Reproduire pour déconstruire : le paradoxe de l'engagement dans la série Body techniques de Carey Young

La série Body Techniques (2007) a été réalisée par l’artiste britannique Carey Young dans le cadre d’une résidence offerte par la biennale de Sharjah, aux Émirats Arabes Unis. Les huit photographies de format tableau constituant la série montrent l’artiste qui, portant l’uniforme d’une femme d’affaires, réinterprète huit œuvres célèbres associées à la mouvance de l’art conceptuel. Des paysages singuliers, situés aux abords des villes de Sharjah et Dubaï, servent de toile de fond à ces actions et leur confèrent une aura futuriste. La présente analyse tâche de démontrer que la série est habitée par un paradoxe remettant en question le statut d’art engagé que l’artiste revendique pour son œuvre. Ce paradoxe se manifeste à travers trois axes, autour desquels s’articule notre réflexion : les médiations se glissant entre Body Techniques et les œuvres que la série réinterprète, la déconstruction du « médium » du paysage, et le rôle actif occupé par le dispositif photographique. Cet examen attentif de chacune des occurrences du paradoxe permet de révéler Body Techniques comme une incarnation exemplaire de la double contrainte traversant toute œuvre d’art contemporain engagé : celle permettant aux artistes de critiquer le système auquel ils participent, mais les forçant en retour à participer au système qu’ils critiquent.

Kirurgisen operaation teatteri : Teatterillinen kuva ja ihmismuodon esitettävyys avantgardistisen väkivallan näkökulmasta

Dissertation considers the birth of modernist and avant-gardist authorship as a reaction against mass society and massculture. Radical avant-gardism is studied as figurative violence done against the human form. The main argument claims avant-gardist authorship to be an act of masculine autogenesis. This act demands human form to be worked to an elementary state of disarticulateness, then to be reformed to the model of the artist's own psychophysical and idiosyncratic vision and experience. This work is connected to concrete mass, mass of pigment, charcoal, film, or flesh. This mass of the figure is worked to create a likeness in the nervous system of the spectator. The act of violence against the human figure is intended to shock the spectator. This shock is also a state of emotional and perceptional massification. I use theatrical image as heuristic tool and performance analysis, connecting figure and spectator into a larger image, which is constituted by relationships of mimesis, where figure presents the likeness of the spectator and spectator the likeness of the figure. Likeness is considered as both gestural - social mimetic - and sensuous - kinesthetically mimetic. Through this kind of construction one can describe and contextualize the process of violent autogenesis using particular images as case studies. Avant-gardist author is the author of theatrical image, not particular figure, and through act of massification the nervous system of the spectator is also part of this image. This is the most radical form and ideology of avant-gardist and modernist authorship or imagerial will to power. I construct a model of gestural-mimic performer to explicate the nature of violence done for human form in specific works, in Mann's novella Death in Venice, in Schiele's and Artaud's selfportaits, in Francis Bacon's paintings, in Beckett's shortplat NOT I, in Orlan's chirurgical performance Operation Omnipresense, in Cindy Sherman's Film/Stills, in Diamanda Galás's recording Vena Cava and in Hitchcock's Psycho. Masspsychology constructed a phobic picture of human form's plasticity and capability to be constituted by influencies coming both inside and outside - childhood, atavistic organic memories, urban field of nervous impulses, unconsciousness, capitalist (image)market and democratic masspolitics. Violence is then antimimetic and antitheatrical, a paradoxical situation, considering that massmedias and massaudiences created an enormous fascination about possibilities of theatrical and hypnotic influence in artistic elites. The problem was how to use theatrical image without coming as author under influence. In this work one possible answer is provided: by destructing the gestural-mimetic performer, by eliminating representations of mimic body techniques from the performer of human (a painted figure, a photographed figure, a filmed figure or an acted figure, audiovisual or vocal) figure. This work I call the chirurgical operation, which also indicates co-option with medical portraitures or medico-cultural diagnoses of human form. Destruction of the autonomy of the performer was a parallel process to constructing the new mass media audience as passive, plastic, feminine. The process created an image of a new kind of autotelic masculine author-hero, freed from human form in its bourgeois, aristocratic, classical and popular versions.

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.

A experiência no Tai Chi: possibilidades para pensar o corpo sem órgãos e a preparação do ator

Although research in the field of performing arts has substantially advanced over the last century, the actor, in general, still needs a repertoire of specific references to guide or support his practice. But how the actor must work the material foundation of his art that is his own body? Starting from a prerogative of a idiosyncrasy that is part of theater, this study intend, from the description and reflection about one physical experience with the Tai Chi, to weave relations between this experience and the possible developments of acting preparation. This research is also aimed to highlight the elements of connection between the principles that rules Tai Chi and the body without organs, idealized by Artaud, with the perspective of pointing possible contributions for actors work. The work presented here refers to a qualitative study that considers the body experience in practice of Tai Chi as a reference to dialogue and reflect about the acting preparation. The process of acting preparation presupposes a constant redoing of the body by certain practices. My experience with Tai Chi within this research allowed me verify that the work from established body techniques could be a way of technical preparation for the actor. As the body conscience expands, Tai Chi promotes a greater freedom of creation and expression, giving the actor the possibility of experience the body without organs, the artistic equivalent of the daily body, present, conscious, the organic foundation of emotions, in wich it is possible the materiality of ideas

Chiral corrections to baryon properties with composite pions

A calculational scheme is developed to evaluate chiral corrections to properties of composite baryons with composite pions. The composite baryons and pions are bound states derived from a microscopic chiral quark model. The model is amenable to standard many-body techniques such as the BCS and random phase approximation formalisms. An effective chiral model involving only hadronic degrees of freedom is derived from the macroscopic quark model by projection onto hadron states. Chiral loops are calculated using the effective hadronic Hamiltonian. A simple microscopic confining interaction is used to illustrate the derivation of the pion-nucleon form factor and the calculation of picnic self-energy corrections to the nucleon and Delta (1232) masses.

Transport properties and equation of state of quark-nuclear matter

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Influence of nearest-neighbor Coulomb interactions on the phase diagram of the ferromagnetic Kondo model

The influence of a nearest-neighbor Coulomb repulsion of strength V on the properties of the ferromagnetic Kondo model is analyzed using computational techniques. The Hamiltonian studied here is defined on a chain using localized S = 1/2 spins, and one orbital per site. Special emphasis is given to the influence of the Coulomb repulsion on the regions of phase separation recently discovered in this family of models, as well as on the double-exchange-induced ferromagnetic ground state. When phase separation dominates at V= 0, the Coulomb interaction breaks the large domains of the two competing phases into small islands of one phase embedded into the other. This is in agreement with several experimental results, as discussed in the text. Vestiges of the original phase separation regime are found in the spin structure factor as incommensurate peaks, even at large values of V. In the ferromagnetic regime close to density n = 0.5, the Coulomb interaction induces tendencies to charge ordering without altering the fully polarized character of the state. This regime of charge-ordered ferromagnetism may be related with experimental observations of a similar phase by Chen and Cheong [Phys. Rev. Lett. 76, 4042 (1996)]. Our results reinforce the recently introduced notion [see, e.g., S. Yunoki et al., Phys. Rev. Lett. 80, 845 (1998)] that in realistic models for manganites analyzed with unbiased many-body techniques, the ground state properties arise from a competition between ferromagnetism and phase-separation - charge-ordering tendencies. ©1999 The American Physical Society.

O corpo chinês e as artes marciais: da ascese marcial, ao Wushu moderno

Pós-graduação em Desenvolvimento Humano e Tecnologias - IBRC

Atravessando fronteiras: viagem rumo à saúde tradicional

Esta tese possui como tema o estudo da saúde tradicional, traz a proposta de pesquisar os saberes e práticas dos profissionais de saúde tradicional que utilizam técnicas corporais para tratar perturbações e desconfortos restabelecendo a saúde aos atendidos. Trabalho de campo foi realizado no distrito de Icoaraci na cidade de Belém e na localidade de Chipaiá, no município de Cachoeira do Arari, o qual faz parte do arquipélago do Marajó. Apresenta como objeto de estudo a construção social da prática do profissional de saúde tradicional, como elemento mágico-simbólico e social de saúde nas regiões trabalhadas. Foram selecionados oito profissionais de saúde tradicionais, quatro em cada localidade. Por meio de observações e entrevistas abertas o estudo busca aprofundar a medida curativa conhecida como “puxação”, prática pertencente ao Sistema Tradicional de Ação para a Saúde (STAS), discutindo as concepções que dizem respeito a crenças, mitos e representações simbólicas utilizadas para a construção do saber tradicional; a forma que são realizados os ritos e como tais práticas levam à construção social do profissional de saúde tradicional; as concepções de saúde e doença na concepção do STAS; e a relação das práticas de cura com o sistema social. A análise também aborda a inter-relação dos ritos: puxação da mãe-do-corpo e puxação de barriga-cheia como exemplos de práticas singulares do STAS, sua importância na atenção à saúde da mulher e reflexo gerado no Sistema Ocidental de Ação para Saúde (SOAS).

''Bailando com o Senhor'': técnicas corporais de culto e louvor (o êxtase e o transe como técnicas corporais)

A utilização do corpo como instrumento de culto e louvor, em técnicas de cura ou de outros tipos, por católicos carismáticos, que tem despertado tanta atenção, também por sua exibição na mídia (através da atuação de ministros como o padre Marcelo Rossi, no Brasil), permite uma reflexão e um estudo comparativo com outras formas de culto, entre as quais aquelas com características xamânicas, como a pajelança rural amazônica (não indígena) e as religiões afro-brasileiras. Partindo da noção de técnicas corporais, formulada por Marcel Mauss, e lidando com conceitos de autores como Merleau Ponty, Pierre Bourdieu e Thomas Csordas, o artigo analisa parte do material empírico coletado pelo autor em sua pesquisa de campo, que tem como locus a cidade de Belém e a região do Salgado, na Amazônia Oriental brasileira.

Corporalidade neopentecostal: análise e concepção de corpo na Igreja Bola de Neve de Marília, SP

Pós-graduação em Ciências Sociais - FFC

Sacrificio y sociabilidad en el entrenamiento de nadadores master

El presente artículo analiza la manera en que la participación en los entrenamientos de un conjunto de nadadores master (adultos) expresa tanto una disposición hacia la actividad corporal como hacia la sociabilidad con los pares. Asimismo, se muestra el modo en que tiene lugar el proceso de aprendizaje de una técnica corporal de una manera práctica y colectiva durante el entrenamiento y los sentidos específicos que adquieren las nociones de sufrimiento y sacrificio en dicho proceso. Para ello se utiliza una estrategia de abordaje empírico basado en técnicas cualitativas de producción y análisis de datos, realizando entrevistas y a la vez trabajo de campo etnográfico

La enseñanza de una técnica del cuerpo mezcla permanentemente el gesto y la palabra, el ejemplo y su explicación : Entrevista a David Le Breton

En la presente entrevista a David Le Breton, Doctor en Sociología de la Universidad París VII y Profesor en la Facultad de Ciencias Sociales de la Universidad 'Marc Bloch' de Estrasburgo (Francia), se desarrolla un diálogo con Eduardo Galak en el que se discuten las problemáticas del cuerpo y de la enseñanza de las técnicas corporales según la mirada de este autor. Más aún, resultan relevantes los análisis realizados por Le Breton sobre la Educación Física, desarrollando su pensamiento sobre los juegos, las gimnasias y los deportes. A su vez, a través de un contrapunto entre el entrevistador y el entrevistado sobre la potencialidad del concepto habitus para la investigación de las prácticas corporales, se puede observar el posicionamiento teórico de uno de los principales referentes bibliográficos en materia de estudios sociales sobre el cuerpo. Entonces, en este escrito se encuentra no sólo un recorrido por la obra del autor sino que además se profundizan algunos puntos ciegos de su bibliografía sobre el cuerpo y las prácticas corporales

Propuestas desde la antropología para el abordaje de las dimensiones socio-culturales del cuerpo : Un aporte al debate Educación Física / Educación Corporal

El objetivo de este artículo es realizar un aporte desde la Antropología socio-cultural al debate que se está dando entre Educación Física y Educación Corporal. Dado el énfasis de esta última perspectiva por incluir en sus prácticas la consideración de que el cuerpo no es asimilable al organismo biológico y que es indisoluble de los contextos socio-culturales, haré referencia a la noción contemporánea de cultura y a los debates que se han dado en la Antropología acerca de la distinción entre naturaleza y cultura. Junto con este problema, y haciéndome eco del interés actual en el campo de la Educación Corporal por analizar las diferencias entre las nociones de organismo y de cuerpo, y sus implicancias en las prácticas de las profesoras y los profesores del área, revisaré las conceptualizaciones socio-antropológicas sobre el cuerpo, distinguiendo diferentes líneas de abordaje sobre lo corporal. Para ejemplificar esta problemática, haré referencia a la concepción pionera de Marcel Mauss de "técnicas corporales"