Body And Image Space

The last decade has seen a new wave of interest in philosophical and theoretical circles in the writings of Walter Benjamin. In Body-and Image-Space Sigrid Weigel, one of Germany's leading feminist theorists and a renowned commentator on the work of Walter Benjamin, argues that the reception of his work has so far overlooked a crucial aspect of his thought - his use of images. Weigel shows that it is precisely his practice of thinking in images that holds the key to understanding the full complexity, richness and topicality of Benjamin's theory.

Assembled here for the first time in English translation Sigrid Weigel offers illuminating new insights into Benjamin's theory, combining impulses from post-structuralism, feminism, cultural anthropology and psychoanalysis.

The last decade has seen a new wave of interest in philosophical and theoretical circles in the writings of Walter Benjamin. In Body-and Image-Space Sigrid Weigel, one of Germany's leading feminist theorists and a renowned commentator on the work of Walter Benjamin, argues that the reception of his work has so far overlooked a crucial aspect of his thought - his use of images. Weigel shows that it is precisely his practice of thinking in images that holds the key to understanding the full complexity, richness and topicality of Benjamin's theory.

The first of its kind, 'Body, Space, Image' is a remarkable book about improvisation - a narrative of discovery that sets the mind loose from the rut of everyday perception. From a starting point in movement, improvisation is extended to include groups working together and the physical setting of performance - space, light, sound, objects. Generously illustrated with examples drawn from twenty years of experimental performance, 'Body, Space, Image' explores ways of working and ways of thinking about performance that will inspire both the beginner and the experienced artist. It is a manual intended to stimulate rather than a comprehensive system of working, and includes a unique collection of images - from dance, theatre and painting - and statements by working artists. Words and images combine to celebrate and record one of the most exacting art forms developed in the twentieth century.

The book looks at dance at the beginnings of the 20th century, the time during which modern dance first began to make its radical departure from the aesthetics of classical ballet. Author Gabriele Brandstetter traces modern dance's connection to new innovations and trends in visual and literary arts to argue that modern dance is in fact the preeminent symbol of modernity.

In Picturing Space, Displacing Bodies, Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic assumptions about the way early modern artists and theorists represented their relationship to the visible world and how they understood these representations. By analyzing technical feats such as anamorphosis (the perspectival distortion of an object to make it viewable only from a certain angle), drawing machines, and printed diagrams, each chapter highlights the moments when perspective theorists failed to unite a singular, ideal viewpoint with the artist&’s or viewer&’s viewpoint or were unsuccessful at conjoining fictive and lived space.Showing how these &“failures&” were subsequently incorporated rather than rejected by perspective theorists, the book presents an important reassessment of the standard view of Renaissance perspective. While many scholars have maintained that perspective rationalized the relationships among optics, space, and painting, Picturing Space, Displacing Bodies asserts instead that Renaissance and early modern theorists often revealed a disjunction between geometrical ideals and practical applications. In some cases, they not only identified but also exploited these discrepancies. This discussion of perspective shows that the painter&’s geometry did not always conform to the explicitly rational, Cartesian formula that so many have assumed, nor did it historically unfold according to a standard account of scientific development.

In the modern period, space has predominately been conceived of as a mere setting for human action, ontologically separate from the body. In Markan studies, the result has been the multiplication of textual geographies that hide the spatiality of Jesus’s narrativized and, thus, living body. Rather than representing Jesus’s body as replicating the spatial configurations of dominant scribal cartographic practice (including imperial practice), James B. Pendleton shows that Mark portrays Jesus’s body as a living production of space that troubles dominant maps. Against readings of Mark that argue that Jesus is either an imperial or an anti-imperial figure, Pendleton argues that Mark presents Jesus’s body, and thus his spatiality, as both inside (as an insider) and outside (as an outsider) simultaneously, in what has more commonly been theorized recently as third spatiality, or thirdspace. Rather than an imperial or anti-imperial economy of spatial production, Pendleton argues, Mark presents Jesus’s body within a both-and and more economy that is kenotic, revealing God’s own royal yet “emptying” body.

Therefore, this volume offers an interdisciplinary approach from the fields of neuroscience, phenomenology and psychoanalysis

“Esther Sternberg is a rare writer—a physician who healed herself...With her scientific expertise and crystal clear prose, she illuminates how intimately the brain and the immune system talk to each other, and how we can use place and space, sunlight and music, to reboot our brains and move from illness to health.”—Gail Sheehy, author of Passages Does the world make you sick? If the distractions and distortions around you, the jarring colors and sounds, could shake up the healing chemistry of your mind, might your surroundings also have the power to heal you? This is the question Esther Sternberg explores in Healing Spaces, a look at the marvelously rich nexus of mind and body, perception and place. Sternberg immerses us in the discoveries that have revealed a complicated working relationship between the senses, the emotions, and the immune system. First among these is the story of the researcher who, in the 1980s, found that hospital patients with a view of nature healed faster than those without. How could a pleasant view speed healing? The author pursues this question through a series of places and situations that explore the neurobiology of the senses. The book shows how a Disney theme park or a Frank Gehry concert hall, a labyrinth or a garden can trigger or reduce stress, induce anxiety or instill peace. If our senses can lead us to a “place of healing,” it is no surprise that our place in nature is of critical importance in Sternberg’s account. The health of the environment is closely linked to personal health. The discoveries this book describes point to possibilities for designing hospitals, communities, and neighborhoods that promote healing and health for all.

INSTANT NEW YORK TIMES BESTSELLER "My Body offers a lucid examination of the mirrors in which its author has seen herself, and her indoctrination into the cult of beauty as defined by powerful men. In its more transcendent passages . . . the author steps beyond the reach of any 'Pygmalion' and becomes a more dangerous kind of beautiful. She becomes a kind of god in her own right: an artist." —Melissa Febos, The New York Times Book Review A "MOST ANTICIPATED" AND "BEST OF FALL 2021" BOOK FOR * VOGUE * TIME * ESQUIRE * PEOPLE * USA TODAY * CHICAGO TRIBUNE * LOS ANGELES TIMES * SHONDALAND * ALMA * THRILLEST * NYLON * FORTUNE A deeply honest investigation of what it means to be a woman and a commodity from Emily Ratajkowski, the archetypal, multi-hyphenate celebrity of our time Emily Ratajkowski is an acclaimed model and actress, an engaged political progressive, a formidable entrepreneur, a global social media phenomenon, and now, a writer. Rocketing to world fame at age twenty-one, Ratajkowski sparked both praise and furor with the provocative display of her body as an unapologetic statement of feminist empowerment. The subsequent evolution in her thinking about our culture’s commodification of women is the subject of this book. My Body is a profoundly personal exploration of feminism, sexuality, and power, of men's treatment of women and women's rationalizations for accepting that treatment. These essays chronicle moments from Ratajkowski’s life while investigating the culture’s fetishization of girls and female beauty, its obsession with and contempt for women’s sexuality, the perverse dynamics of the fashion and film industries, and the gray area between consent and abuse. Nuanced, fierce, and incisive, My Body marks the debut of a writer brimming with courage and intelligence.