PROJECT 2, Marielis Garcia
Fall 2018, Project Research
Professor Mark Smith
This project is caught between the human body as specimen and my own conditional body defined by personal history, societal implications and my physical manifestation.
The human body, is collection of organisms, mass, systems, traits, consciousness, memories and much more than we fully comprehend. “A person can be reasonably unsure or mistaken as to which part of her body he or she is aware of at any given moment. This requires discussing the phenomenon of bodily awareness…1” Bodily awareness is acknowledgement of your own body, your container, the soma. “Bodily Sensations, together with kinesthesia, proprioception and the vestibular system amount to an awareness of one’s body that is of only one’s own body and it’s parts2.”
Body ownership similar to body awareness is dependent on sensation and proprioception, but it also includes an element of kinesthetic agency and autonomy in motor events (actions) produced by you with your own body.
Straddled between knowing yourself, and not understanding your own packaging- this entire project sought to collide introspection and perception; personal bodily awareness and systematic social biopower (a termed defined by Michel Foucault as “achieving the subjugations of bodies and the control of populations”3).
Unequivocally explored through my female point of view, the various projects that came about from this investigation ask the viewer for autonomous interaction with the work. Interaction is essential, it pushes viewers to connect to their own kinesthetic awareness (bodily awareness) and acknowledge the social constructs denoted on them and their body (body ownership).
1. Schwenkler, John. "The Objects of Bodily Awareness." Philosophical Studies: An International Journal for Philosophy in the Analytic Tradition 162, no. 2 (2013): 465-72. http://www.jstor.org/stable/23356682.
2. Martin, M.G.F. “Bodily Awareness and Sense of Ownership”, In J.L. Bermudez, A. Marcel and N. Elian (Eds.), The Body and the self (pp 267-289), Cambridge, MIT Press
3. Foucault, Michel. “The History of sexuality: Vol. 1, An Introduction.” New York, NY 1978
Synthesis Map A: Conditional Body
Our physical form is adaptive, evolutionary and most of all, always in motion. Even the subtleties of breath require a physical action or gesture.
The 6th row, the personal row is performative. The videos displayed are documentation of the impulse of motivation: the moving body. The entire vignette is the gestural compilation of five audience perspectives of the body in motion.
The two brainstorming maps below are a derived from the body in motion and it's many activities and the the body as specimen, its parts and systems.
Generative Mapping: Exquisite Corpse
The physical form is adaptive, evolving but specific to the female form (not solely but more often) it also commodified. Why is the body outrightly disregarded as a topic of curiosity unless it is objectified and commodified? Let's examine, without gender, the body as specimen, the exquisite corpse.