Wellness, Health, and Salvation : About the Religious Dimension of Contemporary Body-Mindedness

Alluding to the enormous investments in wellness, health, and anti-aging by affluent US society today the article focuses on the anthropological and religious implications of this phenomenon by stating that the pursuit of such caring for the body has superseded the quest for salvation. The first section provides a historical background analysis of how the contemporary semi-religious bodymindedness came about, while the second part analyses wellness, health, and salvation from a phenomenological point of view. It shows that any body image which does not address human frailty turns into something utterly inhumane while a religiously informed anthropology, in contrast, not only accepts frailty, dying, and death as realities of life but situates these experiences within a broader frame of reference and meaning thereby setting people free to leave behind at the proper time anxieties and worries about body-upkeep and to embrace life in the face of death

Sculptural Thinking in Fashion

Human thinking in relation to the body is conditioned by an understanding of the body as a three-dimensional form. The fashion designer Madame Gres said ‘I wanted to be a sculptor — for me it is just the same to work with fabric or stone.’ Sculpture and fashion both adopt figurative formations, a default position of representing human form in space, motion and time: both an art form receptive to the senses of sight, touch and gravitational pull. This research questions whether the thinking processes in fashion design are common with thinking in sculptural practices within fine art. The question emerged through conversations between a fashion designer and a contemporary artist and centered upon the use of language, thinking and reflective practices, and the articulation and application of material processes. To address these questions we focused upon two approaches: whether thought and its articulation in the lexicon of creative practice is common and whether there is a two way flow of visual, material and technical influences. The initial conversation centered upon the art historian, Rowan Bailey’s essay ‘Herder’s Sculptural Thinking.’ Our interpretations of this work identified that thought itself evolves in the experience of three-dimensions and sharing our experiences of touch. The idea of the sculptural therefore becomes social; a shared phenomena. We became interested in how thinking begins to take shape in material forms, or the notion of working creatively in three-dimensionality is in itself a structure of the emotions that connect to a line of thought. The first section of the paper establishes a platform for the second section by investigating the significance of touch and mimicry, and the philosophies behind thinking sculpturally. The second section considers the effects of influence between the two disciplines, noting an interaction between the creative processes in sculpture and fashion design, such as: modeling, draping, molding, stacking, casting, shaping and carving. The paper concludes by drawing together the two sections

Sculptural Thinking in Fashion

Human thinking in relation to the body is conditioned by an understanding of the body as a three-dimensional form. The fashion designer Madame Gres said ‘I wanted to be a sculptor — for me it is just the same to work with fabric or stone.’ Sculpture and fashion both adopt figurative formations, a default position of representing human form in space, motion and time: both an art form receptive to the senses of sight, touch and gravitational pull. This research questions whether the thinking processes in fashion design are common with thinking in sculptural practices within fine art. The question emerged through conversations between a fashion designer and a contemporary artist and centered upon the use of language, thinking and reflective practices, and the articulation and application of material processes. To address these questions we focused upon two approaches: whether thought and its articulation in the lexicon of creative practice is common and whether there is a two way flow of visual, material and technical influences. The initial conversation centered upon the art historian, Rowan Bailey’s essay ‘Herder’s Sculptural Thinking.’ Our interpretations of this work identified that thought itself evolves in the experience of three-dimensions and sharing our experiences of touch. The idea of the sculptural therefore becomes social; a shared phenomena. We became interested in how thinking begins to take shape in material forms, or the notion of working creatively in three-dimensionality is in itself a structure of the emotions that connect to a line of thought. The first section of the paper establishes a platform for the second section by investigating the significance of touch and mimicry, and the philosophies behind thinking sculpturally. The second section considers the effects of influence between the two disciplines, noting an interaction between the creative processes in sculpture and fashion design, such as: modeling, draping, molding, stacking, casting, shaping and carving. The paper concludes by drawing together the two sections

Creative User-Centered Visualization Design for Energy Analysts and Modelers

We enhance a user-centered design process with techniques that deliberately promote creativity to identify opportunities for the visualization of data generated by a major energy supplier. Visualization prototypes developed in this way prove effective in a situation whereby data sets are largely unknown and requirements open – enabling successful exploration of possibilities for visualization in Smart Home data analysis. The process gives rise to novel designs and design metaphors including data sculpting. It suggests: that the deliberate use of creativity techniques with data stakeholders is likely to contribute to successful, novel and effective solutions; that being explicit about creativity may contribute to designers developing creative solutions; that using creativity techniques early in the design process may result in a creative approach persisting throughout the process. The work constitutes the first systematic visualization design for a data rich source that will be increasingly important to energy suppliers and consumers as Smart Meter technology is widely deployed. It is novel in explicitly employing creativity techniques at the requirements stage of visualization design and development, paving the way for further use and study of creativity methods in visualization design