By Carrie Noland
In Agency and Embodiment, Carrie Noland examines the ways that tradition is either embodied and challenged in the course of the corporeal functionality of gestures. Arguing opposed to the constructivist metaphor of physically inscription dominant when you consider that Foucault, Noland continues that kinesthetic adventure, produced through acts of embodied gesturing, areas strain at the conditioning a physique gets, encouraging adaptations in cultural perform that can't rather be defined.
Drawing on paintings in disciplines as diversified as dance and circulate conception, phenomenology, cognitive technological know-how, and literary feedback, Noland argues that kinesthesia―feeling the physique move―encourages scan, amendment, and, every now and then, rejection of the regimen. Noland privileges corporeal functionality and the sensory event it presents that allows you to have the ability past constructivist theory’s lack of ability to supply a resounding account of corporation. She observes that regardless of the impression of social conditioning, humans proceed to invent dazzling new methods of changing the inscribed behaviors they're known as directly to practice. via lucid shut readings of Marcel Mauss, Maurice Merleau-Ponty, invoice Viola, André Leroi-Gourhan, Henri Michaux, Judith Butler, Frantz Fanon, Jacques Derrida, and modern electronic artist Camille Utterback, Noland illustrates her provocative thesis, addressing problems with obstacle to students in severe conception, functionality reviews, anthropology, and visible studies.
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Additional info for Agency and Embodiment: Performing Gestures Producing Culture
Thus, the physical, but also spiritual and psychic life of an individual is determined by patterns of choreographed behavior. ” Mauss ﬁnds it hard, then, to say that there is a “natural” body, although certain types of movement are permitted (by the angle of joints and so on) and others rendered impossible. ” In a passage that has become famous,11 Mauss observes that “l’enfant s’accroupit normalement”— that is, infants in general, when left to their own devices, squat (SA, 374). T H E “ S T R U C T U R I N G ” B O DY 27 Some cultures do not set up obstacles to this normative infant behavior, and it becomes the default attitude assumed throughout the entire life of the adult.
Dressage,” in short, does not always work. It is in fact Mauss himself who reveals a scenario in which the body—as a set of movement possibilities—exerts pressure on the domesticating and discriminating routines favored by culture. His example of the Maori mother teaching her daughter such a basic motor skill as walking is predicated on the failure rather than the success of the transmission: “you are not doing the onioi” is, after all, the salient phrase. Not only does Mauss provide evidence that the daughter is not conforming to the technique of the body that her society requires her to perform in order to be gendered “woman” but he also shows us that the Maori language registers this nonconformity, it indicates that the habitus is not solid, uniformally applied and acquired, but instead vulnerable to resistance of an albeit subtle kind.
Second, he observes that cultural subjects have a lived experience of such social conditioning, that is, a sensual apprehension, in those tissues, of socially organized kinesis. Although Mauss does not investigate deeply the ways in which kinesthesia, or the felt experience of moving, might inﬂect the gestural routines a subject executes, his work provides a roadmap for future research, a critical resource for renovating contemporary paradigms of embodiment, performance, and technesis. In contrast with his successor Bourdieu, who tends to see cultural subjects as stamped indelibly with conditioned patterns they cannot change, Mauss allows us to recast the act of gesturing as deeply contradictory in its implications.