15 research outputs found
Max Aguilera-Hellweg, Photography from surgery to robotics
Anthropomorphic robotics have become increasingly familiar in our daily lives. Photographer and surgeon Max Aguilera-Hellweg moved from projects focusing on human bodies undergoing surgery to photographs of androids and their inner architecture. Why did the photographer choose to give up the human body to turn to its simulacrum? What does the robot have that the human body doesnât have? What is the point of photographing objects that resemble human beings? These are the questions that will guide our analysis of the work of Max Aguilera-Hellweg.La robotique anthropomorphe prend de plus en plus de place dans notre quotidien. Le photographe et chirurgien Max Aguilera-Hellweg a photographiĂ© ces objets dont la forme ressemble Ă©trangement Ă celle du corps humain. Pourquoi le photographe a-t-il choisi de renoncer au corps humain pour se tourner vers son simulacre ? Que possĂšde le robot que le corps humain ne possĂšderait pas ? Quel intĂ©rĂȘt y-a-t-il Ă photographier des objets qui ressemblent Ă des ĂȘtres humains ? Voici les interrogations qui guideront notre analyse du travail de Max Aguilera-Hellweg
Une introduction à la pluralité des corps en transition
La notion de « corps en transition » suggĂšre lâinstabilitĂ© et la mutation des frontiĂšres des rhĂ©toriques de genre, de sexe, de classe, de race et dâespĂšce entre autres, en tant que catĂ©gories construites de maniĂšre historique et culturelle par des discours, des pratiques et des reprĂ©sentations, quâelles soient symboliques ou visuelles. Dans leurs formes plastiques, poĂ©tiques et politiques, les images travaillent les corps pour rendre compte des oppressions et des rapports sociaux de dominati..
Group therapy with peer support provider participation in an acute psychiatric ward: 1-year analysis
Background: Group psychotherapy improves therapeutic process, fosters identification
with others, and increases illness awareness; (2) Methods: In 40 weekly group sessions held in an
acute psychiatric ward during one year, we retrospectively evaluated the inpatientsâ participation
and the demographic and clinical variables of the individuals hospitalized in the ward, the group
type according to Bionâs assumptions, the main narrative themes expressed, and the mentalization
processes by using the Mentalization-Based Therapy-Group Adherence and Quality Scale (MBT-GAQS); (3) Results: The âworkingâ group was the prevailing one, and the most represented narrative
theme was âtreatment programsâ; statistically significant correlations were found between the group
types according to Bionâs assumptions and the main narrative themes (Fisherâs exact, p = 0.007); at
our multivariate linear regression, the MBT-G-AQS overall occurrence score (dependent variable) was
positively correlated with the number of group participants (coef. = 14.87; p = 0.011) and negatively
with the number of participants speaking in groups (coef. = â16.87, p = 0.025); (4) Conclusion: our
study suggests that the group shows consistent defense mechanisms, relationships, mentalization,
and narrative themes, which can also maintain a therapeutic function in an acute ward
La survivance du vivant en photographie : le confusion photographique entre le corps et l'objet du mannequin à la figuration numérique anthropomorphe
For the past decade, prestigious portrait photography awards have been won by images that depict robots. These designations are surprising since these competitions are supposed to be awarded for the representation of a human being. The fantasy of animation has been present in artistic production since antiquity and in everyday language since 1906, when the term "mannequin" no longer referred only to the anthropomorphic object, but also to the elegant young woman. The fashion photographer Helmut Newton appropriates the evolution of this definition which he declines according to the sensual imaginaries. The artistic photography used by the artist Cindy Sherman offer an inert image which seems of a total elasticity. Photographer Nick Knight has focused on the persistence of the impression of life that endures despite its transformations to the limit of abstraction. In each era, the confusion between the body and the object has been appropriated by different social and political issues, which sometimes contradict each other, highlighting the singularities and variations of ambiguous representations between humanization and reification. Through the lens of the constants and ruptures inherent in the confusions between body and object, this dissertation explores the ways in which the living is undermined and survived by photographic reification, focusing on the practice of Helmut Newton, Cindy Sherman and Nick Knight in order to understand the impact of the inert on the representation and conception of the living body. Thus, the objective is to demonstrate to show that photography produces a singular relationship to the living vis-Ă -vis the organic individual experienced in daily life. The one generated by photography is also different from the performed body or the moving body in video.Depuis une dizaine dâannĂ©es, de prestigieux prix en portrait photographique sont remportĂ©s par des images qui reprĂ©sentent des robots. Le fantasme de lâanimation est prĂ©sent dans la production artistique depuis lâAntiquitĂ© et dans le langage courant depuis 1906, lorsque le terme « mannequin » ne dĂ©signa plus seulement lâobjet anthropomorphe, mais Ă©galement la jeune femme Ă©lĂ©gante. Le photographe de mode Helmut Newton sâapproprie lâĂ©volution de cette dĂ©finition quâil dĂ©cline en fonction des imaginaires sensuels. La photographie artistique dont fait usage lâartiste Cindy Sherman propose une image inerte qui semble dâune Ă©lasticitĂ© totale. Le photographe Nick Knight sâest concentrĂ© sur la persistance de lâimpression de vie qui perdure malgrĂ© ses transformations Ă la limite de lâabstraction. Ă chaque Ă©poque, la confusion entre le corps et lâobjet fut stimulĂ©e par diffĂ©rents enjeux sociaux et politiques, qui entrent parfois en contradiction, mettant en lumiĂšre les singularitĂ©s et les variations de reprĂ©sentations ambiguĂ«s entre humanisation et rĂ©ification. Au prisme des constantes et ruptures inhĂ©rentes aux confusions entre le corps et lâobjet, cette thĂšse explore les maniĂšres dont le vivant continue de survivre et de surgir de la pratique de Helmut Newton, de Cindy Sherman et de Nick Knight dans le but de comprendre lâimpact de lâinerte sur la reprĂ©sentation et la conception du corps vivant. Ainsi, lâobjectif est de dĂ©montrer que la photographie est productrice d'un rapport singulier au vivant vis-Ă -vis de l'individu organique expĂ©rimentĂ© dans la vie quotidienne. Celui gĂ©nĂ©rĂ© par la photographie est Ă©galement diffĂ©rent du corps performĂ© ou du corps mouvant dans la vidĂ©o
The survival of the living in photography : the photographic confusion between the body and the object, from mannequin to anthropomorphic digital figuration
Depuis une dizaine dâannĂ©es, de prestigieux prix en portrait photographique sont remportĂ©s par des images qui reprĂ©sentent des robots. Le fantasme de lâanimation est prĂ©sent dans la production artistique depuis lâAntiquitĂ© et dans le langage courant depuis 1906, lorsque le terme « mannequin » ne dĂ©signa plus seulement lâobjet anthropomorphe, mais Ă©galement la jeune femme Ă©lĂ©gante. Le photographe de mode Helmut Newton sâapproprie lâĂ©volution de cette dĂ©finition quâil dĂ©cline en fonction des imaginaires sensuels. La photographie artistique dont fait usage lâartiste Cindy Sherman propose une image inerte qui semble dâune Ă©lasticitĂ© totale. Le photographe Nick Knight sâest concentrĂ© sur la persistance de lâimpression de vie qui perdure malgrĂ© ses transformations Ă la limite de lâabstraction. Ă chaque Ă©poque, la confusion entre le corps et lâobjet fut stimulĂ©e par diffĂ©rents enjeux sociaux et politiques, qui entrent parfois en contradiction, mettant en lumiĂšre les singularitĂ©s et les variations de reprĂ©sentations ambiguĂ«s entre humanisation et rĂ©ification. Au prisme des constantes et ruptures inhĂ©rentes aux confusions entre le corps et lâobjet, cette thĂšse explore les maniĂšres dont le vivant continue de survivre et de surgir de la pratique de Helmut Newton, de Cindy Sherman et de Nick Knight dans le but de comprendre lâimpact de lâinerte sur la reprĂ©sentation et la conception du corps vivant. Ainsi, lâobjectif est de dĂ©montrer que la photographie est productrice d'un rapport singulier au vivant vis-Ă -vis de l'individu organique expĂ©rimentĂ© dans la vie quotidienne. Celui gĂ©nĂ©rĂ© par la photographie est Ă©galement diffĂ©rent du corps performĂ© ou du corps mouvant dans la vidĂ©o.For the past decade, prestigious portrait photography awards have been won by images that depict robots. These designations are surprising since these competitions are supposed to be awarded for the representation of a human being. The fantasy of animation has been present in artistic production since antiquity and in everyday language since 1906, when the term "mannequin" no longer referred only to the anthropomorphic object, but also to the elegant young woman. The fashion photographer Helmut Newton appropriates the evolution of this definition which he declines according to the sensual imaginaries. The artistic photography used by the artist Cindy Sherman offer an inert image which seems of a total elasticity. Photographer Nick Knight has focused on the persistence of the impression of life that endures despite its transformations to the limit of abstraction. In each era, the confusion between the body and the object has been appropriated by different social and political issues, which sometimes contradict each other, highlighting the singularities and variations of ambiguous representations between humanization and reification. Through the lens of the constants and ruptures inherent in the confusions between body and object, this dissertation explores the ways in which the living is undermined and survived by photographic reification, focusing on the practice of Helmut Newton, Cindy Sherman and Nick Knight in order to understand the impact of the inert on the representation and conception of the living body. Thus, the objective is to demonstrate to show that photography produces a singular relationship to the living vis-Ă -vis the organic individual experienced in daily life. The one generated by photography is also different from the performed body or the moving body in video
LA SURVIVANCE DU VIVANT EN PHOTOGRAPHIE : LA CONFUSION PHOTOGRAPHIQUE ENTRE LE CORPS ET LâOBJET DU MANNEQUIN Ă LA FIGURATION NUMĂRIQUE ANTHROPOMORPHE.
For the past decade, prestigious portrait photography awards have been won by imagesthat depict robots. These designations are surprising since these competitions aresupposed to be awarded for the representation of a human being. The robot being anobject, the proposed photograph should have entered the category of still life and beendisqualified from the contest. A certain « survival of the living » (Aby Warburg, 2015,[2003]; Didi-Huberman, 2002, p. 191) seems to resurface in these photographs, despiteattempts at reification and vain attempts at humanization. Resonances with other typesof images from the past also point to survival. The fantasy of animation has beenpresent in artistic production since antiquity (Ovid, the myth of Pygmalion) and ineveryday language since 1906, when the term âmannequinâ no longer referred only tothe anthropomorphic object, but also to the elegant young woman dressed according tothe fashion of her time. The fashion photographer Helmut Newton appropriates theevolution of this definition which he declines according to the sensual imaginaries thatthe association of the body with the object summons. The deployment of technologiesconcerning the modification of the living in recent decades (cosmetic surgery,cloning...) has been accompanied by a renewed interest and new issues for theconfusion. If, in the arts, the performed body reifies the living by its disturbingimmobility in front of the spectators free of their movements, the photography used bythe artist Cindy Sherman goes even further by offering an inert Image which seems ofa total elasticity. The representation of the face seems to be endowed with suchmalleability, that it appears only as a human envelope empty of subjectivity. Thegeneralization and development of digital tools have facilitated the stretching of thelimits of human representation. Photographer Nick Knight has focused on thexxvpersistence of the impression of life that endures despite its transformations to the limitof abstraction. In each era, the confusion between the body and the object has beenappropriated by different social and political issues, which sometimes contradict eachother, highlighting the singularities and variations of ambiguous representationsbetween humanization and reification. Through the lens of the constants and rupturesinherent in the confusions between body and object, this dissertation explores the waysin which the living is undermined by photographic reification, focusing on the practiceof Helmut Newton, Cindy Sherman and Nick Knight in order to understand the impactof the inert on the representation and conception of the living body. Thus, the objectiveis to demonstrate to show that photography produces a singular relationship to theliving vis-Ă -vis the organic individual experienced in daily life. The one generated byphotography is also different from the performed body or the moving body in video.Depuis une dizaine dâannĂ©es, de prestigieux prix en portrait photographique sontremportĂ©s par des images qui reprĂ©sentent des robots. Ces dĂ©signations ont de quoisurprendre puisque les prix de ces concours sont censĂ©s ĂȘtre dĂ©cernĂ©s pour lareprĂ©sentation dâun ĂȘtre humain. Le robot Ă©tant un objet, la photographie proposĂ©eaurait dĂ» entrer dans la catĂ©gorie de la nature morte et ĂȘtre disqualifiĂ©e du concours.Au-delĂ de la remise en question des catĂ©gories photographiques, les laurĂ©ats donnentainsi des pistes qui permettent de mieux cerner la perception actuelle du corps humain,si proche des objets inanimĂ©s. Une certaine « survivance du vivant » (Aby Warburg,2015, [2003]; Didi-Huberman, 2002, p. 191) semble resurgir de ces photographies,malgrĂ© les tentatives de rĂ©ification et les vains essais dâhumanisation. Les rĂ©sonnancesĂ dâautres types dâimages du passĂ© font Ă©galement Ă©merger la survivance. Le fantasmede lâanimation est prĂ©sent dans la production artistique depuis lâAntiquitĂ© (Ovide, lemythe de Pygmalion) et dans le langage courant depuis 1906, lorsque le terme« mannequin » ne dĂ©signa plus seulement lâobjet anthropomorphe, mais Ă©galement lajeune femme Ă©lĂ©gante vĂȘtue selon la mode de son Ă©poque. Le photographe de modeHelmut Newton sâapproprie lâĂ©volution de cette dĂ©finition quâil dĂ©cline en fonction desimaginaires sensuels que lâassociation du corps Ă lâobjet convoque. Le dĂ©ploiement destechnologies portant sur la modification du vivant de ces derniĂšres dĂ©cennies (chirurgieesthĂ©tique, clonageâŠ) sâest accompagnĂ© dâun regain dâintĂ©rĂȘt pour la corporĂ©itĂ©transformĂ©e et pour de nouveaux enjeux pour la confusion. Si, dans les arts, le corpsperformĂ© rĂ©ifie le vivant par son inquiĂ©tante immobilitĂ© face aux publics libres de leursmouvements, la photographie dont fait usage lâartiste Cindy Sherman va plus loinencore en proposant une image inerte qui semble dâune Ă©lasticitĂ© totale. LaxxiiireprĂ©sentation du visage semble dotĂ©e dâune telle mallĂ©abilitĂ©, quâil nâapparait plus quecomme une enveloppe humaine vide de subjectivitĂ©. La gĂ©nĂ©ralisation et ledĂ©veloppement des outils numĂ©riques ont facilitĂ© lâĂ©tirement des limites de lareprĂ©sentation humaine. Le photographe Nick Knight sâest concentrĂ© sur la persistancede lâimpression de vie qui perdure malgrĂ© ses transformations Ă la limite delâabstraction. Ă chaque Ă©poque, la confusion entre le corps et lâobjet fut stimulĂ©e pardiffĂ©rents enjeux sociaux et politiques, qui entrent parfois en contradiction, mettant enlumiĂšre les singularitĂ©s et les variations de reprĂ©sentations ambiguĂ«s entrehumanisation et rĂ©ification. Au prisme des constantes et ruptures inhĂ©rentes auxconfusions entre le corps et lâobjet, cette thĂšse explore les maniĂšres dont le vivantcontinue de surgir de la pratique de Helmut Newton, de Cindy Sherman et de NickKnight dans le but de comprendre lâimpact de lâinerte sur la reprĂ©sentation et laconception du corps vivant. Ainsi, lâobjectif est de dĂ©montrer que la photographie estproductrice d'un rapport singulier au vivant vis-Ă -vis de l'individu organiqueexpĂ©rimentĂ© dans la vie quotidienne. Celui gĂ©nĂ©rĂ© par la photographie est Ă©galementdiffĂ©rent du corps performĂ© ou du corps mouvant dans la vidĂ©o