No full-text available
To read the full-text of this research,
you can request a copy directly from the authors.
Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought
... According to Sartre, this ability of the for-itself to nihilate being is the source of its absolute freedom [30] (pp. [40][41]. ...
... They are essential at all levels of my being [8] (pp. [41][42][115][116][117][118][119]. ...
Douglas Harding developed a unique first-person experimental approach for investigating consciousness that is still relatively unknown in academia. In this paper, I present a critical dialogue between Harding, Sartre and Merleau-Ponty on the phenomenology of the body and intersubjectivity. Like Sartre and Merleau-Ponty, Harding observes that from the first-person perspective, I cannot see my own head. He points out that visually speaking nothing gets in the way of others. I am radically open to others and the world. Neither does my somatic experience establish a boundary between me and the world. Rather to experience these sensations as part of a bounded, shaped thing (a body), already involves bringing in the perspectives of others. The reader is guided through a series of Harding’s first-person experiments to test these phenomenological claims for themselves. For Sartre, the other’s subjectivity is known through The Look, which makes me into a mere object for them. Merleau-Ponty criticised Sartre for making intersubjective relations primarily ones of conflict. Rather he held that the intentionality of my body is primordially interconnected with that of others’ bodies. We are already situated in a shared social world. For Harding, like Sartre, my consciousness is a form of nothingness; however, in contrast to Sartre, it does not negate the world, but is absolutely united with it. Confrontation is a delusion that comes from imagining that I am behind a face. Rather in lived personal relationships, I become the other. I conclude by arguing that for Harding all self-awareness is a form of other-awareness, and vice versa.
... Next to this first problem of the separation of the senses in language, Tilley (2019, p. 77) problematizes a second position. He notes that much research on the senses, and notably the intellectual historian Jay's (1993) work, suffer from dangerously abstracting the senses by imbedding them in a critique of culture. Jay's nearly 600 pages long monograph is a cultural critique on the rise and fall of primacy of vision throughout Western European philosophy and history. ...
... They follow and build on their curiosity to learn something about the world they are part of and desire to intimately sense their environment (field notes B2). In contrast stands meaning making by sight as primarily employed by the student archaeologists, which focuses on a desire for certainty in embodied understanding, in efforts to make clear what is going on in a trench, which is supported by literature on the history of the senses and the predominance of sight in modern times (e.g., Jay, 1993). The matter of intuitive work on site by touch through trowel, which I have seen Mark doing and I hear community diggers embody as well, is distinctly different from intellectual knowledge, which students draw on when joining an excavation. ...
This paper seeks to do justice to the often complex, messy, and sometimes ambiguous meaning making practices of archaeological field work. Taking recent adoptions of assemblage theory and sensory studies in archaeology as an angle of arrival, I contribute here to discussions on self-reflective and inter-pretive archaeology. Drawing on empirical encounters with troweling and backfilling at the Ardnamurchan Transitions Project in western Scotland, I describe the production of archaeological knowledge in terms of storying: the coming into existence of an earthly archaeological world through sensory correspondences. I show how storying generates meaning and knowledge through correspondences of more proximate with more distant excavation practices and interplays between them. Furthermore, I propose that through storying, archaeological meaning making as well as knowledge production can be understood as worlding: the generation of sustained remembrances of earthly events with lively corresponding materials.
... Ocularcentrism refers to the privileging of vision over all other senses (i.e. smell, touch, hearing, and taste) to understand or comprehend something (Jay 1988(Jay , 1993Thomas 2008;Tyler 1984). In general, ocularcentrism applies to the current application of P3DM for recording, visualizing, and interpreting underwater archaeological sites-it complements the ideal of objective recording. ...
... Barthes (1964) first highlighted and elaborated the persuasive effect that the codes, conventions, signs, technical languages, and narratives of imagery have on influencing understanding and promoting certain values. Recognition of the need for theoretical research into the role of imagery and optics in archaeological interpretation gained strength throughout the 1990s and continues today (Elkins 1997;Jay 1993;Moser 1992;Moser and Gamble 1997;Ouzman 2001;Shanks 2013;Shanks and Svabo 2013;Shanks and Webmoor 2013). Studies conducted in recent years have shown a gradual understanding of the inherent problem with the use of visual media for communication and explanation of ideas and data, and the larger and deeper implications of accepting visualizations at face value (Cochrane and Russell 2007;Frankland and Earl 2011;Molyneaux 2013;Shanks and Webmoor 2013). ...
This paper investigates the recently increased application of photogrammetric digital 3D modelling to underwater archaeology by reviewing its application and development on seminal underwater archaeological projects as a key recording tool. It is argued that underwater archaeologists are currently in a phase of ‘digital realism’ that has the potential to inhibit our ability to truly understand and use image-based digital 3D models to communicate effectively. Relevant theories relating to photography, visualization, and interpretation are investigated, highlighting the influence that vision has on data collection and knowledge creation. A series of recommendations are made for underwater archaeologists to spark discussion and move beyond this current phase of digital realism.
... Ocularcentrism refers to the privileging of vision over all other senses (i.e. smell, touch, hearing, and taste) to understand or comprehend something (Jay 1988(Jay , 1993Thomas 2008;Tyler 1984). In general, ocularcentrism applies to the current application of P3DM for recording, visualizing, and interpreting underwater archaeological sites-it complements the ideal of objective recording. ...
... Barthes (1964) first highlighted and elaborated the persuasive effect that the codes, conventions, signs, technical languages, and narratives of imagery have on influencing understanding and promoting certain values. Recognition of the need for theoretical research into the role of imagery and optics in archaeological interpretation gained strength throughout the 1990s and continues today (Elkins 1997;Jay 1993;Moser 1992;Moser and Gamble 1997;Ouzman 2001;Shanks 2013;Shanks and Svabo 2013;Shanks and Webmoor 2013). Studies conducted in recent years have shown a gradual understanding of the inherent problem with the use of visual media for communication and explanation of ideas and data, and the larger and deeper implications of accepting visualizations at face value (Cochrane and Russell 2007;Frankland and Earl 2011;Molyneaux 2013;Shanks and Webmoor 2013). ...
This paper investigates the recently increased application of photogrammetric digital 3D modelling to underwater archaeology by reviewing its application and development on seminal underwater archaeological projects as a key recording tool. It is argued that underwater archaeologists are currently in a phase of ‘digital realism’ that has the potential to inhibit our ability to truly understand and use image-based digital 3D models to communicate effectively. Relevant theories relating to photography, visualization, and interpretation are investigated, highlighting the influence that vision has on data collection and knowledge creation. A series of recommendations are made for underwater archaeologists to spark discussion and move beyond this current phase of digital realism.
... Adopting a blind member's perspective on an issue as fundamental as sensory access to the world might therefore require deeper understandings of perception and membership experiences as displayed in social interaction. As the analysis showed, orienting to a "world of blindness" (Hull, 1997) was performed very differently by RES6 (knowledgeable about blindness) and RES4 (novice in terms of blindness), thus showing how membership is always membership of some (sub-)culture with specific forms of knowledge territory (Goffman, 1971). RES6 displayed a transportable identity of concern for, and knowledge of, visual impairment. ...
This chapter addresses the following research question: What methods do sighted members of society apply when trying to achieve intersubjectivity with and adopt a visually impaired member’s perspective in situ? By exploring this question through EMCA analysis of video excerpts, I seek to revisit the canonical concept of the “participation framework” by adding the taken-for-granted aspect – that these frameworks are ordinarily ocularcentric in their organisation, with vision as an anticipated common resource for joint activities. I propose the concept “ocular- centric participation framework” to describe how participants deal with embodied and spatial reconfigurations in relation to aspects of vision/non-vision in the pur- suit of accomplishing a current activity.
... Para alguns, as imagens, os signos e os ícones possuíam vida própria, sendo então em fato simulacros perfeitos, representações fieis que carregam a essência de "vida" do representado. Um quase "ele mesmo" em outro tempo-espaço-corpo físico -o que eu vejo, Martinho Lutero inicia uma série de protestos contra os dogmas da Igreja Católica, o que culmina no que é conhecido como a Reforma Protestante, diferentemente da igreja tradicional que se apoiava em imagens para a propagação da fé cristã, Lutero se utilizou de uma nova tecnologia, a imprensa de tipos, para comunicar seus pensamentos e principalmente para combater a iconologia religiosa mesmo que seus seguidores utilizassem largamente de charges e caricaturas como ferramentas de propaganda contra a Igreja (JAY, 1994). Para fazer frente a ofensiva luterana, a Santa Sé apoiou-se nas novas técnicas de pintura para ornar suas igrejas, considerando que a principal característica das imagens até então asseguravam a presença do divino (WULF, 2013). ...
Desde o limiar da humanidade imagens são utilizadas para preencher necessidades socioculturais utilizando-se de suas funções inerentes tais como a “magia”, a representação e a simulação. A evolução pictórica está intimamente ligada com a evolução da técnica e da tecnologia empregada na produção das imagens, bem como na evolução do desenvolvimento cultural dos seres humanos e as modificações na forma de observar e compreender tais imagens, levando a um esforço “continuum” de compreensão fisiológico e cultural no intuito de se produzir imagens com elevado grau de realismo que iguale ou extrapole a capacidade de percepção e ilusão dos homens. Assim, este artigo tem por finalidade elencar as funções exercidas pelos diversos tipos de imagens iconográficas, para compreender as suas resultantes na percepção humana e as necessárias adaptações e evoluções dos processos de produção imagético para suprir a demanda cada vez maior por imagens e garantir sua plena utilização funcional pela sociedade.
... As an important subject, geography incorporates classroom-based teaching, field trips and lots of opportunities to get involved with extracurricular activities. Since there is a long tradition in academia to favour vision and textually, perceived as the best or only way to produce and share knowledge (Martin, 1993), the teaching of geography to students with visual impairment in schools is rather difficult especially among teachers with little knowledge in teaching students with visual impairment. ...
This manuscript investigated current classroom practices in the teaching of geography to students with visual impairment in inclusive classroom at Munali Boys' Secondary School in Lusaka district of Zambia. The researcher employed purposive sampling to selected the school and geography teachers. This study found that teachers with little or no knowledge of braille face difficulties to teach geography to students with visual impairment. It also found that teachers never adapted their teaching methods to accommodate students with visual impairment. The teaching methods teachers adopted in the teaching of geography was mainly talk and chalk or lecture method which made it hard for students with visual impairment to follow the lesson clearly. In summary, while students with visual impairment have the capacity to learn geography, teachers did not use embossed maps, auditory or models to assist students with visual impairment in grasping concepts.
... But human culture and language also shape object-thinking. According to some, the Western and modern emphasis on things rather than processes, and on individuated objects rather than participatory "dwelling," comes from an emphasis on sight as a way of knowing (Jay 1993;Levin 1993). The very word "object," after all, comes from the Medieval Latin obiectum, "a thing put before (the mind or sight)." 2 And sight more than other senses does seem to split subject and object, to create a distance between the two, and to individuate object from object. ...
In this paper I make a case for a philosophy of continuous matter, in dialogue with object-oriented ontology. A continuous-matter philosophy is one that focuses not on the identity, properties, and relations of discrete, countable objects, but on the nature of extended substances, both in relation to human experience and in terms of their own “inner life.” I explore why and under what conditions humans might perceive the world as objects or as continuous substances, and the language that humans use for talking about both. I argue that approaching the world as continua requires the foregrounding of concepts that emphasize the immanent (internal to a region of space), the inclusive (with contrasting properties coexisting in the same substance), the gradual (manifesting differentially at different points), and the generative or virtual (involving the constant production of form and new gradients). I suggest that starting philosophy from continuous matter rather than objects also has wider implications for speculative thought
... Instead of worshipping God, people would worship images, the sin of iconolatry. And perhaps some of that distrust of images which Martin Jay (1993) traces in French theory of the 20th century has some of its roots in the same tradition. ...
EcoMedia sets out to understand the ways ecological concerns are mediated through popular film and television. In case studies of Japanese animation, wildlife documentary, TV drama and Hollywood and art house cinema, Sean Cubitt traces the conflicted workings of the popular imagination of global warming, eco-terrorism, bio-security, genetic modification, environmental ethics and our fraught relationships with animals. Cubitt argues that, far from distorting the truth or closing down relationships between us and our environments, the technological media are integral to communication between humans and the green world.
... In contrast stands meaning making by sight as primarily employed by the student archaeologists, which focuses on a desire for certainty in embodied understanding, in efforts to make clear what is going on in a trench, which is supported by literature on the history of the senses and the predominance of sight in modern times (e.g. Jay, 1993). The matter of intuitive work on site by touch through trowel, which I have seen Mark doing and I hear community diggers embody as well, is distinctly different from intellectual knowledge, which students draw on when joining an excavation. ...
This paper seeks to do justice to the often complex, messy, and sometimes ambiguous meaning making practices of archaeological field work. Taking recent adoptions of assemblage theory and sensory studies in archaeology as an angle of arrival, I contribute here to discussions on self-reflective and interpretive archaeology. Drawing on empirical encounters with troweling and backfilling at the Ardnamurchan Transitions Project in western Scotland, I describe the production of archaeological knowledge in terms of storying: the coming into existence of an earthly archaeological world through sensory correspondences. I show how storying generates meaning and knowledge through correspondences of more proximate with more distant excavation practices, and interplays between them. Furthermore, I propose that through storying, archaeological meaning making as well as knowledge production can be understood as worlding: the generation of sustained remembrances of earthly events with lively corresponding materials.
... Moreover, visceral touching is central to this sense of material presence and thus to the idea of the dead living on, of haunting in transplantation. The queer sense of haunting in transplant memoirs returns us to phenomenology and how critics have explored bodily registers other than sight as foundational to relational being (Jay, 1994;McCormack, 2014;Oliver, 2001). I want to queer this reliance on living touch to suggest that transplantation exposes how we are touched over and over again by that which is beyond the living: sometimes dead and oftentimes full of vitality. ...
This article examines the temporality of organ transplantation with a focus on memoirs where the recipient has received an organ from a deceased donor. I argue that death constitutes life. That is, this absent presence – that the organ is materially present but the person is dead and therefore absent – is the foundation for rethinking relationality as constituted through the haunting presence of those who remain central to the continuity of life but who are not alive in any strict definition of the term. This article is therefore attentive to the various meanings of haunting, drawing on queer theory to show how narratives of haunting are derealised experiences and thus a struggle for epistemological authority over specifically transplantation and relationality more broadly. It draws out how these epistemological challenges reimagine ontology as a haunted experience, and thus an intimate tie between the living and the unknown – and somewhat present – dead.
... While Bakhtin seeks to exploit the surplus of seeing offered by 'other'; Rorty wants to replaces this vocabulary with a pragmatist conception that eliminates this contrast, arguing a historical epoch dominated by Greek ocular metaphors may, we suggest, yield to one in which the philosophical vocabulary incorporating these metaphors seems as quaint as the animistic vocabulary of pre-classical. (v) In Downcast Eyes Jay (1993) demonstrates the ubiquity of visual metaphors that permeate Western languages often in occluded and dormant forms and imbue our cultural and social practices. He comments that exosomatic technologies (the telescope and microscope) have extended the scope and range of vision to encourage an ocular-centric science. ...
... While Bakhtin seeks to exploit the surplus of seeing offered by 'other'; Rorty wants to replace this vocabulary with a pragmatist conception that eliminates this contrast, arguing a historical epoch dominated by Greek ocular metaphors may, we suggest, yield to one in which the philosophical vocabulary incorporating these metaphors seems as quaint as the animistic vocabulary of pre-classical. (v) In Downcast Eyes, Jay (1993) demonstrates the ubiquity of visual metaphors that permeate Western languages, often in occluded and dormant forms, and imbue our cultural and social practices. He comments that exosomatic technologies (the telescope and microscope) have extended the scope and range of vision to encourage an ocular-centric science. ...
... Irigaray is surely not the only one to recognise the primacy of sight over listening among the senses in the culture of our tradition. Martin Jay (1994), for example, surveys the many ways in which French thinkers of the 20 th century denigrate the visual, which he calls the anti-ocular turn, and even names the thinkers adopting it as followers of anti-phallogocularcentrism (Jay, 1994, 493). As Janus (2011, 184) points out, however, not many of these critical thinkers would advocate changing direction: along with Irigaray, Jean-Luc Nancy is a rare philosopher advocating for primacy of listening to allow for a liberation of meaning, senses, and sense. ...
The Western philosophical and scientific tradition was and still is based on rationalism, objectivity, truths that are all sought from the ocularcentric paradigm. Many thinkers, however, have been recognising this perspective to be exclusive towards the other senses, and therefore insufficient. Listening, as enabled by the auditory sense, has a potential for revealing a deeper sense of being in the world. In this article listening is presented as a possible way towards inhabiting our life-world and nonetheless “to let things be.” In order to do so, an interdisciplinary approach of research is adopted. First, the author offers some perspectives from the field of the ethics of listening, where the thoughts of Lisbeth Lipari, Luce Irigaray and others expose listening as an intersubjective gesture of encounter with the other in acceptance. Through his philosophy of listening, Jean-Luc Nancy, one of the crucial voices in this study, offers an explication of how listening can be the force of liberating sense and senses. Further on, an account on auditory phenomenology is offered, combining it with and stressing the importance of Husserl’s understanding of intersubjectivity. These perspectives are then enriched with echoes from acoustic ecology and its experiences of listening to the environment. The reverberations of multiple voices presented in this text allow for an understanding of listening as an intersubjective and mutually constitutive activity. As such, it involves a liberation of sense and allows for an openness to being and beings.
... When walking through the urban environment one is prone to receive multi-sensory stimuli from the surrounding environment, of which sound is an important element. Although historically a shift in balance of the senses has occurred, giving a more prominent role to the visual in research (Jay, 1993;Levin, 1993;Sennett, 1996), many scholars have depicted the inherent relationship between sound of the environment and the ways in which individuals assess their ties with the broader community, with social relationships and with wider concepts of space and place (Bull, Back, & Howes, 2015;Feld, 2012;Smith, 1997). As an important marker for identity, the sound of spoken language gives clues on the nature of the social environment one finds himself or herself in. ...
A substantial amount of research in cultural geography has been dedicated to the mundane or everyday living with diversity, yet little has been done in relation to linguistic diversity and the ways in which individuals experience the city through this particular form of diversity. This paper addresses how geographers can build on and assist in contemporary sociolinguistic scholarship to understand how individuals experience urban social diversity while taking account of the sound of spoken language in public space. Specifically, the paper highlights the significance of what I have named linguistic sound walks as a method to capture both the immediate sensory experience of the city’s linguistic soundscape while opening up ways to discuss and reflect on how linguistic diversity affects the experience of spatial and social diversity. Drawing on fieldwork in the inner-city of Amsterdam, the study illustrates how these linguistic sound walks represent a potential resource to reflect on the relationship between the sound of spoken languages and the experience of spatial and social diversity in the city, bridging the gap between the fields of geography and sociolinguistics.
... Sight is the dominant medium implicated in contemporary society. Our ocularcentrism [9] is not only the philosophical subtext of the modern and postmodern value structure; it also permeates contemporary pop culture and social practices, as argued by (among others) Guy Debord [10] in The Society of the Spectacle or Pier Paolo Pasolini [11] in his Disappearance of the Fireflies. Debord uses the term "spectacle" to refer to vision's dominant role in our lives. ...
Background:
Depressive disorders, despite being classified as mood or affective disorders, are known to include disturbances in the experience of body, space, time, and intersubjectivity. However, current diagnostic manuals largely ignore these aspects of depressive experience. In this article, we use phenomenological accounts of embodiment as a theoretical foundation for a qualitative study of abnormal body phenomena (ABP) in depressive disorders.
Methods:
550 patients affected by schizophrenic and affective disorders were interviewed in a clinical setting. Interviews sought to uncover the qualitative features of experiences through self-descriptions. Clinical files were subsequently digitized and re-examined using consensual qualitative research.
Results:
Ninety-nine out of 100 patients with MDD reported at least one ABP. From cross-analysis of the MDD sample, we obtained 4 general categories of ABP, 3 of which had additional subcategories. The 4 categories include slowed embodied temporality (N = 90), anomalous vital rhythms (N = 82), worries about one's body (N = 22), and body deformation (N = 47).
Conclusions:
The results provide empirical evidence in support of theoretical discussions of embodiment in MDD found in the work of classical and contemporary phenomenologists. The findings also provide nuanced insight into the experience of persons living with MDD. Some categories of ABP, like slowed embodied temporality, can help to finely characterize psychomotor retardation or the so-called "medically unexplained symptoms" (MUS). This fine-tuned characterization can help to connect MUS to neuropsychological and neurobiological (e.g., alterations of interoceptive processes linked to anomalies of the brain resting-state hypothesis) and inflammatory (e.g., studies linking environmental stressors, inflammation mediators, and neurovegetative and affective symptoms) models of MDD. Our results can also support a pathogenic model of MDD, which posits, on the phenomenal level, ABP as the point of departure for the development of secondary symptoms including cognitive elaborations of these, namely, delusions about the body. Moreover, some of the categories, when contrasted with phenomenological qualitative studies of other disorders, provide conceptual resources of differential diagnosis and of identifying a "depressive core syndrome." For example, findings within category 4, deformation of the body, provide resources for using ABP to distinguish between MDD and schizophrenia.
Taking inspiration from studies of ‘seeing‐and‐being‐seen’ at the vanguard of intellectual debates regarding urban life since the late‐eighteenth century, this paper explores the popular contemporary pastime of people‐watching. Drawing on cumulative theoretical, empirical, and methodological resources generated by generations of critical urbanists I highlight the ways in which geographies of people‐watching is a topic deserving of sustained academic attention. More specifically, I explore how engagement with rhythm, repetition, habit and events, testimony, and protocols offer fruitful avenues to interrogate everyday practices, mundane conversations and internalized un‐spoken dialectics that constitutes people‐watching. Concluding remarks signpost how a research agenda focused on people‐watching can add value to long‐standing and newly emerging urban geographies.
This chapter explores the theoretical and methodological underpinnings for the MA course "Othered Images", held by Ana Díaz Álvarez and Nasheli Jiménez del Val at UNAM from 2015 to 2017. The chapter considers a Visual Studies and an Indigenous Studies approach to images, particularly emphasizing the power relations that have canonically deemed certain images "unworthy" of sustained visual analysis.
This book looks to expand the definition of translation in line with Susan Bassnett and David Johnston’s notion of the “outward turn”, applying this perspective to contemporary art to broaden the scope of how we understand translation in today’s global multisemiotic world.
The book takes as its point of departure the idea that texts are comprised of not only words but other semiotic systems and therefore expanding our notions of both language and translation can better equip us to translate stories told via non-traditional means in novel ways. While the “outward turn” has been analyzed in literature, Vidal directs this spotlight to contemporary art, a field which has already engaged in disciplinary connections with Translation Studies. The volume highlights how the unpacking of such connections between disciplines encourages engagement with contemporary social issues, around identity, power, migration, and globalization, and in turn, new ways of thinking and bringing about wider cultural change.
This innovative book will be of interest to scholars in translation studies and contemporary art.
Provocation three: from space to (embodied) place: a manifesto for sensory learning In site-specific practices
Few could deny that the body is a site of intense scrutiny and debate in the contemporary world. Neoliberal frameworks invest a set of meanings and obligations in the body, policing and politicizing it, rendering it usable in myriad ways beyond the physical. Meanwhile complex arguments about power and the ever-more devolved rhetoric of surveillance make autonomy and empowerment endlessly more complex. Traditional studies of screen culture and power invariably include Laura Mulvey's seminal work on the gaze (1975). Varied responses and re-readings have resulted in meaningful work on other forms of the gaze; the female gaze, the oppositional gaze, the matrixial gaze and others, each rejecting the totalizing categories of previous incarnations. This collection approaches the complex and unstable surveillant gaze; the gaze at and within the digital screen, where bodies, arguably most often those of women, are subjugated by being broken down into data, into knowable and quantifiable components. The very term "digital" refers to the breakdown of the body into digits , numbers and code. Digital data can be replicated with complete accuracy the infallible reproduction can be seen to be symbolic of a lack of authenticity, of meaning, and of the random quirks of individual life. Endless reproduction renders digital life both replaceable and meaningless while simultaneously investing digital life with new meanings. The central-ity of the terrified body to many of these digital narratives suggests new forms of terror and angst, where bodies are subjected to an endless knowing look. As Julia Leyda states "the cameras are superior, all-seeing witnesses that cannot intervene, and force us also to witness helplessly" (2016). The increased privatization of modes of consumption affects viewing experiences and introduces new and meaningful interstices. Not least of these is a power disruption where individual platform users engage in different Introduction 2 ways with the film image. The new digital prosumer, to use Alvin Toffler's (1980) term, consumes and produces content at the same time, and this co-creation which is facilitated by the digital image is open to use and misuse and the further creation of power systems far beyond the male gaze. From "Visual Pleasure" to "Digital Dreams" The various contributions in the collection approach contemporary iterations of the "gaze" and the peculiarly modern phenomena of voyeur-ism as it is experienced through digital technology. In the past decades, vast volumes of work have developed Mulvey's original work; feminist, psycho-analytical, structuralist, semiotic and anti-essentialist theories have excavated the representation of bodies onscreen and the ubiquity of dead or terrified women onscreen. This collection attempts to tease out some of the nuances of contemporary iterations of power as they are played out on digital screens, and contemporary narratives. It examines how the digital realm might engage the active/passive dichotomy in new ways. The particular perils of the digital age can be seen on, by, and through screen bodies as they are made, remade, represented, and used. If the body is now seen as a source of knowledge, that knowledge can be excavated either by digital means, monitoring practices or techno-interference. Privacy, autonomy and freedom now haunt screen depictions of bodies. As such, authenticity and objective testimony are continually challenged. The essays here tease out the machinations of voyeurism in the digital age and the realization of power through digital visual forms. Much work has been done on and via digital feminisms, by which digital and virtual formats enable activism and theory. While the digital realm facilitates feminism for the digital age, there is still much work to do in unpacking the interrelation between body politics at the micro and macro level and to address what Oliver (2017) terms the male gaze's "symptomatic psychic delusions of possession and control." The digital format can be seen to buttress this delusion by allowing the distortion of the image; all that is needed is ownership of a device. Sarah Banet-Weiser claims that today feminism is limited by capitalism; the neo-liberal feminism is based on ever expanding markets, which create spaces for women and indeed foreground them while at the same time they negate larger actions by focusing on the individual. Many of the essays within this collection attest to this devolving of women's autonomy through and within the digital realm, alongside the noticeable lack of large-scale action. As Banet-Weiser has noted, "a crucial Introduction (Flynn) 3 component of popular feminism has been to call attention to rape culture, to reveal its pervasive and normative presence" (2018: 55). This normative presence can be felt within the digital realm, where ownership and the act of viewing create a potential synergy of violence, voyeurism and power. This collection is not intended to be a feminist text per se, not to engage in distinctly feminist approaches; many volumes of theory have already covered much of this ground. Instead this collection focuses on the critical edges, on the intersections of film theory and various theoretical lenses. In the spirit of the times, this work aims to be inclusive, by including a range of academics at varying career points from a variety of backgrounds and geographical locations. It celebrates established and unestablished voices using various disciplinary approaches to tease out some of the nuances around the digital screen and its history of violence and voyeur-ism, and it questions whether historical depictions of female bodies have changed in this new digital era. New screens encroach on life as never before, handheld or in pockets, purses and schoolbags, in waiting rooms and planes, in potentially every room in our home, available at a touch. The potential to freeze-frame and expand, to disrupt the screen body presents distinct possibilities in regard to the power of and over the image. As Rombes (2017) observes, "the mobility of the screen erodes the boundary between the place of dreams and everyday life." In order to critically address some of the changes wrought upon screen culture by the information age, by computerization and dig-itization, it is necessary to examine questions of technological power and agency, technological determinism and social constructivism. While digital effects play a sizeable role in contemporary entertainment, we must consider digital effects' function in sustaining a number of ideologies and/or myths, particularly around the gaze, voyeurism and power structures. In many contemporary genres, digital effects are coupled with narratives of fear and violence. These iterations of the digital call for new and nuanced critiques of contemporary screen bodies. The essays within this collection therefore seek to offer critical comments on the somatic solutions offered by cinema. The various scholars in this collection map how power has been iterated on and by the screen, and the ways that this has developed in the digital age. It is hoped that by examining how cultural productions depict the act of watching others, of being voyeurs to violence and power, of power regimes and engagement with power, this collection will open new routes for discussion. Our current moment in history, seen by many as a time of social and political crisis, renders such conversations vitally important. The
Este artículo propone un análisis teórico que aborda la manera en que la producción de imágenes en torno a las violencias femigenocidas en México sir- ve para mediar una serie de significados sociales que se interpretarán en el cruce entre neoliberalismo y lo que se postula como un régimen escópico androcéntrico. Se argumentará que en ese vínculo se define la forma en que dichas visualidades circulan, contribuyendo a la “realización simbólica” del femigenocidio en México. Finalmente, se recuperarán ejemplos de periódicos tabloides donde se representan los femigenocidios, para sostener que la reiteración sistemática de la crueldad no solo es una exhibición amarillista de los cuerpos rotos de las mujeres, también es la expresión de un gesto cruel; el despliegue visual mediante el cual se anuncia el aniquilamiento de la idea de comunidad a través de un extractivismo (de los recursos y los cuerpos) que define el espíritu neoliberal contemporáneo.
Após quatro décadas de desenvolvimento de jogos eletrônicos videográficos, o grau de realismo, interatividade e imersividade alcançaram patamares elevados além de uma ampla penetração e aceitação na sociedade mundial. Da mesma forma houve um grande salto tecnológico na produção audiovisual que proporcionou inovações tanto na captação, produção e consumo de produções de vídeo. A cada salto tecnológico, novas funcionalidades são apresentadas e acarreta novas formas de produção e visualização dos meios audiovisuais, Assim este trabalho propõe, embasado nos conceitos de estética audiovisual de Arlindo Machado (2000) e Dubois (2009), uma análise da transformação estrutural da produção e consumo dos vídeos após a popularização dos jogos eletrônicos e o surgimento dos vídeos interativos.
Jede Befassung mit 'Kunst' - sei sie produzierend, rezipierend oder affizierend - kommt an Kunsterfahrung nicht vorbei. In ihr sind die konstitutiven Entscheidungen bereits getroffen, ob das Wahrgenommene ein Gefühl, ein Geräusch oder ein Eindruck bleibt, oder ob wir es als ›Kunst‹ begreifen. Kunst 'existiert' nicht außerhalb eines Beobachters, sondern ist imaginierte Realität eines Beobachters. Eine solche Argumentation zwingt zu einem radikalen Beobachterstandpunkt für jedwede Kunsterfahrung, die nicht mehr traditionsgeflissentlich ergründet: 'Was ist Kunst?', sondern: 'Wie ist Kunst möglich?'. Damit ist ein fundamentaler Perspektivenwechsel gezeitigt vom Werk zum Beobachter, indem man nach den Bedingungen von Kunst fragt: Wie Kunst zur Kunst wird, und was Kunst für die Gesellschaft leistet. In dieser Lesart offenbart sich Kunst mit einer zentralen Funktion in der Gesellschaft. Sie überwindet das unüberbrückbar erscheinende Verhältnis von Wahrnehmung und Kommunikation. Kunst aber 'macht Wahrnehmung für Kommunikation verfügbar' (Niklas Luhmann). Dies vermag Kunst, indem sie in der Lage ist, Wahrnehmbares zu inszenieren, mithin dem Beobachter Anlässe für Wahrnehmung anzubieten. Die Autorinnen und Autoren greifen diese Problemstellung offensiv auf und diskutieren sie kritisch unter epistemologischen, differenztheoretischen, ästhetischen sowie diskurshistorischen Aspekten. – Mit Beiträgen von Oliver Baron, Angelika Böck, Gernot Böhme, Remigius Bunia, Alberto Cevolini, Malda Denana, Julien Dolenc, Karin Dörre, Michael Dürfeld, Christian Filk, Christiane Heibach, Bernhard Langer, Harry Lehmann, Peter Mahr, Thomas Morsch, Norbert M. Schmitz, Silke C. Schuck, Anja Schürmann, Holger Simon und Carsten Zorn.
Cet article vise à monter l’importance de l’interface dans la compréhension du toucher. Nous commencerons tout d’abord par le décrire selon une approche phénoménologique. Le toucher est spécifiquement le sens de la proximité, de la solidité, et de la forme, faisant de celui-ci le sens de la présence immédiate. Ensuite, nous montrerons que le numérique est intouchable, car d’une part, il n’est pas une chose que l’on peut saisir avec les mains, d’autre part, il est constitué de signes formels abstraits, enfin, il est inaccessible car protégé par un copyright . Nous démontrerons alors que l’interface permet de résoudre cette difficulté. En tant que sousface constituée de symboles informatiques, elle touche la couche matérielle de l’ordinateur; en tant qu’interface homme/machine, c’est-à-dire surface , elle est touchable. Nous conclurons alors que nous ne touchons pas immédiatement le numérique, et que le toucher est nécessairement médiat, remettant en cause la conception première du toucher. Nous substituerons alors au terme de toucher celui de contact qui conserve l’idée de médiation. Nous distinguerons enfin le contact opéré par l’interface homme/machine qui capture, du contact humain qui caresse, c’est-à-dire qui prend soin de maintenir autrui intouchable.
The article refers to the presence of the metaphor ‘understanding is seeing’ in various semiotic systems and discourses, pointing to the dominance of cognitive function of metaphor and the unification of sensory experience and mental cognition within it. Outlined is the context in which the emergence of the identification of knowledge with sight takes place and the establishment of this epistemological metaphor, important for Western culture (an oculocentric discourse). The presence of metaphor in visual arts, polysemiotic arts, and music is analyzed, with the indication of the multisensory nature of perceptual experiences (the perspective of rhetorical research on heterosemiotic cultural phenomena is adopted here). In the further part of the text, the role of metaphor in scientific and artistic discourse and media communication is examined, as well as the perspective of the development of the ‘visual field’ in the face of wear out of metaphor, the co-presence in culture of oculocentric and oculophobic tendencies, and the digital remediatization of cultural texts.
A sociedade contemporânea convive com novas tecnologias, renovados ambientes comunicacionais, diferentes atores midiáticos e,
por consequência, novas linguagens, onde a imagem ganha crescente
protagonismo. O olhar a essa nova sociedade é intenso a partir da ecologia
dos meios, corrente teórico-filosófica preocupada em observar,
experimentar e compreender a relação entre a sociedade e os meios,
em suas diversas conformações.
Percebe-se, a partir de diversos estudos desenvolvidos por ecologistas
dos meios, que os processos comunicacionais têm sido realizados cada
vez mais com o apoio nas imagens. Essa adoção crescente de narrativas
imagéticas na comunicação pode ser justificada pelo desenvolvimento
de dispositivos portáteis e de alta qualidade no registro e na difusão.
E parece mesmo ser uma realidade contemporânea.
Entretanto, isso já foi previsto anteriormente. Marshall McLuhan,
um dos responsáveis pelo conceito de ecologia dos meios, apontava,
no final da década de 1960, a importância de se estudar o universo
das imagens. Obviamente, o ecossistema analisado por McLuhan ao
propor esse foco científico era a televisão. Atualmente, o ecossistema
disponível é diverso, ainda composto pela televisão, mas não só. E o
protagonismo passou a ser outro, onde os mass media compartilham a
autoria com a sociedade, com o cidadão comum.
It has long been argued that one of the main appeals of contemporary Euro‐American shamanism lies in its ability to reenchant the world in the disenchanted present. As observed during field research among shamans in the Czech Republic and based on an analysis of their techniques and discourse, the source of this reenchantment lies in journeys to non‐ordinary reality, internally experienced by participants during drumming. The reason those journeys are experienced as real is found in the autonomy of imagination, in images that come to mind spontaneously without participants' deliberate construction. The faculty of imagination provides a mechanism for the experience of a reenchanted world, whereas shamanic techniques and lectures on the nature of the world provide its emotional and cognitive contours. In ceremonial space, shamanic praxis then tunes a certain mode of being with its intertwined moments of corresponding understanding, attunement, and speech, such as those analyzed by Heidegger in Being and Time.
Between the Eye and the Ear. About Szpital żydowski w Warszawie by Maria Konopnicka In my article, I interpret the work Szpital żydowski w Warszawie [Jewish Hospital in Warsaw] by Maria Konopnicka with emphasis on the way it depicts acoustic phenomena. For the purpose of the analysis, I juxtapose their function with the role assigned to visual references. To this end, I refer to the methodology of sound studies and visual studies. As it turns out, Konopnicka recognizes acoustic phenomena as a way of expressing extreme emotions and limit-experiences (in this case – mental illness) as well as human authenticity. Moreover, by constructing an opposition between sight and hearing, she is able to contrast the world’s rational and irrational aspect and express a crisis of faith in terms of positivistic epistemology.
Few could deny that the body is a site of intense scrutiny and debate in the contemporary world. Neoliberal frameworks invest a set of meanings and obligations in the body, policing and politicizing it, rendering it usable in myriad ways beyond the physical. Meanwhile complex arguments about power and the ever-more devolved rhetoric of surveillance make autonomy and empowerment endlessly more complex. Traditional studies of screen culture and power invariably include Laura Mulvey's seminal work on the gaze (1975). Varied responses and re-readings have resulted in meaningful work on other forms of the gaze; the female gaze, the oppositional gaze, the matrixial gaze and others, each rejecting the totalizing categories of previous incarnations. This collection approaches the complex and unstable surveillant gaze; the gaze at and within the digital screen, where bodies, arguably most often those of women, are subjugated by being broken down into data, into knowable and quantifiable components. The very term "digital" refers to the breakdown of the body into digits , numbers and code. Digital data can be replicated with complete accuracy the infallible reproduction can be seen to be symbolic of a lack of authenticity, of meaning, and of the random quirks of individual life. Endless reproduction renders digital life both replaceable and meaningless while simultaneously investing digital life with new meanings. The central-ity of the terrified body to many of these digital narratives suggests new forms of terror and angst, where bodies are subjected to an endless knowing look. As Julia Leyda states "the cameras are superior, all-seeing witnesses that cannot intervene, and force us also to witness helplessly" (2016). The increased privatization of modes of consumption affects viewing experiences and introduces new and meaningful interstices. Not least of these is a power disruption where individual platform users engage in different Introduction 2 ways with the film image. The new digital prosumer, to use Alvin Toffler's (1980) term, consumes and produces content at the same time, and this co-creation which is facilitated by the digital image is open to use and misuse and the further creation of power systems far beyond the male gaze. From "Visual Pleasure" to "Digital Dreams" The various contributions in the collection approach contemporary iterations of the "gaze" and the peculiarly modern phenomena of voyeur-ism as it is experienced through digital technology. In the past decades, vast volumes of work have developed Mulvey's original work; feminist, psycho-analytical, structuralist, semiotic and anti-essentialist theories have excavated the representation of bodies onscreen and the ubiquity of dead or terrified women onscreen. This collection attempts to tease out some of the nuances of contemporary iterations of power as they are played out on digital screens, and contemporary narratives. It examines how the digital realm might engage the active/passive dichotomy in new ways. The particular perils of the digital age can be seen on, by, and through screen bodies as they are made, remade, represented, and used. If the body is now seen as a source of knowledge, that knowledge can be excavated either by digital means, monitoring practices or techno-interference. Privacy, autonomy and freedom now haunt screen depictions of bodies. As such, authenticity and objective testimony are continually challenged. The essays here tease out the machinations of voyeurism in the digital age and the realization of power through digital visual forms. Much work has been done on and via digital feminisms, by which digital and virtual formats enable activism and theory. While the digital realm facilitates feminism for the digital age, there is still much work to do in unpacking the interrelation between body politics at the micro and macro level and to address what Oliver (2017) terms the male gaze's "symptomatic psychic delusions of possession and control." The digital format can be seen to buttress this delusion by allowing the distortion of the image; all that is needed is ownership of a device. Sarah Banet-Weiser claims that today feminism is limited by capitalism; the neo-liberal feminism is based on ever expanding markets, which create spaces for women and indeed foreground them while at the same time they negate larger actions by focusing on the individual. Many of the essays within this collection attest to this devolving of women's autonomy through and within the digital realm, alongside the noticeable lack of large-scale action. As Banet-Weiser has noted, "a crucial Introduction (Flynn) 3 component of popular feminism has been to call attention to rape culture, to reveal its pervasive and normative presence" (2018: 55). This normative presence can be felt within the digital realm, where ownership and the act of viewing create a potential synergy of violence, voyeurism and power. This collection is not intended to be a feminist text per se, not to engage in distinctly feminist approaches; many volumes of theory have already covered much of this ground. Instead this collection focuses on the critical edges, on the intersections of film theory and various theoretical lenses. In the spirit of the times, this work aims to be inclusive, by including a range of academics at varying career points from a variety of backgrounds and geographical locations. It celebrates established and unestablished voices using various disciplinary approaches to tease out some of the nuances around the digital screen and its history of violence and voyeur-ism, and it questions whether historical depictions of female bodies have changed in this new digital era. New screens encroach on life as never before, handheld or in pockets, purses and schoolbags, in waiting rooms and planes, in potentially every room in our home, available at a touch. The potential to freeze-frame and expand, to disrupt the screen body presents distinct possibilities in regard to the power of and over the image. As Rombes (2017) observes, "the mobility of the screen erodes the boundary between the place of dreams and everyday life." In order to critically address some of the changes wrought upon screen culture by the information age, by computerization and dig-itization, it is necessary to examine questions of technological power and agency, technological determinism and social constructivism. While digital effects play a sizeable role in contemporary entertainment, we must consider digital effects' function in sustaining a number of ideologies and/or myths, particularly around the gaze, voyeurism and power structures. In many contemporary genres, digital effects are coupled with narratives of fear and violence. These iterations of the digital call for new and nuanced critiques of contemporary screen bodies. The essays within this collection therefore seek to offer critical comments on the somatic solutions offered by cinema. The various scholars in this collection map how power has been iterated on and by the screen, and the ways that this has developed in the digital age. It is hoped that by examining how cultural productions depict the act of watching others, of being voyeurs to violence and power, of power regimes and engagement with power, this collection will open new routes for discussion. Our current moment in history, seen by many as a time of social and political crisis, renders such conversations vitally important.
This monograph looks at the visual production surrounding the public assassination of Mexican presidential candidate Luis Donaldo Colosio in 1994. It considers the impact of these images on the Mexican visual public sphere, and it further theorizes the importance of critically analyzing images of violent death in the context of contemporary visual culture.
This chapter sets the stage and situates the research in a series of historical, theoretical, and methodological perspectives within dance and dance studies, including related to the author’s own experiences in the field. The chapter provides an overview of the main subject area of the book—kinaesthesia and visual self-reflection—principally related to dance studies. The ontoepistemological positionings of the research in this chapter aim to ground the philosophical and methodological positionings of the book. Key to this positioning is that material offered throughout the book is informed by a ‘conversation’ between theory and practice, more specifically: original fieldwork with 14 professional-level dancers based in the UK, the author’s twenty-plus years’ experience in contemporary dance, and a wide range of available sources and literature related to kinaesthesia and visual self-reflection.
Die Linearperspektive ist in der künstlerischen Bildproduktion über Jahrhunderte ein wirkmächtiges Paradigma, bis sie in eine Krise gerät. Denn die ästhetische Moderne attackiert das hegemoniale Modell der perspektivischen Formgebung und macht die Perspektive zu einem Objekt der Kritik, von der angenommen wurde, dass sie Perspektivität überwinde. Anhand philosophischer Schlüsseltexte und mit Blick auf ausgewählte Werke von Rebecca H. Quaytman, Walid Raad, Bruce Nauman, Alberto Giacometti und Marcel Duchamp, entwickelt Dominique Laleg einen Begriff der Perspektive, welcher dem modernen Narrativ von deren Ende widerspricht. Denn gerade in der Kritik der Perspektive zeigt sich ihre Konjunktur als Modell, das sowohl in der modernen Theoriebildung als auch in der künstlerischen Praxis zum Tragen kommt. Laleg zeigt, wie die moderne Geschichte der Perspektive in den wirksamen Transformationen ihrer Form sowie der damit konstituierten Subjektivität besteht. Die moderne Kritik der Perspektive muss als Kritik mit den Mitteln der Perspektive selbst begriffen werden, denn Selbstkritik bildet den Knotenpunkt von Perspektive und Moderne.
History of ideas is a sub-discipline of history that deals with description and interpretation of creative work of thinkers and artists of the past. Martin Jay, as a central aspect of his theoretical work points out two Marxist thesis. 1. Ideas have, as products of intellectual labor, their own material foundation: this means that social reality is determined by those products as much as by economy - in that way, materialist history of ideas is constituted on the shift from the analysis of the economy (base) to the analysis of culture (superstructure). 2. Ideas are related to social practices: ideas within a society are not separate from material reality, but they actively shape social relations, i.e. there is a link between intellectual labor and political conditions of life within a given historical society. The paper examines the connection that Jay established between the history of ideas and the history of architecture and urbanism.
The European summer of 1944 saw what is arguably the greatest deception wrought through deliberate miscommunication. Operation Fortitude focussed on convincing the Nazis that the invasion of Europe would come not at Normandy but further north at the Pas-de-Calais. Seeing the enemy almost completely wrong-footed, Fortitude remains the most devastating deception in the history of warfare. It is also a campaign that teaches us a great deal about the internal dynamics and semiotics of strategy more generally. Accordingly, I propose that Operation Fortitude speaks profoundly to the principle of polysemy and to the related idea that, in competitive fields, strategic design may see to it that we are deceived into misreading tactics in relation to their informing concepts. Directly related to the above, the paper proposes that, since it is always founded upon a more or less difficult-to-fathom conceptual core, all strategy inevitably deceives—and that the question of deception is merely a matter of degree. Further to the above, I also argue that Operation Fortitude teaches us that, at its heart, good strategy seldom depends upon a singular concept but upon several cooperating abstractions. The paper’s final substantive point is that Operation Fortitude reminds us that in order to think productively about strategy, it pays to bear in mind the following military principle: at its most effective, strategy is a unique and exquisitely synergistic coupling of objectives, concepts, and (dehabitualised) tactics.
In this paper I investigate relationships between word-images in fiction and visual images in photography, film and multi-media in order to contribute to knowledge in relation to using ‘show not tell’ in creative writing. The immediate impetus for the inquiry is pedagogy in terms of my desire to understand the complex role of visual art in teaching ‘show not tell’ in creative writing workshops. As such, the inquiry concludes with an overview of a university-level creative writing workshop using visual art. While it is perhaps self-evident that visual art and fiction directly and indirectly influence each other, and that all representations are shaped by similar cultural shifts and expectations, less work has been done to show the relationships between different visual art forms and assumptions made about the portrayal of the real in fiction. The article is exploratory in nature and shows that, influenced by different art forms, the desire to ‘show not tell’ has been connected by writers and critics to the need in various periods to prove social injustice, to depict abstract, internal states, and to provide a sense of mortality, materiality and embodiment in response to modern life.
The article is devoted to the study of the ideas of the French philosopher, esthetician and literary critic J. Derrida, in particular the theory of sign and the concept of deconstruction (understanding by means of breaking the stereotype or inclusion in a new context), considered in the context of modern visual culture. Art. in the context of this concept.It has been found that in modern visual culture, the use of the concept of deconstruction is based on the premise that meaning is constructed in the process of vision (i.e. reading a visual text), and the usual notion of a certain image is trivial (devoid of depth) or imposed by its author. Accordingly, only provocation can initiate thought and release the hidden meanings of the visual image.Visual deconstruction does not provide a final analytical judgment about the image, but only calls it into question, transforming it from a state of structure into a game of values that supports the abutment in the middle of it.It is noted that further research and development of deconstruction techniques in this context will contribute to the development of modern visual discourse.
The TV series Our Boys (2019), which deals with traumatic historical events, provides the basis for a discussion of blind spots (scotoma) as a metaphor for collective denial. This social blindness is one of the troubling phenomena of the current sociopolitical and cultural period and bears in particular on the erasure in public consciousness of moral infractions and processes of dehumanization. While myths, legends, and stories have always been a means to represent social processes, and a space to reflect on them, today digital media and TV series in particular tell the unifying stories of the age. The article aims to derive further knowledge about how denial and scotoma work in society and explore how a TV series can point towards a remedy. To this end, it focuses on locating and naming the medium’s methods which allow this phenomenon to be represented and worked through. The article shows how from episode to episode, Our Boys’ narrative structure, points of view, mise en scène and editing permit a wider visual range. Expansion of the viewer’s visual field prompts this process of working through, initiating a movement from denial to taking responsibility for establishing a moral sociality.
This article draws from the reading protocols developed by José Esteban Muñoz to advance a political reading of Georges Bataille. It argues for a consistent and coherent anti-fascism across Bataille’s work, from the early “political” writings to the mature turn toward mysticism. Focusing in particular on his writings from the 1930s, this article clarifies some of the key concepts in Bataille’s critical theory of fascism: expenditure, heterology, base materialism, and democratic anguish.
This paper contributes to the project of mapping alternative futures for the creative writing doctorate, by way of deep excavation into the history of scholarly forms. A key aim is to undermine the apparent necessity of an exegetical component to any current creative writing doctoral portfolio. To this end, the paper attempts to think through those traditions of humanities scholarship that have long assumed the presentational forms of novelistic and poetic art. It has a specific eye to works in the post-structuralist tradition, in particular those of Michel Foucault, the scholarly writer whom Georges Canguilhem saw fit to label a ‘poet’ in the course of examining the doctorate that we would come to know as Histoire de la folie. The paper asks why that naming makes intuitive sense. A philosophical engagement with Anthony Grafton’s work on the form and origins of the footnote suggests that normative scholarly texts are ruled by a bifurcation between what is said and the story of how one came to say it, a story offered there at the bottom of the page, or in some other like apparatus or mode. The self-justificatory functions associated with the footnote are minimised in Foucault’s and his peers’ work, just as they are banished from art itself. In their place, if anything, we find strategies devised for the fomenting of doubt, that have the emotional and intellectual effect of making knowledge the responsibility of the reader. In other words, a form of creative intellectual work without exegetical documentation is not only possible in humanities scholarship, it is a feature of some of the most valorised work in the field. Could we not take our bearings from there?
O objetivo geral desta pesquisa foi investigar o estatuto dos conceitos de fantasia e depulsão na teoria e na clínica psicanalíticas, buscando analisar suas bases epistemológicas àluz da crítica promovida por Johann Gottfried Herder ao “primado da visão” no pensamentoocidental, bem como extrair consequências teóricas e clínicas da tentativa, empreendidapela filosofia estética desse autor, de restauração da experiência tátil como dimensãofundante da sensibilidade humana e estruturante dos processos de subjetivação e deconstituição subjetiva. O desenvolvimento desta pesquisa - de natureza qualitativa,documental e bibliográfica - se orientou pela estratégia metodológica do “trabalho doconceito”. Essa estratégia metodológica se caracteriza pela tentativa de compreender umconceito analisando os efeitos de sua relação com a rede conceitual na qual está inserido;estendendo e forçando seus limites de aplicação; e testando sua resistência à variação dascondições de aplicabilidade, bem como a capacidade que ele tem de responder aosproblemas propostos. Ao final da pesquisa, pudemos alcançar os seguintes resultados. Apartir da afirmação freudiana de que a pele não só é a zona erógena por excelência (FREUD,1905/2016, p. 68), como também é a responsável pelo caráter doloroso e cruel da pulsão(FREUD, 1905/2016, p. 68), foi possível analisar a dimensão sádico-masoquista que a pulsãoadquire quando sua fonte é a pele, conseguindo-se, assim, delinear aquilo que seria a pulsãode tocar. Diante desse caráter sádico-masoquista da pulsão parcial de tocar e do créditodado por Freud a um estranho costume segundo o qual é costumeiro o olhar substituir otoque (FREUD, 1905/2017a, p. 141), propusemos uma leitura da série de relaçõesambivalentes entre as pulsões parciais de ver/tocar, pulsões de conservação/sexuais e ossentimentos de ódio/amor, tal como as encontramos em Pulsões e seus destinos (FREUD,1915/2017b), como manifestação deste costume freudiano de substituir o toque pelo olhar.De outra parte, por meio de uma revisão bibliográfica das obras Primeiro bosque crítico(1769/2018) e Plástica (1778/2019), de Herder, pudemos analisar detidamente suaconcepção de poeta, o que, mais adiante, se revelou um caminho fecundo no sentido deinterrogar o primado da visão presente na descrição freudiana do fenômeno datransferência como a atualização de imagos parentais na pessoa do analista. Lançando mãode uma concepção estendida de poeta, Herder leva em conta não só o aspecto visual dofantasiar poético (a imagem, o pintor e a pintura), como também seu aspecto tátil (o corpo,o escultor e a escultura). Assim, foi possível redimensionar os aspectos estéticos da práticapsicanalítica, pensando a transferência também a partir do seu aspecto tátil, da arteescultórica. Evidenciou-se, assim, o potencial criativo da dinâmica transferencial, na qual oanalisando é levado a deslocar-se, a fazer circular o desejo através da associação livre, a darvoltas em torno de suas fantasias fundamentais, como se estivesse diante de uma escultura.
ResearchGate has not been able to resolve any references for this publication.