Introduction

Drobnick, Jim; Fisher, Jennifer

doi:10.2752/174589312x13276628771406

Cited by 4 publications

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“…Es decir, no es posible reducir una experiencia a la manera que es percibida por uno de los sentidos; en el caso del arte es necesario pensar en estéticas sensoriales (Drobnick y Fisher 2012) o multisensoriales que permitan acceder a la experiencia sensorial propuesta por los trabajos en conjunción con sus implicaciones emotivas, éticas y políticas . Para lograr este acercamiento resulta primordial retornar al cuerpo, pero no como representación, soporte performativo o monolito simbó-lico, sino como "dispositivo sensible" que es expuesto a los estímulos de los trabajos de arte, lugares de la memoria y memoriales .…”

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“…Tal como han insistido recientemente los teóricos de arte Jim Drobnick y Jennifer Fisher (2012), las artes siempre han tenido un alto contenido multisensorial . Agregaría que incluso el trabajo pictórico exige una mirada de cuerpo completo, contemplar una pintura significa un compromiso corporal con la obra; se produce un encuentro íntimo, una afectación vibrante y espesa que es experimentada desde el cuerpo sintiente .…”

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Escuchar voces y corporización

Blackman¹

2014

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Escuchar voces y corporización

Blackman¹

2014

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Walking-sensing as a decolonial art and pedagogical practice

Yoon-Ramirez

2021

International Journal of Education Through Art

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How can walking, as a sensate experience and a recollective engagement with our memories, lead us to imagine new ways of knowing, being and sensing otherwise? This article conceptualizes walking-sensing as a decolonial art and pedagogical practice, which offers anti-colonial critiques and activates decolonial imaginations. By combining walking and sensing together, I first highlight how our experience of walking is intrinsically intertwined with our act of sensing that is already oriented and attuned in the contextual relation to things in the world. The notion of walking-sensing is used to describe not only our physical movement and the sensibilities of our bodies, but also as recollective and communal engagements, such as connecting memories with others, (re)collecting personal and local stories, and imagining the ways of living and being otherwise. I further elucidate how walking-sensing can be a form of anti-colonial critiques and decolonial imaginations that valorize multiple knowledges and sensibilities as well as to pave a path towards a new liberatory way of being in solidarity. With pedagogical scenarios, I demonstrate in what ways walking-sensing can be utilized as a critical intervention towards decoloniality. Lastly, introduce two artists’ art-making practice and how they are linked to the concept of walking-sensing. In this way, I elucidate the inextricable relationship between art and pedagogical practice and how walking-sensing can lead to decolonial resistance.

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Mouthing Disgust and Pleasure in Eating Disorders

Platten¹,

Warin²,

Coggrave³

2014

The Senses and Society

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a Bronwyn Platten is an artist-researcher whose work intersects the disciplines of arts and health with specific interests in co-creative and multisensory art, gender, phenomenology, and embodiment. b Megan Warin is a social anthropologist whose research interests coalesce around the gendering of health and illness (including anorexia), sensuous scholarship, and public understanding of scientific paradigms of obesity. c Sarah Coggrave is final-year BA visual arts student at the University of Salford, Manchester. She previously obtained an MA in international criminology from the University of Sheffield.ABSTRACT This article explores the complex sensorial encounters that people with eating disorders have in response to their mouths, food, eating, and embodiment. We argue that relationships to food, perceived primarily in clinical and psychological terms of control and discipline, ignore sensorial and generative dimensions of embodiment and the associated affective agency of hungers, pleasures, and disgust. Through analysis of the filmed performance of Untitled (The Party), we examine how the mouth for people with eating disorders embodies a metaphorical space of disgust, but also pleasure. As a soft, moist bodily opening, Bronwyn Platten is an artist-researcher whose work intersects the disciplines of arts and health with specific interests in co-creative and multisensory art, gender, phenomenology, and embodiment. info@bronwynplatten.com Megan Warin is a social anthropologist whose research interests coalesce around the gendering of health and illness (including anorexia), sensuous scholarship, and public understanding of scientific paradigms of obesity. megan.warin@adelaide.edu.au Sarah Coggrave is final-year BA visual arts student at the University of Salford, Manchester. She previously obtained an MA in international criminology from the University of Sheffield.

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Introduction

Cited by 4 publications

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Escuchar voces y corporización

Escuchar voces y corporización

Walking-sensing as a decolonial art and pedagogical practice

Mouthing Disgust and Pleasure in Eating Disorders

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