published_or_final_version / Fine Arts / Doctoral / Doctor of Philosophy

'Skin-Deep' Impressions: Somatic Sense in an Age of Simulated Significance illuminates a variety of bodily modes of expression, ranging from body-art and popular body-fixation, over body-mutilation, body-play, and self-mutilation, to psycho-somatic patterns of behaviour. The question governing the work concerns the extent to which the physical orientation, currently characterizing our society, is to be considered a productive response to the so-called "crisis of representation." / A reading of Kerstin Ekinan's novel Blackwater (1996) is woven into and through the body of the work, indicating the shortcomings of theoretical understanding, the limitations of literary analysis, and the strength of literary narrative with respect to the issue in question. The distinction traditionally drawn between fashionable, transgressive and pathological ways of turning toward the body no longer holds. The blurring of the boundaries between self-making and self-destruction opens for a rather unexplored field of possibilities. / 'Skin-Deep' Impressions takes as its point of departure the claim made by some postmodern thinkers, that the cultural climate in the Western part of the world has turned "schizophrenic." The enthusiasm with which the arrival of the "schizo" has been received, ironically and tragically, is out of touch with reality. The suggestion emerging from my work is that the bodily phenomenon serves as a request for the reinstitution of more common frames of reference. The focus on the texture of the flesh, on physical wounds, and on the experience of physical pain, is viewed not as a manifestation of a general sense of victimization but rather, as the manifestation of a need to reinvent forms of representation allowing for the realization of emotionally intense and often ambiguous experience. The violent turn toward the body, finally, is viewed as a collective means of coping with the social unconscious, that is with the guilt associated with the crimes committed in the name of progress in the Western world. In this manner, physicality comes to substitute for what is lacking, namely a more suitable metaphysics. Paradoxically then, body-fixated subjects, commonly perceived as being self-absorbed and asocial may in fact represent a most serious attempt at introducing respect for other living beings in a culture characterized by an increasingly split between notions of humanity and conditions of living.

Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains vii, 38 p. : ill. (some col.) Includes bibliographical references.

Towards the end of the last century discussions on the representation of masculinity in male body-based performance art placed emphasis on the deconstruction of normative masculine identities. The focus of these investigations tended to position the image of masculinity within Lacan’s sexuation matrix, and as such, these representations were usually referred to as being phallic. That is, they reinscribed the behaviours, traits and characteristics of normative masculinity into the performance space. The central thrust of this practice-as-research thesis is that while some male artists deconstruct the performance of phallic masculinity, to challenge normative masculine ideologies, they often first reinscribe normativity onto their bodies. I argue that, while achieving a destabilisation, this approach does not take into consideration the multiplicity of masculine identities that emerge through the individual lived experiences of masculinity This thesis proposes that the performance of my personal experiences of having a masculine identity, and the exploration of these through my male body, might offer an alternative challenge to normative masculinity. Deriving from performance practices that I refer to as ’muscular masculinity’ consideration is given to how I might make space in my work to encourage a focus on the sensorial qualities of having a masculine identity. I mean this in relation to, for example, the feelings of emotions such as shame, anxiety, and vulnerability that emerge as a result of challenging my own identity, and also the different corporeal pleasures I experience as a result of having a male body. In this thesis, I refer to the practice of attending to these sensorial qualities and the gaps that emerge through an intersubjective exchange in performance, as generosity. Furthermore, I argue that generosity can challenge normative representations of masculinity because it requires the male artist to struggle; to struggle with the incoherence of their identity, to struggle with their body, and to struggle with the insecurity of meaning making.

Master of Arts / Department Not Listed / Timothy J. Shaffer / This thesis explores experiences of mental health among some queer community members in the Flint Hills region of Kansas. This research specifically investigates how the queer community in the Flint Hills region of Kansas, i.e. anyone who identifies with a marginalized sexuality and/or gender identity, communicates their experiences with mental health through their pieces of body art and/or non-surgical body modifications, which are defined as tattoos, piercings, scarification, and intentional branding, to themselves and others. The Flint Hills region of Kansas is defined as the cities of Manhattan, Junction City, Fort Riley, Riley, Wamego, Ogden, and Abilene. Centered within multiple theoretical frameworks from critical and communication studies disciplines, this thesis examines the stories and experiences behind the imagery and adaptations to some of the queer bodies, in this specific location, as it communicates experiences with mental health. Body art/non-surgical body modifications are a road map to the traumas we have experienced; the scars show our resilience. Those who assist with this research vary in ages (from 18-46), marginalized sexualities (gay, lesbian, bisexual, pansexual, and queer), marginalized gender identities (transgender, gender non-binary, gender queer, and androgynous), and racial identities/ethnicities (white, Black, Hispanic, Native/indigenous, and mixed race/ethnicities). The experiences and diagnoses with mental health range from depression, anxiety, bipolar disorder, borderline personality disorder, and suicidality/suicidal ideation. Listening to these narratives through in-depth, open-ended questions and natural conversations, and taking photographs of all discussed pieces of body art/non-surgical body modifications it was clear that these pieces serve to communicate both to others and themselves. When communicating to others, it was to memorialize the loss of someone. Five themes surfaced when these individuals were communicating their experiences with mental health to themselves: 1. attempting to gain control of their lives, even if that control is temporary; 2. transgender and gender nonbinary folks transitioning and fighting for space; 3. experiences with and attempts to prevent self-harm and/or self-mutilation; 4. symbolizing failed suicide attempts; and 5. individual engagements with personal mental health diagnoses. The implications of this research ignite and further conversations about mental health among queer individuals in the Flint Hills region of Kansas and strives to reduce the stigma surrounding communicating about experiences with mental health, especially among marginalized communities.

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No description available.

Cette recherche étudie les processus psychopathologiques associés aux comportements se référant au Body Art. Ce travail est centré sur l'approche de pratiques relevant de la modification corporelle (piercing, tatouage, scarification, stretch) et de la pratique de performances (séance de tatouage de plusieurs heures, suspension, play piercing et performance artistique). La méthodologie mixte est axée sur l'évaluation quantitative de variables symptomatologiques, de personnalité, émotionnelles et de variables associées à la dimension « corporelle » au sein d'une population de sujets adultes pratiquant ou non la modification corporelle et/ou la performance. L'évaluation qualitative étudie les productions discursives des individus à travers l'analyse de la structure grammaticale du discours et les thématiques qu'ils abordent. / This research examines psychopathological processes associated with behaviors referring to the Body Art. This work deals with body modification practices (piercing, tattooing, scarification, stretch) and performance (several hours tattoo sessions, suspension, play piercing and artistic performance). The methodology consists on both quantitative and qualitative study. Quantitative evaluation focuses on variables of symptomatology, personality, emotional and variables associated with "body" dimension in a population of adult body artists and non-practicing. Qualitative evaluation examines discursive productions through the analysis of the grammatical structure of the speech and associated topics.

Considerando o corpo o elemento central da performance arte, o texto a seguir procura compreender que tipo de espaço se reserva nesse campo artístico para a presença corpórea e o que esta adquire ou perde, quando a imagem deixa de corresponder a um referente físico independente de si, para representar um complexo de processos digitais e analógicos. Este texto tem como premissa o reconhecimento de que a formação do sujeito depende da imagem do corpóreo e, portanto, medita sobre o papel do corpo na produção e na interpretação imagéticas. Inserida em um contexo critico dos desafios pelos quais passa a performance arte através de sua institucionalização - com seus subsequentes processos de hierarquização e estabelecimento de arquivos e documentos - essa pesquisa almeja explorar possíveis efeitos dessa contextura sobre o corpo. Por se desenvolver num formato que considera a escrita como performance, essa dissertação é proposital e excessivamente investida das particularidades e projeções de um corpo específico - o do autor/performer - e baseada nas práticas artísticas concebidas para e em relação com a prática de leitura e de escrita dessa pesquisa de mestrado. Da mesma forma, aqui, o espectador daquelas práticas artísticas - assim como o espectador desse ato performático - é tido como corpo particular no qual a obra de arte ganha seu significado, através da contingência da representação do corpóreo. Por fim, essa pesquisa serve-se de uma discussão sobre o corpo que pretende experienciá-lo ao dele se afastar minimamente, para poder alcançar o que dele não se pode dissociar: a carne / Considering the body as the central element of the discipline of performance art, the following paper seeks to comprehend the nature of the space opened by this artistic disciplino to the corporeal presence in relation to the new condition of the image - when it longer corresponds to a physical referent outside itself, but represents a concatenation of the image, Also, this research aims to critically explore the chalenges inflicted on the body by the institucionalization of performance art through the hierarchical and archiving process of institutional documentation. This dissertation is based on a format that considers writing to be a performace and is thus highly and intentionally invested with the projections and particularities of a specific body - that of this author and performer. Besides, this written research is developed from an in intimate relation to the artistic practices conceivid during the period of two years´s performance acts - as well as, you, the spectator of this performance act - is also seen as particular body - which gives meaning to the artistic object through the contingency of the interpretation of the corporeal representation, Finally this research uses a dicussion about the body - which intends to experience it while minimally distancing oneself from it - in order to reach that part of the body from which it is impossible do disassociate: flesh.

Considerando o corpo o elemento central da performance arte, o texto a seguir procura compreender que tipo de espaço se reserva nesse campo artístico para a presença corpórea e o que esta adquire ou perde, quando a imagem deixa de corresponder a um referente físico independente de si, para representar um complexo de processos digitais e analógicos. Este texto tem como premissa o reconhecimento de que a formação do sujeito depende da imagem do corpóreo e, portanto, medita sobre o papel do corpo na produção e na interpretação imagéticas. Inserida em um contexo critico dos desafios pelos quais passa a performance arte através de sua institucionalização - com seus subsequentes processos de hierarquização e estabelecimento de arquivos e documentos - essa pesquisa almeja explorar possíveis efeitos dessa contextura sobre o corpo. Por se desenvolver num formato que considera a escrita como performance, essa dissertação é proposital e excessivamente investida das particularidades e projeções de um corpo específico - o do autor/performer - e baseada nas práticas artísticas concebidas para e em relação com a prática de leitura e de escrita dessa pesquisa de mestrado. Da mesma forma, aqui, o espectador daquelas práticas artísticas - assim como o espectador desse ato performático - é tido como corpo particular no qual a obra de arte ganha seu significado, através da contingência da representação do corpóreo. Por fim, essa pesquisa serve-se de uma discussão sobre o corpo que pretende experienciá-lo ao dele se afastar minimamente, para poder alcançar o que dele não se pode dissociar: a carne / Considering the body as the central element of the discipline of performance art, the following paper seeks to comprehend the nature of the space opened by this artistic disciplino to the corporeal presence in relation to the new condition of the image - when it longer corresponds to a physical referent outside itself, but represents a concatenation of the image, Also, this research aims to critically explore the chalenges inflicted on the body by the institucionalization of performance art through the hierarchical and archiving process of institutional documentation. This dissertation is based on a format that considers writing to be a performace and is thus highly and intentionally invested with the projections and particularities of a specific body - that of this author and performer. Besides, this written research is developed from an in intimate relation to the artistic practices conceivid during the period of two years´s performance acts - as well as, you, the spectator of this performance act - is also seen as particular body - which gives meaning to the artistic object through the contingency of the interpretation of the corporeal representation, Finally this research uses a dicussion about the body - which intends to experience it while minimally distancing oneself from it - in order to reach that part of the body from which it is impossible do disassociate: flesh.