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Session Overview
RN02_04c_H: Embodied Perceptions, Knowing and Subjectivities
Thursday, 31/Aug/2017:
9:00am - 10:30am

Session Chair: Yagos Koliopanos, Université Paris Ouest Nanterre La Défense
Location: HA.2.9
HAROKOPIO University 70 El. Venizelou Street 17671 Athens, Greece Building: A, Level: 2.

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The “Artistic Body”. Embodied subjectivities of the theatre acting experience

Stribor Kuric Kardelis

Universidad Complutense de Madrid, Spain

The proposed presentation will discuss a part of my PhD where the central figure of analysis are emerging models of theatre production that have been intensifying in recent years with the decline of funding and procurement by the public sector in Spain. I call them models of “dramatic craftsmanship”.

To analyse these new figures, the project is formed by two complementary axes: The first one is based on the political and economic dimensions of the productive sector in which these models are embedded. The second axe are the social and psychological dimensions of the creative worker in the sector focusing on theatre actors and actresses. The main methodological tools I am using are in-depth interviews with theatre workers and ethnographic analysis in two theatre companies in Madrid.

In this presentation, I will focus in the second phase of the research where I will expose the process of labour subjectivity building in theatre actors and actresses in relation with their bodies. I will be taking a leap from the Cartesian separation of body and soul and adopting a processual and multiple perspective where physiological, psychological and social features are inscribed simultaneously on the body. The goal is to combine different approaches to the body-work relation like: the “organizational body”, the “aesthetic body”, “emotional labour”, “body capital” or “sex work”; to grasp how the “artistic body” is developed in theatre. In conclusion, crafting the concept of the “artistic body” will allow me to analyse embodied structural and psychological components of the workers’ subjectivity.

Aikido and the remaking of everyday experience

Ryan Jepson

University of Vienna, Austria

In the English language Aikido is commonly known as a "Martial Art", a translation of "Budo" which refers to the code of ethics, sets of practices including multiple artistic practices of the "way of the samurai" in feudal Japan in existence until the late 19th Century. This presentation, however, will reflect on the developments of Aikido of the past decades and its evolution (as practiced by one organisation in particular) to a way of modern living both as a philosophy, but most importantly, through embodied learning and training of mind and body in a group environment.

With an emphasis on remedying the inherent dualism underpinning resolving conflict through fighting, Aikido can be understood as a practice of "non-fighting" which must be studied seriously through through "bodily techniques" to invoke the notion used by M. Mauss. Following this concept, experiences of long-term Aikido practitioners can help to extend the notion of "mindfulness" with implications for researching and understanding a broad array of social interactions and situations.

The teachings, practices, methods and settings of learners reveal pathways to everyday life in the contemporary era and may have significant implications for improving and researching mental, physical, social and societal wellbeing.

Crafted Identities: embracing shared perspectives through phenomenological interpretation of ceramic practice.

Catherine Louise Roche

University of Westminster, United Kingdom

Responding to the future ‘(un)-making’ of European identity for UK citizens and the resulting sense of loss incurred by many, this paper will explore current phenomenological perspectives of visual art that expose the integral nature of shared identities found within embodied experiences of art viewing, and the relevance this has for audiences. Merleau-Ponty’s theories of embodiment will underpin the argument, with particular attention given to recent thinking that assimilates his ideas within a contemporary context, acknowledging the diverse perspectives that form the basis of embodied perception of artworks, and the reciprocal, modifying nature of these encounters upon audiences.

Employing these phenomenological positions alongside theories of sensory perception, materiality and remediation, this paper will examine work by ceramicist Ingrid Murphy, whose practice navigates the interface between traditional and new technologies. Juxtaposing augmented reality with the physicality of hand-made objects, Murphy disrupts tactile and cognitive perceptions of body and self, transforming functional ceramic objects into nuclei for embodied perception, whilst opening up wider discourses of difference and continuity. By applying this theoretical framework to Murphy’s practice, craft, particularly ceramic artworks, is exposed as a potent means to connect with notions of shared identity and communal consciousness, through sensory perception of material qualities and embedded cultural codes; a consideration of tacit knowledge performed via skill and processes of making will also inform the argument. Ultimately, phenomenological methods of approaching humanity through crafted artworks can be seen to offer valuable alternative narratives in a global climate where difference and plurality are increasingly under threat.

An Embodied Image of the Philippine Heart Center Hospital as a Therapeutic Site

Karen So

De La Salle University, Philippines

Framed in Pallasmaa’s idea of embodied image, the paper revisits the idea of the Edifice Complex by Lico and embarks on a multi-sensory study of the inside, outside and inside out of architecture, with focus on the Philippine Heart Center Hospital (PHC). Furthermore, the paper explores Honrado Fernandez’s concept of holistic architecture towards contributing to local aesthetic concepts on space anchored on the experience of illness and health.

The narrative of an embodied image of architecture will be explored through weaving stories that revolve around the body and the senses’ perceptions on space and its connection to experiences of illness and health. Three major stories include the following: a historiography of hospitals using Mojares’s loob at labas in reference to the colonial body, the design philosophy of Architect Jorge Ramos framed in borrowed ideas from urban design using Moughtin and Signoretta’s landscape of a therapeutic environment and an aesthetic scanning of the site by borrowing Manahan’s categories on “good architecture” to frame the stories of former patients and family caregivers who engaged with Jorge Ramos’s symbolic design layout juxtaposed to my own personal accounts in taking care of both my parents in the hospital.

Using socio-historical, technical and personal stories, the study aims to draw a narrative of an embodied image of the PHC that would expand new directions in contextualizing and understanding the aesthetic relationship of architecture and well-being in a local interdisciplinary art studies lens.

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