Carpenter's film The Thing, this book explores the ways the body has been represented through time. A response to the vertiginous increase in writings on bodily representations, it attempts to form a single coherent account of the possible forms of representation of the body. This work brings together concerns, images, and concepts from a wide range of perspectives: art history and criticism, (...) the history and philosophy of medicine, the history of race, phenomenological and post-phenomenological thought, studies of feminism and pornography, and the new interest in visual studies. Yet it is less a philosopher's look at history or a historian's foray into philosophy than a practical and critical look at the current constellation of art practices. Above all, it is intended to be of immediate use in the conceptualization and production of visual art and its history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS The Perfection of the Universe According to Aquinas: A Teleological Cosmology. By OLIVA BLANCHETTE. University Park, Penn.: The Pennsylvania State University Press, 1992. Pp. xvii + 334. $35.00 (cloth). This work represents a significant and most welcome contribution to Thomistic interpretation as well as to the broader study of medieval philosophy. While its tone is unpretentious, its theme, the structure and purpose of the whole created universe, (...) is crucial for Aquinas's philosophy. Those familiar with Thomas's corpus know how often this theme appears-frequently supplying the foundation for the argument-and know equally well how elusive it becomes when one seeks an extended treatment of it. Hence, to have recognized the chief elements of the larger picture, to have identified and collected the pertinent texts, and to have ordered and synthesized them as this book has done represents a major and lasting scholarly achievement. Moreover, while primarily concerned with Aquinas's own philosophical thought, the book also places him in conversation with a number of classical and modern thinkers, from Plato and Aristotle to Hegel and Collingwood. Blanchette begins his study by clarifying the very notion of perfection (Chapter 1). It first refers, in the order of our conceptions, to the completion of a process. A thing is perjectum, "thoroughly made," when its process of generation is finished. Motion, in fact, is precisely a passage from imperfection to perfection. By extension, the term can then be applied apart from motion to anything which lacks nothing it should have, or, as in the case of God, which lacks nothing at all. Analyzing the Greek and Latin terms connected with generation and perfection (poiein/facere; genesthai/fieri; teleion/perfectum; telos/finis; teleiosislperfectio) Blanchette shows why it is that for the Greeks the infinite usually signified imperfection, while Aquinas was able to conceive of an infinity which was perfection. For the present study, a crucial distinction among the kinds of perfection is that between first and second perfection, i.e., between a being's "ontological " perfection, the complete generation of its nature with all its natural powers, and its "operational" perfection, the activities carried out by means of those powers. Only in its operations does a being attain its ultimate perfection, which always lies in a relation to something exterior to itself. This fundamental distinction between first and second perfection underlies the basic 485 486 BOOK REVIEWS structure of the book. Part One describes the universe in its first perfection, i.e., the constituent parts whose presence gives it its integrity. Part Two takes up the activities of the parts which taken together constitute the order within the universe and by which the universe attains to its external good, God himself. At the level of first perfection, the universe is considered to be perfect first of all simply because it is the universe, i.e., the whole of what is (Chapter 2). As a whole, it is perfect (complete) in comparison to any of its parts. Thus it is a priori impossible to have plural universes, since each "universe" would in fact be only a part of the whole which was the universe. Second, simply as a body, the universe enjoys the perfection of having all three dimensions. Third, not having any bodies outside it, the universe does not share the imperfection of being limited by bodies external to it, as does every particular body. Finally, in containing the perfection of each kind of being, the universe possesses a universal perfection not shared by any one kind of being. These perfections belong to the universe simply qua universe. Beyond these, however, we can speak of the perfection of this universe. As Blanchette points out, for Aquinas there is no "best of all possible worlds" in the sense that God could not create a better one. Yet we can speak of the perfection (or completeness) of this world that God, for reasons not accessible to human reason, actually chose to create. The perfection of this universe is such that were any new essential parts, i.e., new species, added, it would no longer be the same universe, but rather a new universe of which the old now constituted a part... (shrink)

When Descartes famously claimed that he could explain the world in terms of matter in motion, he was sounding the mantra of seventeenth century science. Though his enthusiasm about this new science has been appreciated and is well documented, the details of his contribution are viewed as riddled with paradox. These purported paradoxes revolve around Descartes's circular definition of 'motion' and 'a body', which seems to render his account of individuation implausible. ;I argue for a new interpretation (...) of the Cartesian ontology under which these purported paradoxes, identified in Descartes's metaphysics by commentators including Kenny, Prendergast, and Garber, simply do not arise. ;In contrast to interpretations of Descartes as committed to many individual extended substances, I argue that Descartes is committed to only one individual extended substance-the whole extended universe. In my interpretation, bodies have a quasi-individual status: they acquire their individuality because the extended universe appears to perceivers as if it were divided into things like pieces of wax, stones, or birds. As quasi-individuals, bodies are also quasi-substances; this means that while they derive their materiality from the whole extended universe, they receive their individuality from human perception. I explain that the substantiality of bodies is tertiary because it involves dependence on the whole extended universe and on minds. Thus, individual bodies differ from God, who has primary substantiality because of his absolute independence, and also from the whole extended universe and minds, both of which have secondary substantiality because they are dependent solely on God. In this way, I argue that Descartes held a kind of phenomenalism about the individuation of bodies . My account is thus similar in spirit to those offered by Martial Gueroult and Thomas Lennon, though it differs sharply from both. ;I also give interpretations of clear and distinct perceptions of the real, conceptual, and modal distinctions of substances on the three levels. I show how bodies become individuated. I conclude by showing why Descartes's circular definition of motion and bodies is virtuous and not vicious. (shrink)

This study focuses on the physical expressions and intensity of embodiment that occur in the Ironman Triathlon. More specifically, the study investigates the transformational bodily experiences taking place during Ironman competitions. Using an ethnographic approach, a total of 29 Ironman triathletes participated in the study (15 men and 14 women). Theoretically, the article focuses on how triathletes’ bodies ‘move’ between different forms of embodiment. The results show that, in the process of disciplining the body, the athletes reconceptualized feelings of (...) pain, nausea and even disgust, making these emotionally expressive aspects of the corpus into a part of the experience and bending them towards the pleasure of reaching potential divinity. Situated in a long tradition of philosophical and sociological explorations of the transgressing and transcending body, the study interprets and understands the performing body as a site for change and utopian possibilities. Thus the study adds to existing debates on contemporary individuals’ exploration of the existential and corporeal dimensions of modernity. (shrink)