By Karin Sellberg, Lena Wånggren
The 'material flip' in severe concept - and especially the flip in the direction of the physique coupled with medical insights from biomedicine, biology and physics - is turning into an incredible course in fields of humanities-based scholarly inquiry. fabric and technological philosophies play an more and more primary position in disciplines comparable to literary experiences, cultural reviews, historical past, functionality and aesthetics, to call just a couple of. This edited choice of essays investigates how the fabric flip unearths purposes inside humanities-based frameworks - concentrating on functional reflections and disciplinary responses. It takes as its serious premise the certainty that importation of theoretical viewpoints isn't hassle-free; relatively, a posh, occasionally even fraught, verbal exchange happens among those disciplines on the imperceptible traces the place praxis and concept meet, reworking either the panorama of sensible engagement and the versions of fabric conception. proposing a multi- and interdisciplinary attention of present learn at the cultural dating to dwelling (and non-living) our bodies, Corporeality and tradition: our bodies in stream places the physique in concentration. From functionality and physique amendment to movie, literature and different cultural applied sciences, this quantity undertakes an important speculative mapping of the present chances for engagement, transformation and variance of embodied circulate with regards to scientifically-situated corporealities and materialities in cultural and creative practices. Time and time back, it unearths those ever-shifting modes of being to be inextricably interdependent and coextensive: circulate calls for embodiment; and embodiment is a sort of circulation
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Additional resources for Corporeality and Culture: Bodies in Movement
TAMI] I notice the materiality of my voice as I speak; the feel of lips, tongue and teeth as I concentrate upon each enunciation. Such awareness illustrates the dynamic process of an embodied making, which is never fixed, but rather always information (Stewart, cited in Crang 194). Concentrating upon my voice, I feel a periodic ritardando when thought slows the rhythm of my speech, and I notice an accelerando when my adrenaline begins to flow. A sudden mezzo-forte marks an important word, and a gentle diminuendo traces the end of a phrase.
Serres has also reflected on the spatial organisation of public speaking, which prescribes the place for a certain hierarchy of exchange: Sites organised around public speaking, built to serve speech, and surrounded by places for listening, usually favour monologues: the pulpit raised for sacred eloquence in the middle of the nave, the rostrum of the specialist scientist at the front of the amphitheatre, now a stage with microphones and cameras. Silence, he is speaking. He speaks, and in order to be understood, obeys rules of logic and rhetoric.
What unites these practices are the folds, crossings and involutions of time-space, creating unexpected, unanticipated contingencies. Such folds are shaped through movement, or rather movement through – intercourse, interchange, passage, translation – effecting the con-fusion of otherness, of distance, through contact. Confusion comes from the Latin confundĕre, meaning to mingle together, mix up, confound, yet it is the tongue of Irish confusion ‘trina chéile’, which speaks to the philosophical implications of this fusion when translated literally as ‘through each other’.