Colleen T. Dunagan
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9780190491369
- eISBN:
- 9780190491406
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190491369.003.0002
- Subject:
- Music, Dance
Chapter One introduces the concept of affect and its production through dance in advertising. Affect plays a key role in advertising’s ability to engage consumers in the production of cultural ...
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Chapter One introduces the concept of affect and its production through dance in advertising. Affect plays a key role in advertising’s ability to engage consumers in the production of cultural meaning. To this end, I argue that the marketing value of dance lies in the ability of the dancing body to produce affect through kinesthetic empathy and correspondingly to create the appearance of relational meaning and agency. By placing affect theory into dialogue with theories of cognition and kinesthetic empathy, I articulate how and why the moving body in advertising requires its own analysis. In these ads, choreographed movement holds the key to fully understanding the production of affect, affect’s contagion, and its role in the production of social relations and cultural meaning.Less
Chapter One introduces the concept of affect and its production through dance in advertising. Affect plays a key role in advertising’s ability to engage consumers in the production of cultural meaning. To this end, I argue that the marketing value of dance lies in the ability of the dancing body to produce affect through kinesthetic empathy and correspondingly to create the appearance of relational meaning and agency. By placing affect theory into dialogue with theories of cognition and kinesthetic empathy, I articulate how and why the moving body in advertising requires its own analysis. In these ads, choreographed movement holds the key to fully understanding the production of affect, affect’s contagion, and its role in the production of social relations and cultural meaning.
Mark Katz
- Published in print:
- 2019
- Published Online:
- October 2019
- ISBN:
- 9780190056117
- eISBN:
- 9780190056148
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190056117.003.0003
- Subject:
- Music, Popular, History, American
This chapter focuses on the cross-cultural artistic collaboration that takes places in hip hop diplomacy encounters. It reveals that hip hop can foster mutual understanding and conflict ...
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This chapter focuses on the cross-cultural artistic collaboration that takes places in hip hop diplomacy encounters. It reveals that hip hop can foster mutual understanding and conflict transformation across cultures through nonverbal communication and kinesthetic empathy. One case study examines the interactions between US rappers and a Moroccan gnawa ensemble, demonstrating both the risks and rewards of cross-cultural artistic collaboration. Another case study explores how conflict arose and was transformed in a dance workshop in Bandung, Indonesia in 2016 in which hypermasculine b-boys (breakdancers) and queer dancers (voguers) performed together. The chapter concludes that hip hop can serve as a model for productive people-to-people diplomacy.Less
This chapter focuses on the cross-cultural artistic collaboration that takes places in hip hop diplomacy encounters. It reveals that hip hop can foster mutual understanding and conflict transformation across cultures through nonverbal communication and kinesthetic empathy. One case study examines the interactions between US rappers and a Moroccan gnawa ensemble, demonstrating both the risks and rewards of cross-cultural artistic collaboration. Another case study explores how conflict arose and was transformed in a dance workshop in Bandung, Indonesia in 2016 in which hypermasculine b-boys (breakdancers) and queer dancers (voguers) performed together. The chapter concludes that hip hop can serve as a model for productive people-to-people diplomacy.
Ana Hedberg Olenina
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9780190051259
- eISBN:
- 9780190051297
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190051259.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
In the late 19th century, neurophysiology introduced techniques for detecting somatic signs of psychological processes. Scientific modes of recording, representing, and interpreting body movement as ...
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In the late 19th century, neurophysiology introduced techniques for detecting somatic signs of psychological processes. Scientific modes of recording, representing, and interpreting body movement as “expressive” soon found use in multiple cultural domains. Based on archival materials, this study charts the avenues by which physiological psychology reached the arts and evaluates institutional practices and political trends that promoted interdisciplinary engagements in the first quarter of the 20th century. In mapping the emergence of a paradigm it calls “psychomotor aesthetics,” this book uncovers little-known sources of Russian Futurism, Formalist poetics, avant-garde film theories of Lev Kuleshov and Sergei Eisenstein, and early Soviet programs for evaluating filmgoers’ reactions. Drawing attention to the intellectual exchange between Russian authors and their European and American counterparts, the book documents diverse cultural applications of laboratory methods for studying the psyche. Both a history and a critical project, the book attends to the ways in which artists and theorists dealt with the universalist fallacies inherited from biologically oriented psychology—at times, endorsing the positivist, deterministic outlook, and at times, resisting, reinterpreting, and defamiliarizing these scientific notions. In exposing the vastness of cross-disciplinary exchange at the juncture of neurophysiology and the arts at the turn of the 20th century, Psychomotor Aesthetics calls attention to the tremendous cultural resonance of theories foregrounding the somatic substrate of emotional and cognitive experience—theories, which anticipate the promises and limitations of today’s neuroaesthetics and neuromarketing.Less
In the late 19th century, neurophysiology introduced techniques for detecting somatic signs of psychological processes. Scientific modes of recording, representing, and interpreting body movement as “expressive” soon found use in multiple cultural domains. Based on archival materials, this study charts the avenues by which physiological psychology reached the arts and evaluates institutional practices and political trends that promoted interdisciplinary engagements in the first quarter of the 20th century. In mapping the emergence of a paradigm it calls “psychomotor aesthetics,” this book uncovers little-known sources of Russian Futurism, Formalist poetics, avant-garde film theories of Lev Kuleshov and Sergei Eisenstein, and early Soviet programs for evaluating filmgoers’ reactions. Drawing attention to the intellectual exchange between Russian authors and their European and American counterparts, the book documents diverse cultural applications of laboratory methods for studying the psyche. Both a history and a critical project, the book attends to the ways in which artists and theorists dealt with the universalist fallacies inherited from biologically oriented psychology—at times, endorsing the positivist, deterministic outlook, and at times, resisting, reinterpreting, and defamiliarizing these scientific notions. In exposing the vastness of cross-disciplinary exchange at the juncture of neurophysiology and the arts at the turn of the 20th century, Psychomotor Aesthetics calls attention to the tremendous cultural resonance of theories foregrounding the somatic substrate of emotional and cognitive experience—theories, which anticipate the promises and limitations of today’s neuroaesthetics and neuromarketing.
Ana Hedberg Olenina
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9780190051259
- eISBN:
- 9780190051297
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190051259.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies
Chapter 1 analyzes Viktor Shklovskii’s reflections on Futurist poets, who presented their experiments as an inquiry into the biodynamics of verbal expressivity. Shklovskii suggested that Aleksei ...
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Chapter 1 analyzes Viktor Shklovskii’s reflections on Futurist poets, who presented their experiments as an inquiry into the biodynamics of verbal expressivity. Shklovskii suggested that Aleksei Kruchenykh’s trans-rational poetry (zaum’) uncovered deeply ingrained motor programs, which shape the verbalization of various ideas and states of consciousness. Shklovskii contended that identifying these motor programs, or “sound gestures,” and putting them to play was the Futurists’ method of palpating the “inner form” of words in the Russian language. In contextualizing Shklovskii’s conception, the chapter maps the spread of psychophysiological terms in Russian literary theory and linguistic scholarship in the 1910s, with a particular emphasis on the echoes of William James’s theory of the corporeal experience of emotion and Wilhelm Wundt’s ideas on the gestural origin of language.Less
Chapter 1 analyzes Viktor Shklovskii’s reflections on Futurist poets, who presented their experiments as an inquiry into the biodynamics of verbal expressivity. Shklovskii suggested that Aleksei Kruchenykh’s trans-rational poetry (zaum’) uncovered deeply ingrained motor programs, which shape the verbalization of various ideas and states of consciousness. Shklovskii contended that identifying these motor programs, or “sound gestures,” and putting them to play was the Futurists’ method of palpating the “inner form” of words in the Russian language. In contextualizing Shklovskii’s conception, the chapter maps the spread of psychophysiological terms in Russian literary theory and linguistic scholarship in the 1910s, with a particular emphasis on the echoes of William James’s theory of the corporeal experience of emotion and Wilhelm Wundt’s ideas on the gestural origin of language.
