Articoli di riviste sul tema "Danse – Maurice"

Landslides Landslides est un essai/poème cinématographique où les images de fiction sont issues d’une recherche autour des mémoires d’une danse de l’île Maurice née pendant l’esclavagisme colonial. Le danseur contemporain mauricien Jean-Renat Anamah traverse des paysages mythiques du séga qui se confondent avec des territoires intimes. Depuis les pixels de l’image numérique et les signaux de la musique électronique, ce film exhume dans des couches de paysages les spectres d’un rituel effacé par l’histoire à travers une généalogie personnelle: entre mémoire hantologique et archive en différé.

Cet article se propose d’étudier les deux volumes de mémoires du chorégraphe français Maurice Béjart (1927-2007), dans l’objectif de cerner une particularité de son écriture autobiographique en tant qu’artiste de la danse. Les analyses, qui se concentrent sur la représentation de l’identité plurielle de Béjart, révèlent l’emploi de conventions associées à la définition de l’autofiction de Philippe Gasparini. Or, ces conventions ne résultent pas en une version fictionnalisée du récit de vie, mais s’avèrent participer à une stratégie discursive qui fait du texte une performance littéraire de l’identité artistique de Béjart. Mots-clés : mémoires, autofiction, Maurice Béjart, chorégraphe, identité plurielle, autobiographie

It is common practice for composers to make arrangements and transcriptions of their own or other composers’ music. However, Maurice Ravel stands out by his piano and orchestral transcriptions which constitute a prominent part of his works and reveal certain creative purposes and techniques. This shapes the subject of the article which, inter alia, also focuses on terminology not typical for Russian musicology. The study is novel as it examines Ravel’s transcriptions that have been virtually out of research or performance scope in Russia, namely, Debussy’s “Danse” and “Sarabande”, Chabrier’s “Menuet pompeux”, and others. The paper describes Ravel’s transcriptions from three perspectives: time of creation, the original author’s material developed by Ravel, and timbre interpretation. The orchestral versions of his own piano compositions (“Pavana of the Sleeping Infante,” “Tomb of Couperin”, “Alborada”, etc.), as well as compositions by other authors (Debussy, Chabrier, Mussorgsky) form the biggest part of Ravel’s heritage. The article compares compositions written in different timbres as well as different approaches Ravel uses to make piano arrangements, hence, the comparative method is central to the study. Ravel’s piano transcriptions show him as an attentive arranger sensitive to the subtleties of the score as well as a diligent student who has “digested” and mastered the original sound material, which, subsequently, influenced his own work. Creating orchestral versions of his own and his colleagues’ works, the composer remakes and interprets originals in a new way. Ravel’s orchestral instinct, his brilliant timbre ear, attention to structural detail, sense of proportion as well as his impeccable taste make him a genuine master of arrangement.

This essay explores the conflicting trends of tradition and modernism, unity and independence in Parisian musical and dance culture in the late 1920s through an analysis of Maurice Emmanuel’s (1863-1938) aesthetics of contemporary and ancient Greek music and dance. It begins by outlining and critiquing Emmanuel’s relevant scholarly contributions to ancient Greek dance history and music history before demonstrating how these tensions manifested in the 1929 production of Emmanuel’s opera Salamine based on Aeschylus’s The Persians. Exploring Emmanuel’s aesthetics of music and dance (ancient and modern) affords a unique opportunity to see how these creative media were theorized and practiced in the tumultuous years after the Ballets russes, while illustrating some of the conflicts between what Léandre Vaillat termed “the academic and the eurhythmic” in dance and music.

"The minuet is one of the most representative dance forms of the Baroque era. Thanks to its popularity, it becomes part of stage works like operas and ballets, instrumental suites, later (in the Classical and Romantic era) movements of symphonies, sonatas, string quartets, and trios. Ravel had a special interest in old dance forms. Among his musical works there are several dance-movements like Pavane, Rigaudon, Forlane, or Menuet. The use of these in individual works is limited, having only three minuets written for piano solo: the Menuet antique (1895), the Menuet in C sharp minor (1904), and the Menuet sur le nom d’Haydn (1909). Keywords: Ravel, Baroque, Reminiscence, Baroque dance forms, Piano, Minuet, Neoclassicism. "

Abstract At the end of the nineteenth century, under the influence of chronophotography and the arguments of the French musicologist Maurice Emmanuel, it was believed that ancient dance could be recovered for the modern world by animating the figures on ancient Greek vases. This led to a flurry of practitioners of so-called ‘Grecian’ dance across Europe, the US and the British Empire. At the beginning of the twentieth century, moving like a Greek became as popular and as liberating for women of the upper classes as discarding a corset and dressing in a Greek-style tunic. In the Edwardian period, since the most celebrated practitioners of Greek dance were women, this new corporeal Hellenism was viewed with deep suspicion as a perilous bid for Sapphic liberation from the patriarchy. But this new corporeality was no less part of a wider utopian return both to nature and the ideal of the collective that laid the groundwork for fascist appropriations of Greek dance in the 1920s.

In this article, I describe the experience of dancing-a-walk. My specific focus is on the shift that I perceive in my body when I dance-a-walk rather than functionally walking. Following a firstperson perspective, I demonstrate how my experience of practicing dancing-a-walk interrogates the habit of walking and makes it come alive again as an expression of the body. First, I show how the practice of dancing-a-walk challenges the dichotomy between abstract and concrete movement proposed by Maurice Merleau-Ponty in the Phenomenology of Perception. Indeed, dancing-a-walk is an example of a concrete and yet already abstract movement. Then, I turn to concepts such as habits and body memory. By identifying how the perception of my body changes when I dance everyday movements (i.e., walking) versus when I execute such movements functionally, I aim to develop a new perspective on and vocabulary for a phenomenological definition of concrete/abstract movements within the context of dance.

Regin Prenter. En personlig mindeudtalelseAM. Allchin fremhæver i sin nekrolog, hvorledes Regin Prenter var dansk, luthersk teolog, og i .t hermed, uden at der opstod nogen skurrende modsætning, en økumenisk vidtfavnende teolog. Prenter udtrykte i sine afhandlinger med den for ham særegne klarhed synspunkter, der var tro mod hans eget konfessionelle udgangspunkt, og som på samme tid røbede fundamentalt slægtskab med grundtræk fra andre konfessionstraditioner. Dette falder f.eks. i øjnene, når man sammenligner Prenters grundtanker med træk fra den østligeortodokse og den anglikanske kirke (F.D. Maurice og M. Ramsey). Prenters behandling af offermotivet i nadveren fremhæves som et af de mest bemærkelsesværdige eksempler i s. henseende, fremstillet bl.a. i den monumentale lærebog i dogmatik .Skabelse og Genlæsning..Dr. Allchin omtaler endvidere Prenters livslange, personlige forbindelser med England. De begyndte s. tidligt som i 1929, da en gruppe danske teologistuderende (grundlæggerne af Teologisk Oratorium) besøgte det anglikanske klosterfællesskab i Kelham. De fortsattes i 1935, hvor han opholdt sig i Lincoln og knyttede venskab med Michael Ramsey; og de blev videreført indtil de allerseneste år, hvilket Allchin selv havde lejlighed til at drøfte i samtaler med Prenter.Til sidst vises med to teksteksempler fra Prenters sene arbejder, en prædiken fra 1983 og bogen Guds virkelighed., hvordan der hos Prenter bestandig fandtes en liturgisk dimension, der vidnede om sammenhængen mellem bønspraksis og dogmatik, gudstjenestelig lovprisning og teologisk refleksion.Arthur Macdonald Allchin

The artworks that fall nowadays within the umbrella term ‘mediadance,' characterized by the hybridism on the intersection of dance, moving image, digital technology and communication and information technologies, are representing and simulating not only new types of dancing body configurations but also promoting a new way for the audience to experience dance. This article presents and reflects on Gretchen Schiller's (2003) concepts of ‘mediadance' and ‘kinesfield,' revisiting Maurice Merleau-Ponty's (1945, 1962) thoughts on phenomenology of perception for theoretical support to analyze the forms of embodiment that mediadance promotes. Finally, we adopt Don Idhe's post-phenomenological claim that the experience interlaced between body and digital technology is a re-embodiment stage and never, as some authors can propose, a disembodiment stage.

Denne artikel introducerer begrebet konstitutiv actio i en retorisk kritik af den danske statsminister Mette Frederiksens tale ved coronapressemødet d. 11. marts 2020. Analysen illustrerer, hvorledes retors stemmeføring, kropssprog og mimik bidrager til at konstituere en diskursiv publikumsidentitet. Artiklen anskuer stemmeførings- og kropssprogsmæssige fænomener såsom emfatiske tryk, pauser og blikretning i det perspektiv, der kommer til udtryk i Maurice Charlands konstitutiv retorik (1987). Artiklen søger dermed også at udvide den retoriske forståelse af stemmebrug, der ofte fokuserer på persuasio eller publikums tilskrivning af karaktertræk eller troværdighed til retor.

"According to Alfred Cortot, the suite Le tombeau de Couperin could be divided into two main units. The first part presented in the previous volume of this journal, analyses the structural arch of the suite: the first two and the last part, which uses specific compositional technics of the Baroque era. This second part presents the middle section of the suite, the reminiscence of baroque dance forms, through the three contrasting dances: Forlane, Rigaudon, and Menuet. The fusion between the elements of the French baroque keyboard music and the characteristics of the modern piano music transforms this suite into a real and unique masterpiece. By analyzing the Forlane, the Rigaudon, and the Menuet of the suite we can understand the view of twentieth-century artists on the music of the Baroque era. Keywords: Ravel, Suite, Baroque, Reminiscence, Baroque dance forms, Piano, Forlane, Rigaudon, Menuet"

The focal point of this article is sensory perception in terms of action and experience. Perceptual constructs are both physical and cognitive acts that carry meaning in themselves, thus being a vital element of expression in performance making. Liora Malka Yellin's theoretical discussion here draws on J. J. Gibson's information-based model of perception and Maurice Merleau-Ponty's phenomenology of perception, relating aspects of their thought to that of theatre practitioners and their practice. At the centre of these reflections are references to the shifts undergone by Butoh since its beginnings in the 1960s, and an analysis of Shijima, a dance-theatre work by the Japanese group Sankai Juku, based in Paris. This analysis of the perceptual constructs embedded in the configuration of bodily movement directs attention to what can be called corporeal narrative. Liora Malka Yellin is a Lecturer in Theatre and Dance Studies in the Department of Theatre Arts and the Interdisciplinary Program in the Arts at Tel Aviv University.

Len Lye’s animation has a special relationship with physical materials and the body because of the ways he drew and scratched his images directly onto film. This article considers what is unusual about his aesthetic, with its emphasis on kinaesthetic styles of viewing and on ‘physical empathy’. Tracking Lye’s film work from the 1930s through the 1950s, it draws connections with the body-oriented aspects of abstract expressionist art. It also relates the films to Maurice Merleau-Ponty’s ‘embodied’ approach to phenomenology. Today Lye’s films need to be digitized, and that transfer raises interesting questions about the differences between analogue and digital aesthetics. What happens when his films move from the ‘black box’ of the cinema to the ‘white cube’ of the gallery or museum where they are digitally presented? The article also considers Lye’s kinetic sculpture as another body-oriented form of animation, in which the motor replaces the projector. His sculpture again raises questions about mixing the analogue with the digital.

This essay interprets the work of the German choreographer Pina Bausch with the help of phenomenological examinations by Maurice Merleau-Ponty, Emmanuel Levinas, and Martin Heidegger. Pina Bauschs choreography not only shares basic themes like the everyday, the body, and moods with phenomenology, but they also yield similar results in overcoming traditional dualist frameworks. Rather than being an instrument for expressing ideas, the body is in constant exchange with the natural elements, exhibiting vulnerability and passivity. Moods, in turn, are neither subjective nor objective; this also holds for longing, an essential constituent of Pina Bausch's work. Dance theater and phenomenology, each in their unique ways, are capable of acknowledging and accommodating the ambiguity of our human existence.

Abstract This article focuses on and discusses the concept of space as a theoretical tool in connection with dance pedagogy. The author suggests that to look at the dance class as spacious contributes to the dance teacher’s awareness of the fact that she operates in, and also creates, many different spaces as she teaches. This awareness might support the teacher in broadening the dance space in order to embrace differences among dancers, thereby providing the word spacious with a second meaning: generous. The author’s interest in the concept of space as a theoretical device to help understand what goes on in a dance class was born during the analysis of the video material collected for her PhD in dance (Østern, 2009). The practical investigation of the study dealt with formulating an approach to dance pedagogy with a group of mixed-ability dancers based on an understanding of the meaning-making processes among the different dancers in the project. Dialoguing with scholars like Maurice Merleau-Ponty (1962/2002), Valerie Briginshaw (2001), Shaun Gallagher, Dan Zahavi (2008) and Leena Rouhiainen (2007), the author distinguished different spaces in the dance improvisation classes she was teaching, video recording and analysing. Through this process, she developed a theory on the fact that in a dance improvisation class with differently bodied dancers meaning was made in different ways, touching on and producing different spaces. The author concludes that one main advantage of regarding a dance class as spacious is that it allows for an understanding that in class meaning-making can happen in different ways, within different spaces. Together with the dancers, the dance teacher moves in and out of these spaces as she teaches. Tone Pernille Østern (Doctor of Arts in dance) is a dance artist, teacher and researcher based in Trondheim, Norway. She is the artistic leader of the Inclusive Dance Company (www.dance-company.no) which is a small independent contemporary dance company. She has developed the Dance Laboratory (www.danselaboratoriet.no) which is a performing group with differently bodied dancers. The Dance Laboratory also formed the basis of her field work in relation to her PhD in Dance at the Theatre Academy in Helsinki (Østern, 2009). Østern is also the leader of the MultiPlié Dance and Diversity Festival, a biennial in Trondheim since 2004. The festival tries to stretch and discuss ideas about what dancing is and who can be a dancer. From 2009 she also takes up the position as assistant professor at the Program for Teacher Education at the NTNU University where she teaches and carries out research. E-mail: inclusive@dance-company.no / tone.pernille.ostern@plu.ntnu.no

The goal of the article is to present a theory of game feel inspired by phenomenology. Martin Heidegger’s tool analysis and concept of time ( Sorge), as well as Maurice Merleau-Ponty’s Body-Subject including the related phenomena intentional arc, maximal grip and flow of coping, are of special interest. The aim is to move beyond the descriptive game design take on game feel by inserting the body in a first-person perspective, highlighting a sensuous approach with emphasis on rhythm and controller. We offer a methodological framework for analysing game feel consisting on three levels: ‘Dance’, ‘Learn’ and ‘Inhabit’. Finally, we arrive at an understanding of game feel explaining reasons for player sensitivity towards game feel and clues to why players care so deeply about it.

Relevance of the study. The relevance of the article is determined by the appeal to the controversial issues of understanding the artistic concept of Maurice Ravel’s piano suite “Tombeau de Couperin”, which was written during the First World War (1914–1917). In this work the intellectual and emotional currents that filled the life of Maurice Ravel at that time are concentrated. However, discussions about the content of the suite arose literally from its first performance by Marguerite Long in Paris in May 1918. The solution of the “paradox of inconsistency” of the combination in the suite of tragic dedications and the manifest semantic reference to the enlightened and clear French music of the 18th century is a mature task of modern musicological science. The main objective of the study is to reveal the specifics of the formation of semantic layers in the piano suite “Tombeau de Couperin” as a reflection of the spiritual life of Maurice Ravel during the First World War. The scientific novelty consists in revealing the specifics of the connections of the piano suite “Tombeau de Couperin” with the contemporary cultural and historical context, the dominant characteristics of which were determined by the First World War. For the first time in Ukrainian Ravelianism, the composition “Tombeau de Couperin” is studied in detail as a holistic phenomenon that was determined by the emotional and intellectual markers of M. Ravel’s spiritual life as a dandy composer in the conditions of the tragic historical turn. In order to justify this position, for the first time cross-lado-intonation connections between all parts of the cycle were discovered. The methodology of the article is based on historical, comparative, genre-stylistic, intonation and phenomenological methods of analysis. Results / findings and conclusions. The artistic concept of the work is extremely complete. The first semantic layer is formed by spiritual ties with national traditions, whose representative is Francois Couperin. The second semantic layer forms a kind of tomb-crypt (tombeau-tombe), which hides the most tragic impressions in the composer’s life. Indescribable experiences of the composer, which never came to the surface of his behavior or correspondence with friends, are reflected in the music of “Tombeau de Couperin” through personal accents in the interpretation of the harmonic, textural, latotonal, rhythmic features of the selected dance genres, as well as the autobiographical expression manifested in the dedications content. Maurice Ravel felt himself a part of history and let a new terrible reality pass through his heart without a note, finding its proper place in the dandy world picture. Remaining faithful to the categories of beauty and taste, he combined his spiritual streams into a unique “phenomenon of life during the war”, which will fill the genre of the ancient suite with modern and personal meanings. Ravel turns to the model of the ancient dance suite, which he interprets as a cycle and transforms established dance genres. The “Fugue” becomes a signpost in the space of semantic transformations, which exposes not only the theme, but through its fundamental transformations “the phenomenon of life during the war”. The following parts — “Forlana”, “Rigodon” and “Menuet” become the further decoding of the essence of this phenomenon in the organization of the artistic whole. Distortions of established genre norms acquire a culminating detection in Musette (“Menuet”). “Toccata” fills the space of memory and multidimensional spiritual figures with the intuition of incessant movement. The composer seems to discover in “Toccata” an unstoppable flow of welcome energy, which should not be interrupted and which actually forms the essence of the “phenomenon of life during the war”.

This research and community engagement investigates an ancient Balinese ritual known as Sang Hyang Dedari. The dance is interrelated to an agricultural aspect of the traditional Balinese living. As the Balinese struggle to maintain their values from the constant threat of modernization and industrialization, this dance reveals the powerful impact of creating an awareness of socio-ecological equilibrium. The effort made by the villagers of Geriana Kauh, Karangasem, displays how local community rebuilds its environment based on their traditional ecological value. Analyzing Sang Hyang Dedari dance through phenomenological approach, thus, it can be discovered how the ritual sustains the social relations. The bodies of the dancers are the center of an elaborate nexus between people, nature and god. To understand how the dualism of sacred and profane bodies, this research utilizes the body theory by Maurice Merleau-Ponty. The importance of phenomenology as a theory relates to the understanding on how the ritual works as an event in its totality. Understanding the unity between the presence of the divine, nature and human. The output of this research and community engagement is a museum built in cooperation between University of Indonesia with the villagers of Geriana Kauh, Karangasem. As the performance and knowledge about Sang Hyang Dedari appeared to be scarce, this museum is a form of collaboration to retrace the history of Sang Hyang Dedari ritual, in an attempt to conserve the ancient knowledge.

This research and community engagement investigates an ancient Balinese ritual known as Sang Hyang Dedari. The dance is interrelated to an agricultural aspect of the traditional Balinese living. As the Balinese struggle to maintain their values from the constant threat of modernization and industrialization, this dance reveals the powerful impact of creating an awareness of socio-ecological equilibrium. The effort made by the villagers of Geriana Kauh, Karangasem, displays how local community rebuilds its environment based on their traditional ecological value. Analyzing Sang Hyang Dedari dance through phenomenological approach, thus, it can be discovered how the ritual sustains the social relations. The bodies of the dancers are the center of an elaborate nexus between people, nature and god. To understand how the dualism of sacred and profane bodies, this research utilizes the body theory by Maurice Merleau-Ponty. The importance of phenomenology as a theory relates to the understanding on how the ritual works as an event in its totality. Understanding the unity between the presence of the divine, nature and human. The output of this research and community engagement is a museum built in cooperation between University of Indonesia with the villagers of Geriana Kauh, Karangasem. As the performance and knowledge about Sang Hyang Dedari appeared to be scarce, this museum is a form of collaboration to retrace the history of Sang Hyang Dedari ritual, in an attempt to conserve the ancient knowledge.

I began to study philosophy at the same time that I began to study dance, at college in the early 1980s. Both of these choices surprised me at first, as I had originally planned to study politics and become a civil rights lawyer after college. I see now that these two areas of inquiry were routes toward figuring out how to bridge the divides between my academic self and my increasingly explosive physicality. Figuratively as well as literally divided into day and night, my academic experience and the club scene I thrived in were separated by geographic distance and differing class values—a study in the cultural bifurcation produced by the hierarchies of brain and brawn. But these body/mind boundaries were always porous for me, and they became increasingly so as I explored the epistemological origins of the Cartesian split in my survey of Western philosophy course while also taking my first modern dance class. My desire was to become both verbally and physically articulate, and I savored those moments when vague impulses or ideas found the right expressive gesture or crucial wording. By the time I was a senior, I was choreographing a quartet and writing a thesis on Maurice Merleau-Ponty's Phenomenology of Perception (1962). Somewhere along the way, philosophy and dance leaned into one another, beginning a duet that would lead to a life spent thinking and moving.

Part One of this study on the transmutation of the Victorian waltz into the modern English waltz of the early 1920s examined the labile social and choreographic climate of social dancing in London's fashionable ballrooms before, during and just after World War One. The article ended with the teachers’ unsatisfactory effort to characterise the features of a distinctively modern waltz style in response to a widespread discourse to recover and adapt the dance for the contemporary English ballroom. Part Two investigates the role of club and national competitions and exhibition dancers in changing and stabilising a waltz form and style that integrated preferred aspects of both old and new techniques, as advocated by leading waltz advocate and judge, Philip Richardson. This article brings into critical focus not only choreographic contributions by Victor Silvester and Josephine Bradley but also those of models such as Maurice Mouvet, G. K. Anderson, Georges Fontana, and Marjorie Moss whose direct influence in England outweighed that of the more famous American couple Irene and Vernon Castle. The dance backgrounds, training and inter-connections of these individuals are examined in identifying choreological and aesthetic continuities that relate to prevalent and inter-related notions of style, Englishness, art and modernity as expressed through the dancing. Taken as a whole, the two parts provide a case study of innovative shifts in popular dancing and meaning that are led through imitation and improvisation by practitioners principally from the middle class. The study also contributes to dance scholarship on cultural appropriation through concentrating on an unusual example of competition in dance being used to promote simplicity rather than virtuosity. In conclusion, greater understanding of creativity and transmission in popular social dancing may arise from identifying and interrogating the practice of agents of change and their relationships within and across their choreographic and socio-cultural contexts.

Beyond Maurice Ravel's 1910 score, the remnants of the original production of Daphnis et Chloe--one known stage photograph, an assortment of studio photographs, seven known costumes, brief reviews, anecdotal memoirs, and a bundle of pastel drawings--constitute choreographer Michel Fokine's 1907 scenario. These materials are scattered across the globe, preserved in libraries and museums in Russia, Sweden, France, England, and the United States. They compose less a ballet, even the archival detritus of a ballet, than a haunting absence. This article assembles all of these materials in an assessment of the differences between Ravel's and Fokine's conceptions of Hellenic antiquity. The discussion focuses on the draft and revised versions of the literary scenario and the draft and revised versions of the finale of the score, cast in 3/4 and 5/4 meter respectively. The ending of the article offers brief remarks on the music-dance relationship in the original and two subsequent productions of the ballet.

The subject of the study is Maurice Ravel's "Spanish Rhapsody" arranged for two pianos. The purpose of this article is to consider the genre features of the work, based on the refraction of the principles of rhapsody and suite. The performing means used by the composer in the implementation of the program idea of the work are also of research interest. The methodology of this study was made up of holistic and comparative approaches to the study of a musical composition. The novelty of the article lies in the fact that the study generalizes and concretizes the features of form formation in the work, which contributes to the study of the composer's creative method, the study of his peculiarities of working with cyclic forms. In the course of the study, the author comes to the conclusion that in M. Ravel's "Spanish Rhapsody" the features of directly rhapsody are reflected, expressed as a comparison of contrasting folklore layers in a single whole, features of suite, expressed in a generalized interpretation of Spanish imagery on the one hand and the composer's appeal to the genre models of a baroque dance suite, on the other. In addition, the suite principle in the structure of the form of the work is embodied in a specific impressionistic refraction of the genre features of Spanish dance folklore in each of the parts of the form. The obtained results of the work will contribute to the conscious interpretation of M. Ravel's "Spanish Rhapsody" arranged for two pianos from the point of view of the principles and laws of shaping and pianistic means of impressionistic expressiveness in the expression of Spanish images in music.

The relevance of the article is determined by the appeal to the debatable issues of stylistic differentiation of the works by Claude Debussy and Maurice Ravel as the French musical culture leading representatives of the late 19th and the first third of the 20th centuries. The research reflections about the connections betwen Debussy and Ravel on the principle “for / against” have not subsided for more than a hundred years. This testifies to the special urgency of this problem and the need to search for modern approaches to understanding the artistic identity of two brilliant contemporaries.Scientific novelty. For the first time, the multidirectionality of the composing strategies by Debussy and Ravel is indicated through the the concept of style in its interdisciplinary philosophicalcategorical status and the explanationof its functions of identification and communication in the general cultural understanding (O. Ustyugova). For the first time the difference between the cultural phenomena processes integration in the era of modernism into the new artistic wholes, with unique properties, which is appropriate to define as “Debussy’s style” and “Ravel’s style”, is revealed.The purpose of the article is to reveal the multidirectionality of the composing strategies of Debussy and Ravel through an appeal to the main stylistic functions of identification and communication in general cultural understanding (O. Ustyugova); to designate the non-coincidence of channels of integration of cultural phenomena in the era of modernism into new artistic wholes, which have unique properties such as “Debussy’s style” and “Ravel’s style”.The research methodology includes the use of historical, stylistic, comparative methods.Main results and conclusions. The existing musicological literature emphasizes the influence of romanticism, post-romanticism, impressionism, symbolism, neoclassicism, Art Nouveau, moderne style on the formation of the individual style of Debussy and Ravel. Each of these directions had a certain reflection in the work of composers. However, let us try to highlight in the conceptual space of the many-sided “isms” of the cultural context of the era of modernism the hidden sources of the deployment of the creative intentions of the both brilliant contemporaries. We will choose the fundamental work of E. Ustyugova “Style and Culture: Experience of Building a General Theory of Style” (2003) as a methodological basis for this. E. Ustyugova proposes to go beyond the understanding style as a “migratory structure” (term by J. Rebane) and a convenient “classification tool” (J. Burnham) in structural and typological studies of art and move on to a comprehensive study of the essence of this phenomenon. For this, according to the researcher, it is necessary to carry out two analytical procedures. The first is based on the awareness of the experience of the mismatch between the object and the subject. The second involves considering the style in the aspect of intersubjective communication.With this view on the problem of identifying the patterns of formation and development of cultural phenomena, it is not the nominative parameters and the “herbarization” of genrelinguistic units that come to the fore, but the comprehension of the multilevel subject-object relations that formed these phenomena; “live reproduction” of the matrix of the world perception as channels of communication between the “I” and everything that appears as “not-I”.The creative paths of Debussy and Ravel represent diferent creative strategies. The “pure meaning”, unspeakable by words and free from all earthly, to which Debussy aspired, creates parallels with the texts of symbolist poets and destroy the boundaries between “I” and “not-I”. In the fundamental monographs of French researchers dedicated to the composer an idea has long been entrenched: the composer’s creative laboratory was poetry, and Debussy’s address to the poetic word throughout all his creative decades constantly expanding the semantic horizons of his “artistic realities”.Debussy’s spiritual intentions merged into a single sound-glow in the indivisible space of being. The word in all its dimensions (from literal to metaphysical) indicated the stages of the process of dissolving the personal “I” and going beyond (au-délà) the established forms of artistic expression. Therefore, various kinds of the names (or “afterwords”, as in the Preludes), epigraphs, numerous super-detailed directions remained an integral part of an integral sound structure. His musical language, destroying the connections in time between the past and the future (rejection of the system of functional gravities that should be “stretched” in musical memory), created a certain correspondence (“here and now”) with the phenomenon of being.Hence the following characteristics of the composer’s musical works: 1) the impeccable construction of the whole, which is “thought out to the smallest detail” (E. Denisov), subtle multilevel “correspondences” and symmetries; 2) total thematization of texture (K. Zenkin); 3) selfsufficient semantic expressiveness of the “pure sound forms” (K. Zenkin), which became the embodiment of “an agonizing thirst for undeniably pure” (S. Velikovsky).These properties of Debussy’s style open up the possibility to get into the spiritual dimensions filled with pure beauty, which so attracted the followers of Baudelaire. Using the typology of teh subject-object relations proposed by E. Ustyugova, Debussy’s style can be attributed throughout the paradigm of hidden subjectivity. Debussy was well aware of his “non-romantic” position.The artistic aspirations of Maurice Ravel more clearly resonate with the creative attitudes of Art Nouveau artists, who were looking for new forms of plastic expressiveness mainly in spatial forms of art. It seems that it is with this direction that a special feeling of the plasticity of the musical material and the entire musical composition as a unique phenomenon is associated, which determines the composer’s creative credo.The concept of “plasticity” indicates such a connection between coordinated phenomena, which appears through the reincarnation (transformation) of a certain material substance, when we keep in memory its output characteristics. Ballet works and the reliance on dance genres (and more broadly, various types of plasticity of gesture and movement) reveal the hidden basis of the composer’s thinking. This approach allows one to re-evaluate Ravel’s connections with the ancient heritage (it is symptomatic that the composer called his first “adult” work, devoted to the press, “Antique Minuet”) and to understand the meanings of constant antique reminiscences with which he filled his life.Like a real dandy who lets the vibrations of the world pass through himself, Ravel is sensitive to them and “cuts off” random, “ugly”, “unnecessary” ones. Hence — the special beauty of the artistic structures created by the composer. They are built not in a “filtered” ideal-beautiful dimension, but in the space of shimmering opposites (the corporeal — free from the corporeal, the familiar — the unknown). Ravel’s inherent tendency towards the graphic relief of the melodic line creates parallels with the “famous lines of Art Nouveau” (Fahr-Becker Gabriele) and is especially distinct, characterizes the composer’s later works.The non-everyday register of semantic reverberations of what is happening in the process of metamorphosis in the composer’s music (his plastic questioning about the existential nature of the source material) demanded a special listener’s responsiveness. Mistifications, hiding behind a mask, playing with the listener are Ravel’s usual communication strategies. Therefore, according to the typology of the subject-object relations proposed by E. Ustyugova, we can speak here of the paradigm of “open subjectivity”, which is characterized by the direct orientation of the subject towards himself. Hence — the principle of auto-citation characteristic of Ravel. The quintessence of its use are the composer’s later works — the opera Child and Magic, as well as the Piano Concerto in G major — the Dandy summa summarum of the composer’s previous career.The game of “correspondences” (Baudelaire) was manifested by composers in various ways and conditioned various channels of communication. Debussy makes the semantics of sound education a semantic unit, appeals to the listener with the expressiveness of the structure itself. Therefore he always emphasizes, appeals to the elite listener. Ravel, on the other hand, hides behind masks and theatrical illusions. He needs a listener who has a culture of distance (who owns wide meaning contextual fields). The contextual layers associated with musical texts express that “degree of distance” from the object of attention, which the composer himself chooses and whose parameters are constantly changing. Therefore, Ravel never turns twice in the genre, style or stylistic model he has already used.So, if the works by Debussy can be perceived “from scratch” because of their structural completeness and semantic tightness, then the works by Ravel require the listener to know the musical context and readiness to lay it out “fold by fold” (J. Deleuze) in new semantic projections.At the turn of the 19th and 20th centuries, French culture was looking for a means of creating a “state of resonance” (G. Bachelard) as an extraordinary impression, “awakening”, without which a person cannot take place. Debussy and Ravel moved in this direction. Therefore, only through the identification of all the “correspondences” of the era of a total change of creative guidelines and a departure from unambiguous stylistic “avatars” can one feel its essential discoveries. The study of the lines of intersection of the Debussy music and the Ravel music with various artistic phenomena of the past and the present illuminates certain reflections of the “style of the era”. However understanding the deep patterns of the creative manner of the two contemporaries requires differentiating the definitions of “Debussy’s style” and “Ravel’s style” and their further studying.

<p>En esta oportunidad presentamos el segundo número correspondiente al volumen 12 de la serie iniciada en el año 2008. La preparación de este número coincidió con dos eventos de relevancia para la arqueología Argentina. Por un lado el desarrollo del XVI Congreso Nacional de Estudiantes de Arqueología que se realizó en la ciudad de Córdoba, en la sede del Colegio Manuel Belgrano, dependiente de la Universidad Nacional de Córdoba. El evento se realizó durante los días 12 y 14 de Julio y convocó a un buen número de estudiantes de diversas geografías nacionales interesados en el desarrollo de esta disciplina. Por otro lado, se realizó la edición vigésima de los congresos nacionales de arqueología (XXCNAA). Este se desarrolló entre los días 15 y 19 de julio de 2019 en la Ciudad Universitaria dependiente de la Universidad Nacional de Córdoba. Bajo el lema “50 años de arqueologías” se fueron sucediendo durante estos días la presentación de trabajos orales y posters en mesas regionales, simposios temáticos, y mesas redondas. Estos espacios, más de 40 en total, trataron sobre temáticas generales de la arqueología y cuestiones más específicas dirigidas hacia la relación de los arqueólogos con las comunidades así como nuevas líneas de investigación que se encuentran en pleno desarrollo como la arqueología digital. Junto con esto se realizaron diversos conversatorios que permitieron la discusión de diferentes temáticas de importancia para la arqueología contemporánea. En cuanto a la asistencia, no obstante el actual desfinanciamiento de la ciencia y técnica a nivel nacional, fue interesante observar qué en términos generales fue similar a la de otros congresos nacionales desarrollados en contextos económicos más favorables. En ambos eventos pudo demostrarse la vitalidad de la arqueología desarrollada desde Córdoba y demostrando que la arqueología como parte de la antropología se encuentra en un momento de gran desarrollo a nivel local y que a través de sus distintas formas y medios de comunicación como lo son el Museo de Antropología, o las diversas carreras de grado y posgrado, o esta misma revista, pretende aportar a una construcción de una sociedad más crítica e inclusiva.</p><p>A continuación y cómo en cada número desarrollaremos el contenido que se presenta en esta oportunidad. Ahora presentamos catorce artículos originales y dos introducciones a un Dossier que se suman a una cada vez más extensa colección de trabajos antropológicos y museológicos desde una perspectiva social. Seis corresponden a la Sección Arqueología; tres a Antropología Social y cinco a Museología, con sus introducciones.</p><p>En el primer trabajo de la Sección Arqueología tenemos el trabajo de Rodrigo Cabrera que tiene como objetivo el análisis de la espacialidad funeraria durante la tercera dinastía de Ur en la baja Mesopotamia. Este es uno de los primeros trabajos que publicamos en esta revista en relación con la arqueología de una de las áreas clásicas en la disciplina. Continúa el trabajo de Adolfo Gil, Nuria Sugrañes, Agustín Acevedo, Gustavo Neme, Laura Salgán, Miguel Giardina, Hugo Tucker, Danae Fiore, Viviana Seitz, María de la Paz Pompei y Miriam Ayala. Los autores intentan aportar al conocimiento de la biogeografía humana en ambientes áridos y las fases de poblamiento en relación con las trayectorias demográficas humanas en un ecosistema particular como lo es el del monte ubicado en el sur Mendocino y la región norpatagónica. El próximo trabajo de Anderson Marques Garcia nos presenta una discusión sobre las particularidades de una forma arqueológica relativamente común en el sur de Brasil en el Uruguay y en las tierras bajas de Argentina denominada Cerritos. En este sentido el objetivo del trabajo es tratar de comprender las particularidades de estas construcciones ubicadas en la región costera y en el interior del estado de Río Grande do Sul en Brasil. Posteriormente, Andrés Laguens y Benjamín Alberti presentan una interpretación del primer poblamiento del centro de la República Argentina a través de una ontología particular situada, denominada perspectivismo sudamericano.</p><p>Marcos Quesada, Enrique Moreno y Soledad Meléndez por otro lado presentan resultados de prospecciones realizadas en el valle de El Bolsón en la provincia de Catamarca. Y por último, cerrando la sección, Romina Vázquez presenta los resultados de los análisis tafonómicos realizados a conjuntos de restos óseos humanos del departamento Chos Malal en la provincia de Neuquén.</p><p>Dentro de la Sección de Antropología Social tenemos tres trabajos. El primero de Isabelle Combès nos introduce al estudio de un diario de viaje realizado durante la exploración del Río Pilcomayo en 1844. Luego, Rolando Silla presenta un comentario sobre dos trabajos del antropólogo Marcelo Bórmida relacionado con el desarrollo teórico de la antropología en la década de 1950. Por último, Candela Heredia a través de su trabajo de campo etnográfico realizado en un hospital público pediátrico de la ciudad de Buenos Aires, nos introduce al estudio de la antropología sobre los medicamentos.</p><p>Cierra este número un Dossier dedicado a la discusión sobre una Nueva Museología - Museología Social. Esto es el resultado de un congreso de Museología Social del Movimiento Internacional para la Nueva Museología (MINOM), realizada en Córdoba en octubre de 2017.Olga Bartolomé, Leonardo Casado, Verónica Jeria y Mariela Zabala realizan una introducción general del Dossier y nos introducen a los trabajos qué lo componen. Junto con esta introducción se presenta lo que se ha denominado “Declaración de Córdoba de la XVIII conferencia internacional de MINOM: la museología qué no sirve para la vida, no sirve para nada. Siguiendo este concepto continúa la introducción realizada por Mario de Souza Chagas y Marcele Pereira en relación con el movimiento internacional para una nueva museología.</p><p>En el mencionado Dossier María Clara Martins Cavalcanti presenta los resultados de un proyecto realizado en el Museo del Mañana de la ciudad de Río de Janeiro denominado Proyecto 10: construcción de niñas del mañana. Leonardo Renzo Mellado González, Mauricio Geovanni Soldavino Rojas, Pablo Soto González y Marcela Torres Hidalgo nos presentan algunos de los servicios que los museos pueden ofrecer a aquellos que por diversas razones no pueden acercarse a esos espacios físicos, en el marco de un programa denominado “El Museo sale del Museo”. Daniel Delfino, Sabine Dupuy y Gustavo Pisani discuten sobre la utilidad social de la producción del conocimiento científico y arqueológico en Laguna Blanca, un área de la provincia de Catamarca. Pedro Pereira Leite presentan ejemplos sobre procesos de museología social en Portugal. Por último Fabio López Suárez presenta la importancia de los museos como agentes de transformación social que ayuden a despertar el pensamiento crítico y disponer de herramientas necesarias para generar ambientes de cambio y transformación social.</p><p>Con esto cerramos esta editorial invitando, como es usual, a disfrutar de la lectura crítica de este material que ponemos a disposición de los interesados y como siempre invitando a la comunidad a compartir sus producciones en el espacio de acceso abierto de la RMA.</p><p>Córdoba, 24 de Agosto de 2019</p>

Il me regarde. Parfois il murmure des mots que je ne comprends pas. Et puis il s’assoit sur le lit, et il rabat les couvertures. Il dit mon nom tout bas, tu dormais, mon amour ? Là il n’y a plus d’espoir, je sais que ça commence. J’ouvre les yeux sur le noir de la chambre qui peu à peu s’éclaire et dévoile le visage de papa. Il n’y a pas de mots pour ce qu’il me fait dans la chambre. Voix coupée, je ne pourrai jamais le dire. À moi seule je le dis pour ne pas me perdre de vue. Lori Saint-Martin (1999). Mon père, la nuit (p. 7). L’instant même. Nous voilà au troisième solstice d’hiver pour la revue HYBRIDA. J’ai eu la chance de passer mon anniversaire à Montréal, de recevoir l’automne aux couleurs changeantes, de savourer l’énergie du jaune, ma couleur préférée, décliné à l’infini : citron, cadmium, moutarde, ocre, auréolin, indien, de Naples, de Sienne, de Cambodge… L’Association Internationale des Études Québécoises, incarnée dans la précieuse figure de Suzie Beaulieu, a contribué à la réussite de ce séjour d’un mois à l’Université de Montréal, accueilli par une personne magnifique et généreuse, écrivaine prestigieuse à juste titre, Catherine Mavrikakis, qui venait de publier son dernier roman Niagara (2022), ainsi que par son entourage académique et familial, son frère Nicolas Mavrikakis, perspicace critique d’art ; son conjoint, l’insigne professeur de littérature Terry Cochran, et leur fille Loulou, toujours le sourire aux lèvres et aux yeux… Le mois d’octobre est spécialement animé du point de vue culturel à Montréal ce qui m’a permis de participer à une intense vie culturelle : nouvelles publications, activités théâtrales, expositions artistiques, cycles organisés par la cinémathèque québécoise (dont la superbe rétrospective sur l’œuvre du canadien Bruce LaBruce)… Je me suis plu à visiter les intéressantes librairies montréalaises toujours en ébullition. J’ai eu la chance d’entrer en contact direct avec le monde éditorial québécois qui connaît certainement un nouvel âge d’or, des maisons d’édition d’une longue tradition comme Gallimard, dont l’ancien directeur Rolf Puls m’a parlé de tant d’anecdotes littéraires en nous régalant avec des huîtres et des oursins des mers du Nord, et dont l’actuelle directrice générale, Florence Noyer, m’a ouvert également les portes. Tout comme les éditions du Boréal où je suis passé plusieurs fois, reçu magnifiquement par Jean Bernier, avec qui j’ai passé des moments d’intense complicité où j’ai pu partager la passion pour Marie-Claire Blais, qu’il connaît dans le moindre détail, et le deuil à cause de la disparition douloureuse, cet intense mois d’octobre, du jeune écrivain Simon Roy, qui était venu à Valence présenter son premier roman Ma vie rouge Kubrick (2014) ; ainsi que celle de Lori Saint-Martin quelques jours plus tard. Il me reste à mentionner la maison d’édition Héliotrope. Un vrai bijou. J’ai eu le privilège de partager quelques conversations littéraires et humaines de haut niveau et une belle promenade du côté du Mont Royal, avec une halte dans la petite pâtisserie du quartier portugais pour prendre un vrai café, avec sa directrice, écrivaine elle-aussi, Olga Duhamel-Noyer, une âme sœur, qui dirige cette maison respirant sans aucun doute un air nouveau, fortement stimulant. Ma valise était donc bien pleine au retour à Valence et j’aurai de quoi lire dans les prochains mois. Tout cela m’a permis de rencontrer, parfois intensément, dans divers contextes, plusieurs écrivain·e·s, tous les âges confondus, dont je signalerai, par ordre alphabétique, Martine Audet, Arianne Bessette (écrivaine discrète et sensible avec qui j’ai connecté immédiatement), Lula Carballo (« ma Lula », mon double), David Clerson, Pierre-­André Doucet (charmant auteur et musicien acadien spécialement remarquable), Clara Dupuis-Morency, Benjamin Gagnon Chainey, Julien Guy-Béland (personne exceptionnelle, engagée, et écrivain percutant), Monique Proulx, que j’ai reçue à Valence et que j’apprécie énormément comme écrivaine et comme personne, avec qui j’ai partagé des croissants et de la confiture faite maison sur son balcon en regardant les arbres perdre leurs feuilles lorsqu’elle me dédicaçait son dernier roman Enlève la nuit (2022) ; et, bien entendu, Lori Saint-Martin. Je ne voudrais pas oublier le professeur de l’Université de Montréal Alex Noël, qui s’intéresse à la littérature québécoise récente et à la mémoire queer, et qui m’a fait découvrir le travail de l’artiste multidisciplinaire canadienne, originaire de l’île Maurice, Kama La Mackerel et le professeur espagnol de l’Université du Québec à Montréal Antonio Domínguez Leiva, écrivain lui-aussi, dont j’avais perdu la trace et avec qui je partage bien des intérêts littéraires autour du corps, de la monstruosité et du « panique ». Une dernière mention spéciale pour deux danseurs : Francis Paradis, personne instruite et empathique qui est restée tout le temps à mon écoute et m’a fait découvrir des lieux remarquables ; et, enfin, le danseur tunisien Achraf El Abed, en asile politique à Montréal à cause des persécutions LGBT dans son pays, n’ayant pas pu venir à Valence pour ces raisons lors du Colloque Queer Maghreb que nous avons organisé en juin 2022. Il a dansé pour nous en privé chez moi dans le quartier du Red Light de Montréal, pas loin de l’emblématique Café Cléopâtre, le jour de mon anniversaire, en compagnie de ma collègue et amie Adela Cortijo, qui était venue pour l’occasion. Je n’oublierai jamais ce moment magique. Merci à tous et à toutes pour avoir contribué à rendre ce séjour montréalais si spécial et si riche dans tous les sens. Comme je l’annonçais, nous avons perdu Lori Saint-Martin, excellente professeure, traductrice et écrivaine canadienne, ayant choisi le français comme langue d’asile et de refuge, d’identité réinventée, et surtout personne proche et généreuse, disparue dans la Seine, subitement. Des ombres spectrales ont envahi mon cœur et mes pensées à cause de ce destin trop funeste, trop tragique, trop romanesque, tellement j’ai envie de ne pas y croire… et, pourtant, Lori n’est plus là. Juste un dernier message sur WhatsApp quelques jours avant l’hécatombe : « Aquí todo bien » (« tout va vient ici »). Elle adorait l’espagnol, sa nouvelle demeure, sa nouvelle passion. Lori, mon amie, tu as troublé mon âme et laissé un grand vide difficile à combler. Je n’ai que des mots de gratitude envers toi. Et, pourtant, la vie continue à couler, elle coule et coule… comme les larmes des mères qui perdent leurs enfants dans toutes les guerres de la planète. Cette planète Terre qui pleure de plus en plus fort pour que l’on prenne soin d’elle, pour que l’on développe une conscience écologique efficace et durable… Temps catastrophiques, oui… excessifs, oui… scandaleux, oui… Et, pourtant, temps de Saturnales et de Noël, de fêtes, de chants et de vœux, de décorer les maisons, d’allumer les bougies et d’offrir des cadeaux, de rêves de santé, de paix et d’amour… tellement on a besoin de diluer les tensions que l’on ressent ; temps d’apaiser nos esprits… de se ressourcer, de reprendre haleine… de se projeter dans un meilleur avenir… malgré… Revenons à nos moutons… Le Dossier central de ce cinquième numéro de la revue HYBRIDA, coordonné par Fabio Libasci, vise à s’interroger sur les multiples enjeux de la notion d’extrême, que ce soit du point de vue chronologique que du point de vue conceptuel. En effet, l’expression « extrême contemporain », étant en perpétuel déplacement, reste spécialement attirante mais problématique, depuis sa création attribuée à Michel Chaillou, à la toute fin des années 80 du siècle dernier. On assisterait, de nos jours, à une « deuxième génération » de l’extrême contemporain. On pourrait donc l’actualiser pour faire référence aux productions littéraires et culturelles récentes au sens large. Du point de vue thématique, l’extrême est vite associé à la notion de limite, de démesure, voire de violence. En ce sens, force est de constater une tendance et une présence des esthétiques de rupture et des formes de l’excès chez des auteur·e·s contemporain·e·s, plus ou moins jeunes, ce qui nous a menés à nous pencher sur les usages et, peut-être les abus, de cette notion poreuse et changeante. Ce Dossier est composé de quatre articles venus de Côte d’Ivoire, de Finlande et de France. Ils abordent l’œuvre des écrivain·e·s Azo Vauguy, Koffi Kwahulé et Hélène Cixous et des cinéastes tels qu’Anne Fontaine, Christopher Doyle ou Julien Abraham. Dans la section Mosaïque, nous publions quatre articles très intéressants également. Hassna Mabrouk, de l’Université Chouaïb Doukkali (Maroc), en s’appuyant sur le révisionnisme historique proposé par les études postcoloniales et subalternes, s’empare de la figure historique de l’explorateur et interprète du début du XVIe siècle Mostafa Al-Azemmouri ou Estevanico, connue essentiellement en Europe sous l’angle de la relation de voyage de Cabeza de Vaca, trop eurocentrée, pour y opposer d’autres représentations de l’explorateur comme celle du personnage Al-Azemmouri qui apparaît dans le roman de Kebir M. Ammi, Les Vertus immorales (2009) où les représentations artistiques qui perdurent dans la ville marocaine d’Azzemmour où il est né. Ahmed Aziz Houdzi, de l’Université Chouaïb Doukkali également, analyse les transformations identitaires du sujet diasporique par rapport aux événements historiques dans le contexte français marqué par les attentats terroristes qui ont eu lieu à Paris en 2015. Il fait une fine lecture de Ce vain combat que tu livres au Monde (2016) de Fouad Laroui où le personnage principal se débat entre le désir d’intégration dans la société laïque et la tentation intégriste incarnée par l’État islamique. Lourdes Rubiales Bonilla de l’Université de Cadix (Espagne) se penche sur « l’affaire Batouala ». Dans son article, elle analyse avec précision les clés de la réception et de la diffusion dans la presse du moment du Prix Goncourt de 1921 octroyé au roman Batouala. Véritable roman nègre de René Maran. Ainsi, elle s’efforce de démontrer les mécanismes de la censure pour essayer de neutraliser le discours politique de l’auteur. Enfin, Diana Requena Romero de l’Université de Valence (Espagne) revient sur la problématique liée à l’étude des personnages féminins dans l’œuvre de Boris Vian. Pour ce faire, elle prend un corpus peu étudié qui est celui des nouvelles de l’auteur afin d’y déceler les processus de métamorphose du corps et les images de l’hybridation de la femme-animal située dans des espaces intermédiaires. Dans la section Traces, plus créative, nous publions trois contributions. Nous avons l’honneur de publier un texte fragmentaire bilingue (en français et en espagnol) de l’écrivaine québécoise, originaire de l’Uruguay, Lula Carballo intitulé restos de barrios (« des restes de quartiers ») où les bribes du passé se mélangent à la rupture du discours à la recherche de nouvelles voies d’expression littéraire. Son premier roman Créatures du hasard (2018) a été spécialement apprécié par la critique. Elle a aussi publié l’album illustré Ensemble nous voyageons (2021), co-écrit avec Catherine-Anne Laranjo et illustré par l’artiste Kesso. Carballo explore avec délicatesse et subtilité la mémoire liée aux souvenirs d’enfance et d’adolescence dans un contexte social spécialement marqué par la pauvreté et la migration, ainsi que les hybridations culturelles et la quête identitaire guidée par l’émotion et par un clair positionnement féministe aux côtés des minorités. Alexandre Melay nous offre [Timescapes], un document photographique présenté par l’auteur où il met en valeur ses préoccupations environnementales et nous fait partager son regard engagé face à « l’impossibilité du paysage » et « l’implacable déconstruction structuraliste du sujet ». Ces photographies en noir en blanc, sorte de cartographie de villes grises, polluées, envahies par les déchets et les éléments inhospitaliers, à l’ère du « Capitalocène », constituent un bel exemple de l’« extrême urbain contemporain ». Enfin, Natalia L. Ferreri de l’Université Nationale de Cordoba et Francisco Aiello de l’Université Nationale de Mar del Plata (toutes deux en Argentine) ont eu la générosité de choisir notre revue pour publier un long entretien en espagnol avec l’écrivaine française (née en Argentine en 1968) Laura Alcoba intitulé « ¿Para qué sirven las historias ? » (« À quoi servent les histoires ? »). Après l’évocation de son sixième et dernier roman intitulé Par la forêt (2022) où la narratrice évoque des expériences traumatiques telles que l’infanticide, le suicide et l’exil, Ferreri et Aiello passent en revue, d’une manière savante et subtile en même temps, les questions essentielles qui traversent l’écriture d’Alcoba où le geste de la traduction, la langue maternelle et la matière des histoires occupent une place prépondérante. Nous inaugurons la section Éventail, où nous voudrions, par le biais des recensions ou des comptes rendus, aérer et diffuser des publications de recherche ou de création proches des intérêts et des perspectives qui animent notre revue. En ce sens, nous publions l’intéressante et complète recension de Martine Renouprez de l’Université de Cadix (Espagne) sur le livre de Laurence Hansen-Love (2022), Planète en ébullition. Écologie, féminisme et responsabilité. Notre revue commence à décoller, à être indexée, répertoriée, présente un peu partout dans le monde grâce au grand intérêt démontré particulièrement par les chercheur·e·s africain·e·s. Un grand merci à vous. Bonne lecture et rendez-vous en juin 2023 pour questionner les « frontières » dans un Dossier intitulé LIMES. Sol invictus.

La danse oscille entre l’expression et la forme, danse pure et danse théâtrale privilégiant l’une ou l’autre selon l’époque et les créateurs. Qu’est-ce qui dans le corps permet l’exercice de la pratique théâtrale ? Le corps dansant est traversé par un désir de langage ; il se situe entre sens et sensation. Les œuvres de Shakespeare ont souvent suscité l’intérêt des chorégraphes qui se posent alors la question du « comment signifier ? », comment mettre en danse le récit d’une œuvre théâtrale ? Quels points de repère permettent de comprendre par quelles modalités la danse peut renvoyer aux conventions du théâtre ? Dans cet article, nous nous intéressons à la façon dont Maurice Béjart allie la chorégraphie littérale du récit de King Lear à sa décomposition pour le rendre plus expressif et significatif. Au‑delà du motif du héros, l’artiste s’affranchit du simple propos illustratif en transposant la narration en mouvements dansés pour donner au texte une valeur universelle.

Ce texte explore l’évolution de la partition du Sacre du printemps d’Igor Stravinski à travers deux chorégraphies majeures : celle de Vaslav Nijinski en 1913 et celle de Maurice Béjart près de 50 ans plus tard. À partir de ce corpus, nous examinons comment ce passage d’un ballet figuratif et narratif à un ballet non-figuratif et non-narratif révèle, selon nous, un glissement sémiotique vers un mouvement sémiosique dépourvu d’indice, qui correspondrait au parcours dans l’hypoicône. En nous appuyant sur les conceptions de la musique et de la durée chez Bergson puis celle du récit chez Ricoeur, nous proposons d’écarter toute référence à la narrativité pour nous concentrer sur une logique d’ouverture dans le développement du matériau sonore. Il s’agira de proposer un parallèle entre deux modes de la sémiosis : le parcours classique et un parcours dans l’hypoicône, mettant en lumière des signes composites qui échappent à la fermeture et à l’indétermination.

Partant du problème du « solipsisme somatique » tel qu’on peut le formuler à partir de la philosophie pragmatiste de William James, nous examinons les voies par lesquelles la théorie soma-esthétique de Richard Shusterman est susceptible de répondre à ce problème. Comment la centralité du corps dans l’expérience et la connaissance construit-elle le rapport au monde extérieur ? En quoi la réflexivité somatique n’est-elle pas contradictoire avec ce rapport, dans les domaines pratique et esthétique en particulier ? Distinguant l’auto-transcendance pragmatiste du corps de la condition incarnée du champ transcendantal de la conscience dans la phénoménologie de Maurice Merleau-Ponty, nous suggérons que le corps se rapporte à son dehors à travers la propriété extensive et plastique de la conscience somatique (qui transforme le « schéma corporel »), ces processus pouvant être observés dans de nombreux champs d’expérience, de la méditation à la danse, en passant par différentes expérimentations psychologiques et neuroscientifiques. La théorie de la « positionnalité excentrique » de Helmuth Plessner offre de ce point de vue un cadre épistémologique pertinent pour soutenir l’idée d’un corps dont la dynamique d’excentrement est immanente au corps même.

Originally written as a five-movement piano duet, Ma mère l’Oye, composed by Maurice Ravel in 1910, it’s a musical Suite. Dedicated to the Godebski children, the piece was transcribed for solo piano by Jacques Charlot the same year as it was published (1910). Both piano versions bear the subtitle “cinq pièces enfantines” (five children’s pieces). Sleeping Beauty and Little Tom Thumb are based on the tales of Charles Perrault, while Little Ugly Girl and Empress of the Pagodas is inspired by a tale (The Green Serpent) by Madame d’Aulnoy. In 1911, Ravel orchestrated the work. This form is the most frequently heard today. Later the same year, 1911, he also expanded it into a ballet, separating the five initial pieces with four new interludes and adding two movements at the start, Prélude and first framework- Danse du rouet et scène. More recently, we have the animated proposal by Tom Scott.In our proposal, it is our intention to understand how the imaginary soundscape is up to date by the animation proposal by Tom Scott in order to elucidate his contents, but we also intent two understand how the musical work transforme the discourse of Tom Scott. Additionally, and because the musical piece has four versions, we want to analyze the differences between the original work for piano, the orchestral proposal, the little ballet and the last one – the animation by Tom Scott.

The paper covers the problem of gestural expression and the role of the body in the aesthetic experience analysed in the Maurice Merleau-Ponty’s phenomenology of art and Erika Fischer-Lichte’s theory of performance. The author compiles these theorists’ conclusions and contextualizes them in the field of modern and postmodern dance. The ultimate goal is to analyse the artists’ statements in the context of formulated conclusions and syntheses. In summary, the author draws attention to current aesthetic research on dance and pinpoints the benefits of philosophical phenomenological) interest in the modern and postmodern dance.

ABSTRACTSuite as a musical form was composed by many Baroque composers. It was built and based on dances which is popular in the Renaissance or Baroque eras. This paper tries to understand the way composers adapt one form of art to another form, that is from dance to music, which is widely known as ecranisation. To grasp it in depth, this paper firstly describes what dance musics consist in suite. Secondly, it describes the dances which form the dance music. To make it clear, it also describes the essence of dance that makes it possible the transformation from dance to music. The result shows that the transformation does happen because of the abstract essence in dance was transformed into notes in music. This process is revealed by using the method of phenomenology of Maurice Merleau- Ponty.Keywords: music, dance, suite, ecranisation, inspiration, transformation, movement, noteABSTRAKMusik suita yang banyak digubah pada era musik Barok dibangun dari sejumlah gerakan musik yang berasal-usul dari tari-tari yang populer di era Renaisans/ Barok. Tulisan ini berusaha memahami bagaimana komponis mengalihwahanakan seni yang ada: dari tari ke musik. Untuk memahami kejadian itu, penulis memaparkan gerakan musik apa saja yang terdapat di dalam suita, setelah itu dipaparkan tari-tari yang menjadi sumber inspirasi komponis. Setelah didapatkan gambaran lengkap mengenai musik dan tari yang relevan, perlulah dipahami apa yang terdapat di dalam tari sehingga bisa diserap oleh komponis untuk kemudian dikeluarkan kembali dalam bentuk musik. Dari paparan itu terlihatlah bahwa transformasi dari tari ke musik hanya mungkin karena adanya transformasi gagasan abstrak yang terdapat di dalam tari untuk kemudian diekspresikan dalam bentuk nada-nada, dan hal itu semua hanya bisa dipahami dengan menggunakan metode fenomenologi dari Maurice Merleau-Ponty.Kata kunci: musik, tari, suita, alih wahana, inspirasi, transformasi, gerakan, nada

Le symbolisme de la dédicasse vu comme geste qui cache ,sous l ‘amitiéintellectuelle (telle que la conçoivent Jacques Derrida et Maurice Blanchot ), leprofond dialogue intertextuel , se propose à examiner dans cette étude , la rentabilitéthéorique - critique de l ‘image du “‘carnaval “‘ pour la reconfiguration du lyrismebrésilien .Ancrée dans la réflexion de certains critiques latino-américains , cetteimage permettra le double mouvement textuel d’enregistrement et de transgressionde l ‘imaginaire national , permettant l ‘insertion de la subjectiveté brésilienne dansle grand espace latino-américain . Ces poésies échangées entre Mário de Andrade etManuel Bandeira figurées donc comme l ‘une des répresentation exemplaires deprojet commun à ces deux poètes brésiliens de décanter le lyrisme brésilien et que ladédicasse, légitimée dans les lettres, traduit singulièrement.

Maurice Whitlow wanted to see me about Home Mission matters and so as I badly wanted exercise, I took him on a walk in the morning in the park. I then went to G.N. [ewman]'s to lunch to meet Barbara [McKenzie] – then to a Centenary Peace Committee with Earl Grey in the chair – then heard Balfour and Asquith at the house. A.J.B.[alfour] very poor; Asquith admirable.5 Returned here to write […] – I think Gillman will have the card for the Sheriff's dance – please ask him for it. I should think we should 90 for about an hour about 10 pm. Talk – drink coffee – smile and then, when I see thee looking bored, come away.

If from the 19th century onwards, the travel genre was characterised by the expression of the narrator's subjectivity, the present article examines the way in which certain travellers of the following century, such as Maurice Barrès, Édouard Schuré and Pierre Loti, were able to shift their focus and meet the Egyptians beyond Genre Painting. Without seeking any kind of poetic renewal, these authors seek to achieve a discourse with a generalizing scope. By freeing themselves from the account and emphasising the development of a modern East, they moved away from the travel genre and moved towards to a literature of ideas.

The exposition provides an insight into the collaborative process of creating and performing Fragmente2 (2021) a choreomusical work by musician Kerstin Frödin and choreographer-dancer Åsa Unander-Scharin based on the Japanese avant-garde composer Makoto Shinohara’s solo piece for tenor recorder, Fragmente (1968). The exposition is an attempt to describe the methodology and creative process in this project, wherein music and dance intertwine in a non-hierarchical manner. The exposition follows the structure of the performance, which consists of a series of fragments, each of them analysed and descibed in terms of choreomusical interaction. We used Don Ihde’s experimental phenomenology and perspective variation (1986) as an artistic method to analyse and explore different aspects of our choreomusical materials and interaction concepts. To address and elaborate the choreomusical elements, we used Maurice Merleau-Ponty’s distinction between abstract and concrete movements (1945/2012), Pierre Schaeffer’s musical objects (1966/2017), and our own concept of choreographic objects. Furthermore, to jointly analyse and evaluate different interaction concepts we used video recordings, annotated scores, choreography scripts, movement instructions, personal reflections, and metaphorical descriptions of the 17 fragments. The process resulted in a contrapuntal choreomusical work where music and dance act as equal parts.

This article deals with the financial aspect of kinship and is based on field data collected in Denmark among ‘exchange families’ consisting of Danish host families and foreign exchange students living with the families for up to one year. The theoretical background of the article is the ideal separation between money and family in Western society depicted by the anthropologists Maurice Bloch, David Schneider and James Carrier. The ethnographic material in the article is represented primarily by an extended case, and shows clearly that the separation is ideal, and that family life and finances are inseparable entities. The article analyses one reason why the exchange families are faced with financial challenges: Exchange organizations expect host parents to treat the exchange student as they treat their own child, and Westerners generally expect parents to treat their children in the same way. The article demonstrates that factors such as money and gifts affect the continuous creation of social relatedness in the “exchange families”. However, host parents’ intention of financially treating the exchange student like one of their children is doomed from the very start, since the financial conditions of the exchange student and the host siblings differ fundamentally. This difference challenges both the notion of sibling equality and the ideal relationship between parents as givers and children as receivers.

The following paper proposes a model for considering the nature of embodiment through the lensof contemporary dance. The primary aim of this study is to examine the methods through whichthe medium of performance can offer insight into the specificities of the lived body. I pose thematerial body as site of intercorporeal exchange and as a locus of dialogue. Rather thanaccounting for the body as always already being in motion, scholarship on the body has atendency to consider it as a static and concrete form. In order to develop a methodology fortheorizing the lived experience of corporeality, I consider the work of Montreal choreographerGinette Laurin’s evening length work, La Chambre Blanche, by way of example. It is the aim ofthis paper to suggest that a collaborative engagement of Brian Massumi’s post-Deleuzian body,alongside a reading of the traditional phenomenological model of Maurice Merleau-Ponty’snotion of “the flesh” (1968), may provide the tools necessary for a comprehensive reading of thebody in motion.

Статья посвящена балету, поставленному на музыку Девятой симфонии Людвига ван Бетховена французским танцовщиком и балетмейстером XX века Морисом Бежаром. Идея всемирного братства «Обнимитесь, миллионы!» Ф. Шиллера подтолкнула Бежара к реализации многонационального балета и побудила хореографа ввести огромное количество исполнителей (кроме дирижера, музыкантов оркестра, хора и оперных солистов в спектакле участвуют балетные труппы из разных стран, нарратор, читающий художественное слово, и двое музыкантов-перкуссионистов). В статье прослежен процесс работы Бежара над партитурой симфонии Бетховена. Проанализированы особенности соотношения музыкальной формы четырех частей симфонии и ее пластического воплощения на сцене. На примере спектакля режиссера Мари Инамасу (реконструкция балета была выполнена в 2015 году), автор освещает вопросы драматургии, идейного наполнения и постановочного решения балета (сценография, костюмы, балетные па) The article is devoted to the ballet set to the music of Ludwig van Beethoven's Ninth Symphony by the French dancer and choreographer of the XX century Maurice Béjart. Béjart's experimental performance is an example of a «ballet-symphony», in which the choreographer achieved a genre synthesis of various types of art through music and dance. The idea of the world brotherhood «Seid umschlungen Millionen!» F. Schiller pushed Béjart to implement a multinational ballet and prompted the choreographer to introduce a huge number of performers (in addition to the conductor, orchestra musicians, chorus and opera soloists, ballet companies from different countries, a narrator reading an artistic word, and two percussionist musicians). The article presents traces the process of Béjart's work on the score of Beethoven's symphony. The features of the correlation between the musical form of the four movements of the symphony and its plastic embodiment on the stage are analyzed. Using the example of the performance directed by Marie Inamasu (the reconstruction of the ballet was performed in 2015), the author highlights the issues of drama, semantic content and production solutions of the ballet (scenography, costumes, ballet steps)

Editorial PhD. Andreína Inés González-Ordoñez El período de prueba en el contrato laboral de acuerdo al ordenamiento jurídico ecuatoriano Erick Daniel Jácome-Villavicencio, Ana Cristina Pachano-Zurita Conocimientos sobre métodos anticonceptivos de emergencia en estudiantes universitarios: revisión sistemática Aimer Micaela Matute-Silva, Kelvin Airton-Urigüen García, Zoila Katherine Salazar-Torres, Andrés Felipe Mercado-González Estatus migratorio de trabajadores migrantes bajo el sistema de protección internacional de los derechos humanos Luis Adrián Romero-Jaramillo, Anthony Joel Loayza-Córdova, Mónica Eloísa Ramón-Merchán La valoración de la prueba testimonial: interrogatorio, contrainterrogatorio Juan Andrés Jacobo-Gómez, Ana Cristina Pachano-Zurita Análisis de la legislación en materia migratoria e inconvenientes para el flujo de personas extranjeras Jason Ariel Sevilla-Proaño, Ricardo Hernán Salazar-Orozco Experiencias del programa de viviendas Hogar de Cristo en sectores Dailit González-Capote, Rafael Humberto Soler-González, Víctor Alban-Vallejo, Celia Maritza Zambrano-Rivas Corresponsabilidad familiar para el cuidado de la persona adulta mayor en el proyecto social del Gobierno Autónomo Parroquial San Martín de Puzhio del cantón Chordeleg, durante el año 2023 Johana Marcela Gordillo-Castro, Edwin Joselito Vásquez-Erazo, Bertha Janneth Cárdenas-Lata Tratamiento quirúrgico como alternativa terapéutica en pacientes con migraña Juan Andrés Arias-Quezada, Hermel Medardo Espinosa-Espinosa Valoración del testimonio de la víctima en delitos sexuales conforme la ley y jurisprudencia Diana Karolina Zumba-Romero, Clara Elizabeth Soria-Carpio Proposal for international criminal procedure unification Marily Rafaela Fuentes-Águila, Alejandra Anahis Tello-Suárez Daño Moral en la rescisión del contrato laboral. Karen Irina Loor-Pinargote, Daniela Fernanda López-Moya Trabajo infantil y su incidencia en el rendimiento académico de los niños, niñas y adolescentes del cantón Guaranda, provincia de Bolívar, 2021-2022 Ricardo Mauricio Gutiérrez-Guano, Andrés Ernesto Cañizares-Medina, Alex Valle-Franco The constructivist methodology applied in the teaching of modern and contemporary dance Gustavo Adolfo Vernaza-Montaño, Oscar José Martin-Pinto La mediación dentro de la justicia indígena Pepita Ximena Bourgeat-Flores, Martha Alejandra Morales-Navarrete La formación de la identidad cultural mediante las prácticas danzarias vinculadas a las parrandas de Guayos en Cuba María de la Caridad Rodríguez-Díaz, Orlando José González-Sáez, Ramón Luis Herrera-Rojas, Hugo Freddy Torres-Maya Las acciones afirmativas y criterios sobre su aplicación en Latinoamérica Guido Miguel Ramírez-López Vinculación e investigación universitaria, como estrategia de intervención para el desarrollo rural, caso de estudio Aloasi Carmen Priscila Guerra-Maldonado, Edgar Fernando Razo-Cajas, Lizbeth Katherine Fuentes-Játiva Autoconcepto y rendimiento académico de los estudiantes de la Facultad Ciencias de la Salud Oscar Enrique Mato-Medina, José Jesús Matos-Ceballos, Juan Prieto-Noa, Fabrizio Rafael Hernández-Acal, Luis Fernando Yocupicio-Cámara Strategies for socialization for children with autism spectrum disorders at home and in the classroom Oscar José Martín-Pinto El tratamiento didáctico sobre la obra de Carlos Enríquez en la educación artística y su visión estética Hugo Freddy Torres-Maya, Orlando José González-Sáez, Manuel Iván Paredes-Navarrete, Lietter Suárez-Vivas Migración irregular de grupos vulnerables a Ecuador: una inobservancia a los derechos humanos Fiorela Geovana Canales-Macias, Charlie Johan Rodríguez-Baque, Guido Miguel Ramírez-López Repercusión del estrés y ansiedad en el rendimiento académico en estudiantes de la Licenciatura en Enfermería Diego Ortega-Ortega, Margarita Gissel Pérez-Hernández, Javier Moreno-Tapia Factores de riesgos psicosociales laborales en los trabajadores del Gobierno Autónomo Descentralizado Municipal del Cantón Yantzaza, de la provincia de Zamora Chinchipe Elsa Consuelo Acaro-Moreno, Edwin Joselito Vásquez-Erazo, Blanca de los Ángeles Herrera-Hugo Historia oral y enseñanza de la historia a través de estudios de caso Carlos Máximo Leyva-Zaldívar, Celi Realidad virtual para la mejora del rendimiento académico en estudiantes de educación superior Juan Carlos Agurto-Cabrera, Claudio Fernando Guevara-Vizcaíno Estrategia didáctica innovadora para fortalecer las habilidades lingüísticas en niños de 9 a 11 años Carla Yoselin Reyes-Torres, Nancy Marcela Cárdenas-Cordero Fomento de la lectura y escritura en la escuela a través de la estrategia Flipped Classroom Angélica Paola Atancuri-Quizhpe, Robert Iván Álvarez-Ochoa, Ernesto Andrés Hermann-Acosta Geogebra como recurso de la enseñanza de matemática: caso Unidad Educativa Kennedy María José Sarmiento-Segovia, Santiago Arturo Moscoso-Bernal1 Moscoso-Bernal Cadena de custodia de los elementos de prueba. Una institución jurídica en debate y desarrollo en el Ecuador Armando Rogelio Duran Campo

The impetus for this issue dates from a symposium on Embodied Knowledges held at Edith Cowan University in Perth in 2011. The Symposium arose from the shared interests of a diverse group, many of them practice-led researchers, and should have been a clue that the call for papers for this issue would attract different conceptions of the body. Nevertheless we were surprised by the many kinds of bodies implied in the 17 papers received and are pleased to offer a selection in the 'embody' issue of M/C Journal.Part of the difficulty of talking about the body as a source of knowledge, and also as a product of culture and history, is the backdrop of unproblematic representation of the body in popular culture. The linkage of the body to the brain, and by implication the mind, is particularly hard to escape. Through a scientific/medical lens, viewers of medical documentaries like The Human Body have learned to interpret representations of the brain. “Slices” of the brain are instantly recognisable through technologies such as Positron Emission Tomography (PET) scans. The metaphor of the brain lighting up due to thought and activity, derived from mediated brain imaging technology, has entered common usage. Such images are understood even by non-scientists as different parts of the brain at work, running the body. Brains, bodies and thinking seem well connected in popular culture.In the academic realm, the relationship of the brain to the mind is contested, as is the place of the body. In Western culture a dualist mind/body division has contributed to a particular understanding of the body, and of knowledge making, in which objective, propositional knowledge has been privileged. An alternative monist view has variously been used by theorists of the body from Nietsche to Deleuze but also by contemporary neurophysiologists such as Damasio. Using these philosophical positions, the body is either the weaker side of a partnership, or subsumed into a whole which does not acknowledge the specificity of actual bodies, or their potential as sites of knowledge making.Merleau-Ponty posited the body as both object and subject and that access to knowledge could only be obtained by the lived experience of the body. He suggested that we can only know other objects and perceive space and time through our own bodies. The phenomenological approaches resulting from this stance have, to some extent, recovered the status of bodily knowledge. Psychoanalytical thought has contributed to the extension of what we consider to be the boundaries of the body and blurred the articulation of mind through concepts like body image and body schema (see Weiss) and later neural maps (e.g. Damasio). However, Elizabeth Grosz went further when she issued a challenge in the early 90s “that all the significant facets and complexities of subjects, can be as adequately explained using the subject’s corporeality as a framework as it would be using consciousness or the unconscious” (vii). The body has been shown to be plastic when considered within lived physical and cultural spaces (Giblett; Grosz). Regardless of where one positions the body on a continuum from pure nature to a surface overwritten by culture and history, it seems foolish to disregard it as a source of knowledge.The authors of the papers presented in this issue attempt to show that knowledge resides in, can be acquired through, and flows out from, the body. Many of them see a connection between how and what can be known and their practice as artists, performers, researchers and writers. This way of knowing – through the thinking body – is connected to a developing family of methodologies called practice-based or practice-led research. It is research that aims to add to knowledge and understanding by carrying out an original investigation “in and through the acts of creating and performing” (Borgdorff 46). While many art practices clearly involve the body, Mercer and Robson point out that practice-led researchers often put the body at the centre of the inquiry and that “corporeal attention and information completes an otherwise insufficient way of theorising and philosophising” (18).Jo Taylor’s feature article on embodied trauma traverses 118 years between Jean-Martin Charcot and Robert Scaer. It captures both the problem of separating mind and body and the importance to recovery, of acknowledging knowledge held in the body. In the accounts of two physicians working in different times, cultures and places of access to scientific knowledge, it is the knowledge available through their patients’ bodies that is common. The image of the body arched in hysteria, the experience of trauma locked inside, will perhaps ensure that the body is not lost in this selection of writings.Ffion Murphy and Richard Nile also address trauma but with respect to the lost body in relation to an imagined community. Both the personal trauma of war and the communal experience of war can be sensed in the lost literature of the First World War. These attempts to represent or resurrect the war dead through writing can be considered acts of grief for embodiment. Karina Quinn and Kirsten Hudson ignore the spectre of the hysterical in examining maternal embodiment. Quinn takes up Julia Kristeva’s challenge to write from the body, providing a visceral account. Hudson also writes her lived experience, and offers her embodied art practice as site of resistance to cultural expectations of Australian motherhood.The bodily experience of art by the viewer is addressed by Prue Gibson, while Roz Drummond, Jondi Keane and Patrick West consider the interaction between embodiment and place from three different artistic practices. Chaim Noy’s detailed discussion conveys the kinaesthetic skill of the martial arts practitioner within a community of practice. His autoethnographic narrative highlights the knowledge of the body-in-motion against his written reflection.Vanessa Bradshaw, Cynthia Witney, Lelia Green and Leesa Costello show that embodied knowledge can be shared in a community even when that community is a virtual one. Whilst being diagnosed and treated within a dominant scientific/medical discourse, which prescribes one way of knowing breast cancer, women’s embodied experiences can be exchanged through an online support site to provide an alternative source of knowledge. Re-enactment and embodiment of cultural memory is explored by Michaela Callaghan in her work on the carnival dances of the displaced campesinos of the Andes. Within an urban setting, the campesinos collectively dance into being their ancestral place using physical memory. Her description of the body within place implies movement, perhaps showing that writing need not take us away from the body.The bodies represented in this issue feel like living bodies, they are not the bodies without organs of Deleuze and Guattari or the flesh of later Merleau-Ponty. They are bodies of sexual difference, bodies interacting with, and reacting to, other bodies, within particular spaces. Even the ghostly dead bodies of the war poetry, reported by Murphy and Nile, exert a powerful influence over the living.In using the term embodied knowledge we affirm that knowledge making includes the body. This 'embody' issue of M/C Journal is not about rejecting the mind in favour of the body. It is about the richness of knowledge and practice, grounded in our bodies-in-the world. As Grosz (vii) would have it: “Bodies have all the explanatory power of minds”.ReferencesBorgdorff, Henk. “The Production of Knowledge in Artistic Research”. The Routledge Companion to Research in the Arts. Eds. Michael Biggs and Henrik Karlsson. London: Routledge, 2010. 44-63.Damasio, Antonio. Looking for Spinoza: Joy, Sorrow and the Feeling Brain. London: Vintage, 2004.Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. Minneapolis: University of Minnesota Press, 1987.Giblett, Rodney. The Body of Nature and Culture. Basingstoke, UK: Palgrave Macmillan, 2008.Grosz, Elizabeth. Volatile Bodies: Toward a Corporeal Feminism. St Leonards, NSW: Allen & Unwin, 1994.Kristeva, Julia, and Arthur Goldhammer (Trans.). "Stabat Mater." Poetics Today 6.1-2 (1985): 133-52.Mercer, Leah, and Julie Robson. “The Backbone of Live Research: A Synthesis of Method in Performance Based Inquiry”. Live Research: Methods of Practice-led Inquiry in Performance. Eds. Leah Mercer, Julie Robson and David Fenton. Nerang, QLD: Ladyfinger, 2012. 11-19.Merleau-Ponty, Maurice. Phenomenology of Perception. Trans. Colin Smith. London: Routledge & Kegan Paul, 1962.---. The Visible and the Invisible. Trans. Alphonso Lingis. Evanston: Northwestern University Press, 1968.The Human Body. Prod/Dir. Richard Dale. BBC, 1998.Weiss, Gail. Body Images: Embodiment as Intercorporeality. New York and London: Routledge, 1999.

We would like to thank the following abstract graders for their invaluable time and effort in reviewing abstracts for Scientific Sessions 2011. Brian Abbott Friederike K. Keating Geoffrey Abbott John Kern Evan Abel Karl Kern Benjamin S. Abella Morton Kern Theodore Abraham Amit Khera William T. Abraham Raymond J. Kim Stephan Achenbach Sue Kimm Michael A. Acker Carey D. Kimmelstiel Michael J. Ackerman Jacobo Kirsch David H. Adams Joel Kirsh M. Jacob Adams Lorrie Kirshenbaum Ted Adams Raj Kishore Philip A. Ades Masafumi Kitakaze Gail K. Adler Andre Kleber Sunil K. Agarwal Neil S. Kleiman Frank Aguirre George J. Klein Masood Ahmad Helmut U. Klein Bina Ahmed Liviu Klein Gorav Ailawadi Robert A. Kloner Anthony Aizer Bjorn Knollmann Teiji Akagi Kirk Knowlton Fadi Akar Walter J. Koch Shahab Akhter Wolfgang Koenig Khatib Sana Al Stavros Konstantinides Mark J. Alberts Michael C. Kontos John H. Alexander Bruce A. Koplan Karen P. Alexander Gideon Koren Mo Ali Robert Kormos Larry A. Allen Jane M. Kotchen Norrina B. Allen Frederic Kraemer Matthew A. Allison Itzhak Kronzon Mouaz Al-Mallah Harlan M. Krumholz Diego Alvarez Helmut Kuecherer Aman M. Amanullah Aaron Kugelmass Giuseppe Ambrosio Johan Kuiper Amit P. Amin Marrick L. Kukin Philipe Amouyel Lewis H. Kuller Ezra Amsterdam Lih Kuo Inder S. Anand J. W. Kwang Paul Anaya Wai-meng Kwok Gregor Andelfinger Raymond Kwong Jeffrey Anderson Bonnie Ky Rob Andrews Daniel T. Lackland Stefan Anker Wyman Lai David Antoniucci John J. Lamberti Charles Antzelevitch Rachel J. Lampert Piero Anversa Roberto Lang Ani Anyanwu Alexandra Lansky Lawrence J. Appel Warren K. Laskey Juan Aranda Michael Lauer Paul W. Armstrong Harold L. Lazar Suzanne Arnold Eric Lazartigues James Arrighi Ngoc Anh Le James. Arrowood Linda Leatherbury Takayuki Asahara Jonathan W. Lederer Deborah D. Ascheim Byron K. Lee Euan Ashley Christopher Lee Muhammad Ashraf Richard Lee Samuel Asirvatham Vivien Lee Saira Aslam David J. Lefer Dan Atar Thierry Lefevre Dianne L. Atkins Carl V. Leier Pavan Atluri Larry Leiter Andrew M. Atz Thierry LeJemtel John A. Auchampach Scott Lemaire John Augoustides Robert Lemery Robert Augustyniak Isabelle Lemieux Gerard P. Aurigemma Terry A. Lennie Metin. Avkiran Martin Leon Leon Axel Dario Leosco Philip Aylward Stamatios Lerakis Arnold Baas Annarosa Leri Joseph D. Babb Amir Lerman V L. Babikian Israel E. Lev David Bach Sidney Levitsky Michael Bader Jerrold H. Levy Juan Jose Badimon Martin M. Lewinter Steven R. Bailey Ji Li Alison Baird Qian Hong Li Kenneth Baker Ren-Ke Li Robert Balaban Xia Li Sameer Bansilal James K. Liao Lili A.. Barouch Ronglih Liao Gregory W. Barsness Alice H. Lichtenstein Robyn Barst David S. Liebeskind Philip Barter Chee Lim Matthias Barton Joao A. Lima Jozef Bartunek Marian Limacher Craig Todd Basson Michael A. Lincoff Eric R. Bates cecilia Linde Jeroen Bax Jonathan Lindner Christoph R. Becker Bruce Lindsay Lance Becker Frederick Ling Richard Becker Mark Link Theresa Beckie Harold Litt David Beiser Sheldon Litwin Amber Beitelshees Kiang Liu Romualdo Belardinelli Zhi-ping Liu Souad Belmadani Donald M. Lloyd-Jones David Benditt Thomas Lohmeier Frank Bengel Jamie L. Lohr Emelia Benjamin Nicole Lohr Daniel Bensimhon Dawn Lombardo D Woodrow Benson Barry London Robert Berg Carlin Long Alan Keith Berger Gary. Lopaschuk Wolfgang Bergmeier John J. Lopez Daniel S. Berman Jose Lopez-Sendon Kathy A. Berra Chaim Lotan Jarett D. Berry Pamela Lucchesi Donald M. Bers Jennifer Lucitti Michael Bettmann Russell V. Luepker Deepak Bhakta Xin Ma Deepak Bhatt Michael Mack Giuseppe Bianchi Rachel H. Mackey Andrew Bierhals Nigel Mackman Angelika Bierhaus William R.. MacLellan Yochai Birnbaum Kenneth W. Mahaffey John Bisognano William Mahle John Bittl Ronald V. Maier Vera Bittner Alan S. Maisel Henry Black Amgad N. Makaryus James Blankenship S Christopher Malaisrie Burns Blaxall Marek Malik Kenneth Bloch Ziad Mallat Robert Block Craig Malloy David A. Bluemke Judy Mangion Roger Blumenthal Douglas L. Mann Ben Bobrow Warren Manning John Boehmer Steven Manoukian Eric Boersma Michael S. Marber Bernd Boettiger Francis Marchlinski Rainer. Boger Kenneth Margulies Catherine Boisson Ali J. Marian Steven Bolling Bradley Marino Sebastien Bonnet Cindy M. Martin Munir Boodhwani Thomas Marwick Ebony Bookman Steven O. Marx William B. Borden Frederick A. Masoudi Michael A. Borger Steffen Massberg Karin Bornfeldt Barry Massie Steven Borzak Michael A. Mathier Robert Bourge Khalid Matrougui Scott Bradley Rumiko Matsuoka Kelley Branch Susan Mayer Jerome F. Breen Maritza Mayorga H. Bryan Brewer Manuel Mayr Ralph G. Brindis Pamela McCabe Eliot A. Brinton Patrick M. McCarthy Susan C. Brozena Aileen P. McGinn Charles J. Bruce Darren K. McGuire Benoit Bruneau Sharon McKinley Dirk L. Brutsaert John McMurray Matthew Budoff Elizabeth M. McNally L. Maximilian Buja Colleen McNamara Michael Burch Tim C. McQuinn Gregory L. Burke Calum McRae Lora E. Burke Jean C. McSweeney John C. Burnett Mandeep R. Mehra Mary Susan Burnett Roxana Mehran Alex Bustamante Nehal Mehta Brian Buxton Philippe Menasche Lu Cai Raina Merchant David A. Calhoun Daphne Merkus David Callans John Messenger Clifton W. Callaway Marco Metra James Calvin Joseph Miano David S. Cannom Evangelos D. Michelakis Christopher P. Cannon Jennifer H. Mieres Charles E. Canter William Miles Maurizio Capogrossi Dianna Milewicz Thomas Cappola Alan B. Miller Ronald P. Caputo D. Craig Miller Blase A. Carabello Edgar R. Miller Mercedes Carnethon Fletcher A. Miller Peter Carson John Miller Andrea E. Cassidy-Bushrow Todd D. Miller Tara Catanzano James K. Min Yong-mei Cha Wang Min Alejandro Chade Gary S. Mintz Claudia Chae Sanjay Misra Alan Chait Seema Mital Bernard R. chaitman Judith E. Mitchell Hunter Champion Suneet Mittal Kwan Chan Derek Mittleider Paul S. Chan Peter Mohler Krishnaswamy Chandrasekaran Friedrich Mohr Byung-Chul Chang David Moliterno Gene Chang Kevin Monahan Mary Y. Chang Marc Moon Panithaya Chareonthaitawee Michael A. Moore Israel Charo Fred Morady Seemant Chaturvedi Henning Morawietz Farooq Chaudhry Carlos A. Morillo Jersey Chen David Morrow Jonathan Chen Debra K. Moser Ju Chen Martin Moser Peng-Sheng Chen Arthur J. Moss Xiongwen Chen Jochen Muehlschlegel Yeong-renn Chen Kenneth J. Mukamal Alan Cheng Sharon L. Mulvagh Stanley Chetcuti Srinivas Murali Joseph Cheung Anne M. Murphy Yung-wei Chi Elizabeth Murphy Nipavan Chiamvimonvat Ralph Nachman William Chilian Vinay Nadkarni Michael Chin Sherif Nagueh Julio Chirinos Srihari Naidu Yeon H. Choe Yoshifumi Naka Geir Christensen Sanjiv M. Narayan Sumeet Chugh Andrea Natale Mina Chung Stanley Nattel Timothy Church Mohamad Navab Nadine Clausell L Gabriel Navar David Cohen Saman Nazarian Jerome D. Cohen Stefan Neubauer Marc Cohen Robert Neumar Mauricio Cohen Chris Newton-Cheh Michael V. Cohen Graham Nichol Mitchell Cohen Petros Nihoyannopoulos Lola Coke Konstantin Nikolaou Jamie B. Conti John Nixon Joshua M. Cooper Vuyisile T. Nkomo Lawton S. Cooper Koichi Node Leslie Cooper Detlef Obal Ramon Corbalan Edward R. Obrien James Coromilas Erwin Oechslin Marco Costa Richard G. Ohye Tina Costacou Roberta K. Oka Maria Rosa Costanzo Trevor Orchard William G. Cotts Karen Ordovas Dermot Cox Brian O'Rourke Patricia B. Crane David Orsinelli Michael Crow Kinya Otsu Marina Cuchel Catherine M. Otto Jess D. Curb Francis D. Pagani Jeptha Curtis Julio A. Panza Linda K. Curtiss Gilles Paradis Mary Cushman Rahul Parag Donald E. Cutlip Nisha I. Parikh Haim Danenberg Sahil Parikh Werner G. Daniel Michael S. Parmacek Stephen Daniels Sampath Parthasarathy A Danser Rod S. Passman Dipak K. Das Shailesh Patel Mithilesh K. Das Elizabeth Barnett Pathak James Daubert Cam C. Patterson Harold Dauerman Walter Paulsen Alan Daugherty Daniel F. Pauly Sandra Davidge Thomas A. Pearson Charles J. Davidson Patricia A. Pellikka Sean Davidson Michele M. Pelter Martha Daviglus Matthias Peltz Jean Davignon Constantino Pena Victor G. Davila Karsten Peppel Jonathan Davis John R Pepper Michael E. Davis Muthu Periasamy Buddhadeb Dawn Todd S. Perlstein Lemos James de Louis Perrault Tombe Pieter De Karlheinz Peter Barbara J. Deal Anne Peters G William Dec Nancy Petersen Prakash C. Deedwania Pam Peterson Christopher Defilippi Gbaby Kuster Pfister Curt G. DeGroff Otmar Pfister Elisabeth Deindl Ken Philipson Monte Federica del Robert A. Phillips Etienne Delacretaz Robert Piana Mario Delmar Mariann Piano Judy M. Delp Michael H. Picard Pablo Denes Jonathan P. Piccini Margo Denke August Pichard Christophe Depre J Geoffrey Pickering Albert deRoos Luc Pierard Milind Desai Eduardo Pimenta Nimesh D. Desai Ileana L. Pina Isabelle Deschenes Duane Pinto Jean-Pierre Despres Maria Vittoria Pitzalis Naranjan Dhalla Paul Poirier David Dichek Don Poldermans Gregory Dick Jennifer S. Pollock Timm Dickfeld Piotr Ponikowski Kenneth Dickstein Athena Poppas Sean P. Didion Thomas R. Porter Javier Díez Michael Portman Vasken Dilsizian Mark J. Post J. Michael DiMaio Wendy Post John DiMarco Bunny J. Pozehl Stefanie Dimmeler Ashwin Prakash Thomas G. Disalvo J Howard Pratt Daniel J. Diver Susan Pressler Debra I. Diz Silvia G. Priori Lynn V. Doering Eric N. Prystowsky Feng Dong Lu Qi Michael Donino Gangjian Qin Thomas J. Donohue Federico Quaini Gerald Dorn II Arshed Ali Quyyumi David Dostal Philip Raake Mark Drazner Joseph Rabinowitz Barbara J. Drew Glenn Radice Daniel L. Dries Wolfgang A.K. Radtke Xiaoping Du Gilbert Raff Samuel Dudley Shahbudin H. Rahimtoola Barton Duell Leopoldo Raij Srinivas Dukkipati Danny Ramzy Sandra Dunbar Sunil V. Rao Mark Dunlap Vivek Rao Sue Duval Chitra Ravishankar Vladimir Dzavik Rita Redberg Charles B. Eaton Gautham P. Reddy Robert Eberhardt Jalees Rehman Peter Eckman Nathaniel Reichek Dana Edelson James A. Reiffel Igor Efimov Giuseppe Rengo Brent M. Egan Kristi Reynolds Pirooz Eghtesady Michael W. Rich John Eikelboom Stuart Rich David A. Eisner Barbara J. Riegel Daniel Eitzman Vera Rigolin Kenneth A. Ellenbogen Eric Rimm William J. Elliott Maria Teresa Rizzo Helene Eltchaninoff John Robb Masao Endoh Shamburek Robert Stefan Engelhardt Robert Roberts Marguerite M. Engler Richard J. Rodeheffer Mary B. Engler Carlos J. Rodriguez Mark L. Entman E. Rene R odriguez Sabine Ernst Leonardo Rodriguez Abby Ershow Veronique L. Roger Thomas Eschenhagen Anand Rohatgi Lorraine Evangelista Wayne D. Rosamond Brendan M. Everett Sylvia Rosas Gregg C. Ewald Anne G. Rosenfeld Michael D. Ezekowitz lawrence S.. rosenthal Joan Fair Anthony Rosenzweig Michael E. Farkouh Robert S. Ross Sergio Fazio Noreen Rossi Savitri Fedson Daniel G. Rowland Kenneth Feingold Denis Roy Steven Feinstein Yoseph. Rozenman Frederick Feit Melvyn Rubenfire David Feldman Frederick L. Ruberg Michael Felker Ronen Rubinshtein Michael A. Fifer Marc Ruel Gerasimos S. Filippatos Xiao Ruiping Gregory D. Fink Carlos E. Ruiz Peter Fischbach John S. Rumsfeld Tim Fischell Raymond Russell Avi fischer Martin K. Rutter Jens Fischer Michael Ryan John Fisher Catherine Ryan Jerome Fleg Joseph Sabik John Floras Craig Sable Mark A. Fogel Junichi Sadoshima Gregg C. Fonarow Jeffrey E. Saffitz Myriam Fornage Kiran B. Sagar Elyse Foster David J. Sahn Caroline S. Fox Arwa Saidi Gary S. Francis Shuichi Saito Barry Franklin Hajime Sakuma Stanley S. Franklin Adam C. Salisbury John K. French Habib Samady Matthias G. Friedrich Prashanthan Sanders James Froehlich Stephen Sanders Victor Froelicher John L. Sapp Toshiro Fujita Muhamed Saric Keiichi Fukuda Comilla Sasson William H. Gaasch Jonathan Satin Elena Galkina Jorge Saucedo Erhe Gao William Henry Sauer Timothy J. Gardner Andreas Schaefer Vidu Garg Katrin Schaefer Vesna Garovic Urs Scherrer Daniel J. Garry Valerie Schini-Kerth Meinrad Gawaz David Schneider Raúl J. Gazmuri David Schneider Arnar Geirsson Paul Schoenhagen Romergryko Geocadin U Schoepf Demetrios Georgiou Heribert Schunkert Marie D. Gerhard-Herman Arnold Schwartz Edward P. Gerstenfeld Robert Schwartz Robert Gerszten Dawn Schwenke Godfrey S. Getz Udo Sechtem Jalal K. Ghali Frank Sellke Nancy Ghanayem Elizabeth Selvin Nancy Ghanayem Clay F. Semenkovich Shobha Ghosh Patrick W. Serruys C Michael Gibson Howard D. Sesso Samuel S. Gidding Sanjiv Shah Ian Gilchrist Simon F. Shakar Thomas D. Giles Richard P. Shannon Linda D. Gillam Tali Sharir Lawrence W. Gimple William Sharp Frank J. Giordano Steven Shea Anselm K. Gitt Farah Sheikh Groot Adriana Gittenberger-de Robert S. Sheldon Robert P. Giugliano Win Kuang Shen Kathy Glatter James M. Shikany Christian Gleissner Ken Shinmura Donald D. Glower Takahiro Shiota Prospero B. Gogo Sara J. Shumway Michael R. Gold Horst Sievert Anne C. Goldberg Marc Silver Lee R. Goldberg Robert Simari Ron Goldberg Daniel I. Simon Sidney Goldstein David S. Siscovick Mardi Gomberg-Maitland Mark Slaughter Antoinette Gomes Craig Smith Shaun Goodman Susan Smyth John Gorcsan Dirk Snyders Robert Gorman Christopher Sobey Heather Gornik R John Solaro Stephen S. Gottlieb Andrey Sorokin Abhinav Goyal Vincent L. Sorrell Christopher B. Granger James Sowers Guido Grassi John Spertus Kurt Greenlund Francis G. Spinale Gabriel Gregoratos David Spragg Brian Griffin Monvadi B. Srichai Liliana Grinfeld V.S. Srinivas Garrett J. Gross Austin Stack Eugene Grossi William Stanley P Michael Grossman Randall Starling Peter Gruber Charles Steenbergen, Jr. Eliseo Guallar Philippe Gabriel Steg Yiru Guo Barry Stein Himanshu Gupta Richard A. Stein Michelle Gurvitz Nicolas Stettler David D. Gutterman Alex Stewart T. Sloane Guy Kerry Stewart John R. Guyton Charles T. Stier Tomasz Guzik Arthur Stillman Luis A. Guzman Robert Storey Henry R. Halperin Karen Stout Naomi Hamburg Bradley Strauss Larry Hamm S. Adam Strickberger H. Kirk Hammond Mark A. Sussman Diane E. Handy Gopinath Sutendra Arlene Hankinson Filip K. Swirski Joshua Hare Gabor Szabo Robert Harrington Heinrich Taegtmeyer David Harris Genzou Takemura David Hasdai W Tang Gerd Hasenfuss Wilson Tang Richard Hauer Ahmed Tawakol Ed P. Havranek David Taylor David L. Hayes Doris A. Taylor Laura L. Hayman W Robert Taylor Joachim Hebe Alain Tedgui Robert Hegele Usha Tedrow Paul Heidenreich John R. Teerlink Donald D. Heistad Keurs Hendrik Ter Gary Heller Patricia Thistlethwaite Thomas M. Helle-Valle Charles Thodeti Linda Hemphill Eric Thorin Michel Henry Rong Tian Timothy Henry Henry Ting James Hermiller David Tirschwell Adrian F. Hernandez Akihiro Tojo Ray Hershberger Gordon Tomaselli Roland Hetzer Ronald J. Torry Joseph A. Hill Rhian Touyz Michael Hill Dwight Towler Yoshitaka Hirooka Richard Troughton Irl Hirsch Teresa Tsang Michael Ho Sotirios Tsimikas Vincent B. Ho Jonathan Tune Udo Hoffmann James E. Udelson Brian D. Hoit Philip C. Ursell Maureen Hood Karen Uzark John D. Horowitz Alec Vahanian Steven R. Houser Anne Marie Valente Henry H. Hsia Marco Valgimigli Eileen Hsich Eyk Jennifer Van Daphne T. Hsu Horn Linda Van Spencer C. Huang Heide Richard Vander Sally A. Huber Dorothy Vatner Michael P. Hudson Stephen F. Vatner Mark Huffman Emir Veledar William Hundley Lakshmi Venkitachalam Judy Hung Hector O. Ventura Judy Hung Ralph Verdino Paul M. Hwang Giovanni Veronesi Guido Iaccarino Renu Virmani Ahamed H. Idris Robert A. Vogel John Ikonomidis Jens Vogel-Claussen Erik Ingelsson Adriaan Voors Joanne S. Ingwall Saroja Voruganti Paul A. Insel Raju Vulapalli Joseph Izzo Mary B. Wagner Alice K. Jacobs Ron Waksman Jill Jacobs Andrew Wang Terry A. Jacobson Tracy Wang Michael Jaff Xuejun Wang Allan Jaffe Cary C. Ward Mukesh Jain Carole Warnes Ik-Kyung Jang Keith A. Webster Paul Janssen Dorothee. Weihrauch James Januzzi William Weintraub Valluvan Jeevanandam Neil J. Weissman Nancy S. Jenny Cornelia Weyand Allen Jeremias Grayson Wheatley Michael Jerosh-Herold David Whellan Michael Jessen Samuel A. Wickline Michael Jessen Martin Wilkins Ishwarlal Jialal Stephen D. Wiviott Bingbing Jiang Michael Wolin Kai Jiao Kai C. Wollert Suk-Won Jin Anna Woo Roy John Mary Woo Andrew Johnson Y Joseph Woo Jason L. Johnson Malissa Wood W. Schuyler Jones Marcella A. Wozniak Pedro Jose Joseph C. Wu Jerome Jouan Joseph C. Wu Corrine Jurgens Katherine Wu Edmond Kabagambe Sean M. Wu Alan H. Kadish George Wyse Mark Kahn Chen Yan Jan Kajstura Yu Yan Sanjeeva Kalva Demetris Yannopoulos Michael Kapiloff Karen S. Yehle Norman Kaplan Liya Yin Navin Kapur James B. Young Hrayr Karagueuzian Chun Yuan Richard H. Karas Doron Zahger Joel Karliner Mengwei Zang Edward Kasper Julie J. Zerwic Robert Kass David Zhang Prasad Katakam Hao Zhang Sekar Kathiresan Yanqiao Zhang Zvonimir S. Katusic Jie Zheng Amos Katz Michael R. Zile John Kaufman Ronald Zolty Martin Keane Irving H. Zucker

The phenomenological experience of art is one of embodied awareness. Now more than ever, as contemporary art becomes more interactive and immersive, our perceptions of embodiment are useful tools to gauge the efficacy of visual art as a stimulus for knowledge, new experience and expression. Art has a mimetic and interactive relationship with the world. As Schopenhauer said, “The world is my representation” (3). So which takes effect first: the lungful of excited breath or the synapses, is it the miasmic smell of dust on whirring video projectors or the emotion? When we see great art (in this instance, new media work), do we shudder, then see and understand it? Or do we see, tremble and, only then, know? “Art unleashes and intensifies...Art is of the animal” (Grosz, Chaos 62-3). Are our bodies reacting in response to the physical information at hand in the world? “Why do you like Amy?” I asked my six year old son, who was in love at the time. “I like her face,” he said. Was this a crude description of infantile love or an intuitive understanding of how all kinds of passion begin with the surface of the face? Peter Sloterdijk writes about the immersion and mimicry, the life and death mutualism of faces, of gazing on another’s face. He says, “Both of these, self-knowledge as well as self-completion, are operations in a sphere of illusory bipolarity that, like an ellipse, only formally possess two focal points” (205). It seems to me that this desire for the love, beauty and knowledge of another is mutual; a reciprocal narrative thrust, the same existential motivation. Elizabeth Grosz writes about the first emotions of the newborn child and the immediate expressiveness of the face, with those of the parents. She refers to Alphonso Lingis to develop this connection between emotion and bodily expression as: “the pleasure and pains the body comes to articulate: human infants laugh and weep before they can speak.” (Grosz, Chaos 51) To be acknowledged, to see a reflection of one’s own face in that of another’s face as an expression of love, is a craving common to all humans.Art, like new love, has the ability to set our hearts aflutter, lips aquiver, our palms turned upwards in awe, our eyes widened in surprise. “The reverie of love defies all attempts to record it” (Stendhal 63). We are physically drawn to great works, to their immediacy, to their sudden emerging determination and tangibility (Menke). Our perceptions are entangled, our attitudes are affected, our imaginations are piqued and our knowledge and memory are probed.So what happens next? Once our hearts are pounding and our legs are wobbling, then what? As our unconscious experience becomes conscious (as the result of our brain letting our body know and then identifying and analysing the data), we start to draw associations and allow the mind and the body to engage with the world. The significance of what we see, an art object worthy of love for instance, is interpreted or distinguished by our memory and our personal accumulation of information over our lives. When we are away from the object, we perceive the art work to be dispassionate, inanimate and impassive. Yet standing before the object, our perception shifts and we consider the art work to be alive and dynamic. I believe the ability to ‘fall’ for an art work reflects the viewer’s heart-breaking longing to ensnare the beauty (or ugliness) that has so captured his or her soul. Like the doppelganger who doesn’t recognise its own double, its own shadow, the viewer falls in love (Poe 1365). This perverse perception of love (perverse because we usually associate love as existing between humans) is real. Philosopher Paul Crowther writes about the phenomenology of visual art. Where I am talking about a romantic longing, a love of the love itself, the face falling for the face, the body falling for the body, bodily, Crowther breaks down the physical patterns of perceiving art. Though he does not deny the corporeal reality of the experience, he talks of the body operations discriminating at the level of perception, drawing on memories and future expectations and desire (Crowther, Phenomenology 62). Crowther says, “Through the painting, the virtual and the physical, the world and the body, are shown to inhabit one another simultaneously and inseparably” (Phenomenology 75). I am not sure that these experiences occur simultaneously or even in tandem. While we perceive the experience as full and complex and potentially revelatory, one element more likely informs the next and so on, but in a nanosecond of time. The bodily senses warn the heart which warns the mind. The mind activates the memories and experiences before alerting us to the world and the context and finally, the aesthetic judgement.Crowther’s perception of transcendence operates when reality is suspended in the mode of possibility. This informs my view that love of art functions as an impossibility of desire’s end, gratification must be pushed back every time. What of Crowther’s corporeal imagination? This is curious: how can we imagine with our bodies (as opposed to our mind and spirit)? This idea is virtual, in time and space outside those we are used to. This is an imagination that engages instantly, in a self-conscious way. Crowther refers to the virtually immobilised subject matter and the stationary observer and calls it a “suspension of tense” (Phenomenology 69). However I am interested in the movement of the spectator around the art work or in synchronicity with the artwork too. This continues the face to face, body to body, encounter of art.Crowther also writes of phenomenological depth as a condition of embodiment which is of significance to judgement; phenomenological depth is “shown through ways in which the creation of visual artworks embodies complex relations between the human subject and its objects of perception, knowledge, and action” (Phenomenology 9). Although Crowther is leaning on the making of the artwork more heavily than the viewers’ perception of it in this account, it relates well to the Australian artists and twins Silvana and Gabriella Mangano, whose action performances, presented in three-screened, large-scale video were represented in the 2012 Sydney Biennale. The Mangano twins collaborate on video performance works which focus on their embodied interpretations of the act of drawing. In the Mangano sisters’ 2001 Drawing 1, the twins stand beside a wall of paper, facing each other. While maintaining eye contact, they draw the same image on the wall, without seeing what mark they are making or what mark the other is making. This intuitive, physical, corporeal manifestation of their close connection becomes articulated on paper. Its uncanny nature, the shared creativity and the performative act of collaborative drawing is riveting. The spectator is both excluded and incorporated in this work. Such intimacy between siblings is exclusive and yet the participation of the spectator is necessary, as witnesses to this inexplicable ability to know where the other’s drawing will move next. The sisters are face to face but the spectator and the artwork also function in a face to face encounter; the rhythmic fluidity of movement on the video screen surface is the face of the artwork.When experiencing the Mangano works, we become aware of our own subjective physical experiences. Also, we are aware of the artists’ consciousness of their heightened physical relations with each other, while making the work. I am writing in an era of digital video and performance art, where sound, movement, space and shifts of temporality must be added to more traditional formalist criteria such as form, surface, line and colour. As such, our criteria for judgement of this new surge of highly technical (though often intuitively derived) work and the immersive, sometimes interactive, experiences of the audience have to change at the same pace. One of the best methods of aesthetic critique to use is the concept of embodiment, the perceptual forces at work when we are conscious of the experience of art. As I sit at my desk, I am vaguely aware of my fingers rattling across the keyboard and of my legs crossed beneath me. I am conscious of their function, as an occupied space within which my consciousness resides. “I know where each of my limbs is through a body image in which all are included. But the notion of body image is ambiguous,” (102) says Merleau-Ponty, and this is a “Continual translation into visual language of the kinaesthetic and articular impressions of the moment” (102). Mark Johnson reiterates this dilemma: “We are aware of what we see, but not of our seeing.” (5) This doesn’t only relate to the movement of the Mangano twins’ muscles, postures and joint positions in their videos. It also relates to the spectator’s posture and straining, our recoiling and absorption. If I lurch forward (Lingis 174) to see the video image of the twins as they walk across a plain in El Bruc, Spain, using Thonet wooden chairs as stilts in their 2009 work The Surround, and if my eyes widen, if my hands unclench and open, and if I touch my cheek in wonder, then, is this embodied reaction a legitimate normative response? Is this perception of the work, as a beautiful and desirable experience, an admissible form of judgement? If I feel moved, if my heart races, my skin prickles, does that mean the effect is as important as other technical, conceptual or formalist categories of success? Does this feeling refer to the possibility of new intelligence? An active body in a bodily space (Merleau-Ponty 104) as opposed to external space can be perceived because of darkness needed for the ‘theatre’ of the performance. Darkness is often the cue for audiences that there is performative information at work. In the Manganos’ videos in Spain (they completed several videos during a residency in El Bruc Spain), the darkness was the isolated and alienating landscape of a remote plain. In their 2010 work Neon, which was inspired by Atsuko Tanaka’s 1957 Electric Dress, the movement and flourish of coloured neon paper was filmed against a darkened background, which is the kind of theatre space Merleau-Ponty describes: the performative cue. In Neon the checkered and brightly coloured paper appeared waxy as the sisters moved it around their half-hidden bodies, as though blown by an imaginary wind. This is an example of how the black or darkened setting works as a stimulant for understanding the importance of the body at work within the dramatic space. This also escalates the performative nature of the experience, which in turn informs the spectator’s active reaction. Merleau-Ponty says, “the laying down of the first co-ordinates, the anchoring of the active body in an object, the situation of the body in the face of its tasks. Bodily space can be distinguished from external space and envelop its parts instead of spreading them out” (115) The viewer, however, is not disembodied, despite the occasional sensation of hallucination in the face of an artwork. The body is present, it is in, near, around and sometimes below the stimulus. Many art experiences are immersive, such as Mexican, Rafael Lorenzo Hemmer, and Dane, Olafur Eliasson, whose installations explore time, light and sound and require audience participation. The participant’s interaction causes an effect upon the artwork. We are more conscious of ourselves in these museum environments: we move slowly, we revolve and pause, with hands on hip, head cocked to the side. We smile, frown, sense, squint, laugh, listen and touch. Traditional art (such as painting) may not invite such extremes of sensory multiplicity, such extremes of mimicking movement and intimate immersion. “The fact that the self exists in such an horizon of past and possible experiences means that it can never know itself sufficiently as just this immediately given physical body. It inhabits that body in the sense of being able, as it were, to wander introspectively through memory and imagination to places, times and situations other than those of its present embodiment” (Crowther, Phenomenology 178). Crowther’s point is important in application to the discussion of embodiment as a normative criteria of aesthetic judgement. It is not just our embodied experience that we bring to the magistrate’s court room, for judgement, but our memory and knowledge and the context or environment of both our experience and the experience that is enacted in relation to the art work. So an argument for embodiment as a criteria for normative judgements would not function alone, but as an adjunct, an add-on, an addition to the list of already applied criteria. This approach of open honesty and sincerity to art is similar to the hopefulness of new love. This is not the sexualised perception, the tensions of eroticism, which Alphonso Lingis speaks of in his Beauty and Lust essay. I am not talking about how “the pattern of holes and orifices we sense in the other pulls at the layout of lips, fingers, breasts, thighs and genitals” nor “the violent emotions that sense the obscenity in anguish” (175-76), I am instead referring to a G-rated sense of attachment, a more romantic attitude of compassion, desire, empathy and affection. Those movements made by the Mangano twins in their videos, in slow motion, sometimes in reverse, in black and white, the actions and postures that flow and dance, peak and drop, swirl and fall: the play of beauty within space, remind me of other languorous mimetic accents taken from nature. I recall the rhythms of poetry I have read, the repetitions of rituals and patterns of behaviour in nature I have witnessed. This knowledge, experience, memory and awareness all contribute to the map of love which is directing me to different points in the performance. These contributors to my embodied experience are creating a new whole and also a new format for judgement. Elizabeth Grosz talks about body maps when she says, “the body is thus also a site of resistance...for it is capable of being self-marked, self-represented in alternative ways” (Inscriptions and Body Maps 64). I’m interested less in the marking and more in the idea of the power of bodily participation. This is power in terms of the personal and the social as transformative qualities. “Art reminds us of states of animal vigour,” Nietsche says (Grosz, Chaos 63). Elizabeth Grosz continues this idea by saying that sensations are composites (75) and that art is connected to sexual energies and impulses, to a common impulse for more (63). However I think there is a mistake in attributing sexuality, as prescribed by Lingis and Grosz, despite my awe and admiration for them both, to the impulses of art. They might seem or appear to be erotic or sexual urges but are they not something a little more fleeting, more abstract, more insouciant? These are the desires at close hand but it is what those desires really represent that count. Philosopher John Armstrong refers to a Vuillard painting in the Courtauld Institute: “This beautiful image reminds us that sexuality isn’t just about sex; it conveys a sense of trust and comfort which are connected to tender touch” (Armstrong 135). In other words, if we assume there is a transference of Freudian sexual intensity or libido to the art work, perhaps it is not the act of sex we crave but a more elaborate desire, a desire for old-fashioned love, respect and honour.Sue Best refers to the word communion to describe the rapturous transport of being close to the artwork but always kept at a certain distance (512). This relates to the condition of love, of desiring an object but never attaining it. This is arrested pleasure, otherwise known as torture. But the word communion also gives rise, for me, to an idea of religious communion, of drinking the wine and bread as metaphor for Christ’s blood and body. This concept of embodied virtue or pious love, of becoming one with the Lord has repetitions or parallels with the experience of art. The urge to consume, intermingle or become physically entangled with the object of our desire is more than a philosophical urge but a spiritual urge. It seems to me that embodiment is not just the physical realities and percepts of experience but that they stand, mnemonically and mimetically, for more abstract urges and desires, hopes and ambitions, outside the realm of the gallery space, the video space or the bodily space. Crowther says, “Art answers this psychological/ontological need. ...through the complex and ubiquitous ways in which it engages the imagination” (Defining Art 238). While our embodied or perceptual experiences might seem slight or of less importance at first, they gather weight when added to knowledge and desire. Bergson said, “But there is, in this necessary poverty of our conscious perception, something that is positive, that foretells spirit: it is in the etymological sense of the word, discernment” (31). This art love is an aspiration for more, for hopes and expectation that the art work I fall for will enlighten me, will enrich my experience. This art work reminds me of all the qualities and principles I crave, but know in my heart are just beyond my fingertips. Perhaps we can consider the acknowledgement of art love as, not only a means of discernment but also as a legitimate purpose, that is, to be bodily, emotionally and intellectually changed and to gain further knowledge.ReferencesArmstrong, John. Conditions of Love. London: Penguin, 2002.Bergson, Henri. Matter and Memory. New York: Dover Philosophical Classics, 2004.Best, Sue. “Rethinking Visual Pleasure: Aesthetics and Affect.” Theory and Psychology 17 (2007): 4.Crowther, Paul. The Phenomenology of Visual Art. Stanford: Stanford University Press, 2009.---. Defining Art: Creating the Canon. Oxford: Clarendon Press, 2007.Menke, Christoph, Daniel Birnbaum, Isabell Graw and Daniel Loick. The Power of Judgement: A Debate on Aesthetic Critique. Berlin: Sternberg Press, 2010.Grosz, Elizabeth. Chaos, Territory, Art: Deleuze and the Framing of the Earth. New York: Columbia University Press, 2008.---. “Inscriptions and Body-Maps: Representations and the Corporeal.” Feminine/Masculine and Representation. Eds. Terry Threadgold and Anne Granny-France. Sydney: Allen and Unwin, 1990. 62-74. Johnson, Mark. The Meaning of the Body. Chicago: University of Chicago Press, 2007.Lingis, Alphonso. “Beauty and Lust.” Journal of Phenomenological Pyschology 27 (1996): 174-192.Merleau-Ponty, Maurice. Phenomenology of Perception. New York: Routledge Classics, 2002.Poe, Edgar Allen. “William Wilson: A Tale.” The Norton Anthology of American Literature. New York: Nortin, 1985.Schopenhauer, Arthur. The World as Will and Representation. New York: Dover, 1969.Sloterdijk, Peter. Bubbles, Spheres 1. Los Angeles: Semiotext(e), 2011.Stendhal. Love. London: Penguin, 2004.