A gênese do habitus e a construção da hexis corporal de bailarinos e jogadoras de futebol e suas implicações nos diferentes campos de atuação

This paper aims to show the beginning of habitus and the bodily hexis construction of male ballet dancer and female player soccer. Firstly, the habitus and the bodily hexis are established by the cultural inheritance of families (advices, likes, choices, prohibitions, and work divisions). After, they are restructured by the most diverse fields where this people act, mainly in the school, specifically at Physical Education classes (in the specialized places where these classes occur). Thus, it is possible to verify the success or the failure of their path lives and the possibility of a social ascent by the choice of these practices as professional career.

Engaging bodily with video in design

Video is commonly used as a method for recording embodied interaction for purposes of analysis and design and has been proposed as a useful ‘material’ for interaction designers to engage with. But video is not a straight forward reproduction of embodied activity – in themselves video recordings ‘flatten’ the space of embodied interaction, they impose a perspective on unfolding action, and remove the embodied spatial and social context within which embodied interaction unfolds. This does not mean that video is not a useful medium with which to engage as part of a process of investigating and designing for embodied interaction – but crucially, it requires that as people attempting to engage with video, designers own bodies and bodily understandings must be engaged with and brought into play. This paper describes and reflects upon our experiences of engaging with video in two different activities as part of a larger research project investigating the design of gestural interfaces for a dental surgery context.

A glossary of bodily responses

A collaborative video with Avril Huddy where two viewpoints, performer and documenter, were presented simultaneously to investigate Arakawa and Gin’s notion of “boundary-swaying”. In this performance-work, the performer influences what the camera is able to capture by engaging the documenter in a form of improvised dance. The performer’s movements appear impulsive and unpredictable, testing ways for the documenter to frame the performer’s movement. The images revealed by the documenter’s camera reflect a complexity of moments and co-incidences, evoking a sense of the performer’s embodied thinking within improvised movement. While a second camera uses a conventional wide angle shot to document the unfolding of the performance-work and track the connection between the documenter and the performer. While the performance-work itself is still highly-experimental, the ideas underpinning this exploration suggest how future investigations integrating more sensitive technology such as motion capture and tracking devises may be investigated. This performance-work formed part of the Creative Response Exhibition curated by Alan Prohm, Bill Lavender and Jason Nelson and a peer-review committee as part of the proceedings of the AG3 Online: Third International Arakawa and Gins Architecture and Philosophy Conference, hosted by the Centre for Public Culture and Ideas at Griffith University.

The body language: The spontaneous influence of congruent bodily arousal on the awareness of emotional words

Nowadays, the idea of a reciprocal influence of physiological and psychological processes seems to be widely accepted. For instance, current theories of embodied emotion suggest that knowledge about an emotion concept involves simulations of bodily experienced emotional states relevant to the concept. In line with this framework, the present study investigated whether actual levels of physiological arousal interact with the processing of emotional words. Participants performed 2 blocks of an attentional blink task, once after a cycling session (increased arousal) and once after a relaxation session (reduced arousal). Concretely, participants were instructed to detect and report 2 target words (T1 and T2) presented among a series of nonword distractors. T1 and T2 were either neutral, high arousal, or low arousal words. Results revealed that increased physiological arousal led to improved reports of high arousal T2 words, whereas reduced physiological arousal led to improved reports of low arousal T2 words. Neutral T2 remained unaffected by the arousing conditions. These findings emphasize that actual levels of physiological arousal modulate the cognitive access to arousal (in-)congruent emotional concepts and suggest a direct grounding of emotion knowledge in our bodily systems of arousal.

An embodied approach to language: the role of bodily feedback in discourse processing

Theories of embodied cognition argue that language processing arises not from amodal symbols that redescribe sensorimotor and affective experiences, but from partial simulations (reenactments) of modality-specific states. Recent findings on processing of words and sentences support such a stance emphasizing that the role of the body in the domain of language comprehension should not be overlooked or dismissed. The present research was conducted to extend prior work in two important ways. First, the role of simulation was tested with connected discourse rather than words or sentences presented in isolation. Second, both “online” and “offline” measures of discourse comprehension were taken. In Experiments 1 and 2 participants’ facial postures were manipulated to show that preparing the body for processing of emotion-congruent information improves discourse comprehension. In Experiment 3 the direction of body posture was manipulated to show that implicit properties of simulations, such as spatial dimension or location, are at least somewhat involved in processing of large language segments such as discourse. Finally, in Experiments 4 and 5 participants’ body movement and body posture were manipulated to show that even understanding of language describing metaphorical actions physically impossible to perform involves constructing a sensorimotor simulation of the described event. The major result was that compatibility between embodiment and language strongly modulated performance effectiveness in experiments on simulation of emotion and metaphorical action. The effect of simulation on comprehension of discourse implying spatial dimension was fragile. These findings support an embodied simulation account of cognition suggesting that sensorimotor and affective states are at least partially implicated in “online” and “offline” discourse comprehension.

Le bon air et la bonne grâce : attitudes et gestes de la figure noble dans l’art européen (1661-1789)

Cette thèse porte sur les gestes et attitudes qui ont caractérisé la figure aristocratique dans l’art européen entre 1661 et 1789. Cet intervalle correspond à la durée de vie d’un paradigme corporel noble appelé « le bon air et la bonne grâce », de son élaboration à la cour de Louis XIV et de sa diffusion hégémonique en Europe, jusqu’à son rejet définitif à la Révolution française. La société d’Ancien Régime a déployé tout un arsenal de moyens (exercices, instruments orthopédiques,…) pour intérioriser une grâce qui devait paraître innée et prouver la noblesse. Le maître à danser détenait le monopole de l’inculcation de cette grâce et de son élaboration suivant des critères hautement esthétiques. Les gestes et positions inventoriés ici, sont décrits et associés à leurs connotations d’origine, montrant qu’une connaissance approfondie et minutieuse de la gestuelle peut affiner notre compréhension d’un large pan de l’art des XVIIe et XVIIIe siècles. L’auteur démontre que cette hexis corporelle contemporaine transcende tous les domaines concernés par le corps noble (éducation, théâtre, danse, opéra, arts martiaux, etc.) et en vient à infiltrer la majorité des genres picturaux, bousculant les traditions artistiques déjà en place et s’affichant comme une alternative moderne à la grâce des Anciens. Le portrait, la gravure de mode, les figurines de porcelaine, les vues de villes et de jardins sont les plus touchés par ce phénomène. La bonne grâce s’affirme ainsi dans une culture visuelle qui, par ricochet, en vient à renforcer les pratiques sociales dont elle était le reflet. Cet aller-retour des attitudes aristocratiques entre l’art et la vie occasionne la standardisation de la figure et du corps aristocratiques. Dans la pastorale, la peinture d’histoire et la scène de genre, l’idéal aristocratique se manifeste, tantôt en négatif dans la figure du paysan, du Pierrot et de l’Arlequin, tantôt de manière idéalisée dans celles du berger et du héros galants. La substitution de gestes emphatiques et d’expressions faciales explicites par une gestuelle fondée sur la retenue et la dissimulation des passions, fondera une nouvelle historia moins lisible que la traditionnelle, mais plus subtile et insinuée, répondant ainsi mieux au goût et à la sensibilité aristocratique.

Extracting Urban Food Potential: design-based methods for digital and bodily cartography

Sweden’s recent report on Urban Sustainable Development calls out a missing link between the urban design process and citizens. This paper investigates if engaging citizens as design agents by providing a platform for alternate participation can bridge this gap, through the transfer of spatial agency and new modes of critical cartography. To assess whether this is the case, the approaches are applied to Stockholm’s urban agriculture movement in a staged intervention. The aim of the intervention was to engage citizens in locating existing and potential places for growing food and in gathering information from these sites to inform design in urban agriculture. The design-based methodologies incorporated digital and bodily interfaces for this cartography to take place. The Urban CoMapper, a smartphone digital app, captured real-time perspectives through crowd-sourced mapping. In the bodily cartography, participant’s used their bodies to trace the site and reveal their sensorial perceptions. The data gathered from these approaches gave way to a mode of artistic research for exploring urban agriculture, along with inviting artists to be engaged in the dialogues. In sum, results showed that a combination of digital and bodily approaches was necessary for a critical cartography if we want to engage citizens holistically into the urban design process as spatial agents informing urban policy. Such methodologies formed a reflective interrogation and encouraged a new intimacy with nature, in this instance, one that can transform our urban conduct by questioning our eating habits: where we get our food from and how we eat it seasonally.

Inverse effectiveness, multisensory integration, and the bodily self: some statistical considerations

A recent report in Consciousness and Cognition provided evidence from a study of the rubber hand illusion (RHI) that supports the multisensory principle of inverse effectiveness (PoIE). I describe two methods of assessing the principle of inverse effectiveness ('a priori' and 'post-hoc'), and discuss how the post-hoc method is affected by the statistical artefact of,regression towards the mean'. I identify several cases where this artefact may have affected particular conclusions about the PoIE, and relate these to the historical origins of 'regression towards the mean'. Although the conclusions of the recent report may not have been grossly affected, some of the inferential statistics were almost certainly biased by the methods used. I conclude that, unless such artefacts are fully dealt with in the future, and unless the statistical methods for assessing the PoIE evolve, strong evidence in support of the PoIE will remain lacking. (C) 2009 Elsevier Inc. All rights reserved.

Cognitive and bodily selves: how do they interact following brain lesion?

Dualism has long distinguished between the mental and the body experiences. Probing the structure and organisation of the self traditionally calls for a distinction between these two sides of the self coin. It is far beyond the scope of this chapter to address these philosophical issues, and our starting point will be the simple distinction between reflective processes involved in the elaboration of body image, self awareness and self-recognition (i.e. ‘the self’) and the sensori-motor dialogues involved in action control, reactions and automatisms (i.e. ‘the body’ schema). This oversimplification does not take into account the complex interactions taking place between these two levels of description, but our initial aim will be to distinguish between them, before addressing the question of their interactions. Cognitive and sensori-motor processes have frequently been distinguished (review: Rossetti and Revonsuo 2000), and it may be proposed that a similar dissociation can be put forward, a priori, between a central representation of self and a bodily representation corresponding to body schema (Figure 1).