FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W3007084893> ?p ?o ?g. }

• W3007084893 endingPage "151" @default.
• W3007084893 startingPage "130" @default.
• W3007084893 abstract "Toward a History of the Medial RegimeForce, Representation, and the Female Body Thomas Stubblefield (bio) In February 2014, Sports Illustrated celebrated the fiftieth anniversary of the swimsuit issue by photographing Kate Upton in a zero-gravity chamber. A modified Boeing 727 was enlisted to execute seventeen parabolas, which subjected the model/actress's body to a series of oscillating forces. On the downswing of the trajectory, the considerable g-force of the climb gave way to thirteen zero-gravity scenarios and four lunar-gravity events, prompting Upton to float majestically before the camera. For even the most casual art historian, there was something undeniably familiar about the female form that these free falls produced. The inflated cellular structure, free-floating extremities, and sinuous silhouette of this body reproduced the inventory of extra vertebrae, … boneless feet, … helium-filled arms, and … malleable throats that populate Baroque fantasies of the female body (Betzer, 12–13). Even the aeronautical mise-en-scène that inscribed this tentative, uncertain body seemed to resuscitate what Aby Warburg famously described as the anti-equilibrium of the Renaissance in which the human form is caught up in a play of overwhelming forces … hair flowing, and garments blown back through exertion or by wind (Michaud, 28). The uncanny nature of this elaborate restaging of historical codes of desirability relies upon transformations of the body that extend beyond the manipulation of the image or the intervention of the medium of photography. Clearly, the image has been retouched and the camera and its codes of looking continue to structure the scene, but if these were ends in themselves, a conventional green screen would have sufficed in the place of an actual zero-g flight. Instead, the shoot went to great lengths to engage the body in the image's coming into being. As the flesh becomes a medium for the processes of making visible, [End Page 130] the conventions of the history of art collapse with the natural functions of the body, producing a circular dynamic in which the female form is both the site for semiotic inscription and the seemingly autonomous origin of such signs. This corporeal enfolding is symptomatic of an enduring visual regime, which overwhelms the body's motor capacities with force (variously defined as intoxication, possession, unconscious drives, and mechanical energy) so as to prompt the flesh to produce recognizable signs of desirability. Targeting the automatic and nonintentional relations of the body, such scenarios posit the female body as both interface (a Platonic surface that opens onto an ideal signified) and medium (the means by which such a translation becomes possible), both object and instrument of desire. These relations constitute the recurring logic of what I will call the medial body, a dispositif whose extensive history stretches well beyond the sophisticated aeronautics of the Upton shoot or even the machines of the Industrial Revolution. Drawing upon a joint deployment of discourse and force, it appears in the rapture of the Renaissance nude and the throes of demonic possession during Romanticism before being recast in the nineteenth century in terms of the mechanical, electrical, and luminous energy that animated bodies at the Salpêtrière hospital in Paris. Most recently, it surfaces in the online sphere, where postindustrial formations of labor effectively transform the overtaken body into a medium for the production of surplus value. As individual instantiations of this regime interfuse processes of enfolding with histories of representation, the evolution the medial body charts less a developmental or progressivist narrative than a series of archeological knots in which the past circulates in the present as conditions of possibility. Accordingly, its mode of sign production is historical in a dual sense in that not only does the medial regime persist across a diverse set of contexts, but so do singular instances within this archive recirculate atavistic genres, narratives, and subject relations in order to facilitate the imaginary consumption of otherwise unavailable female bodies. Despite the familiarity of the images it produces, this automated body maintains something of an ambiguous relationship to contemporary theory. On one hand, the process of enfolding that undergirds the medial regime reiterates the rejection of Cartesian dualisms performed by prevailing theories of the..." @default.
• W3007084893 created "2020-03-06" @default.
• W3007084893 creator A5076003514 @default.
• W3007084893 date "2020-01-01" @default.
• W3007084893 modified "2023-10-17" @default.
• W3007084893 title "Toward a History of the Medial Regime: Force, Representation, and the Female Body" @default.
• W3007084893 cites W1492890258 @default.
• W3007084893 cites W1496001082 @default.
• W3007084893 cites W1508671760 @default.
• W3007084893 cites W1517629270 @default.
• W3007084893 cites W1530983365 @default.
• W3007084893 cites W1561577674 @default.
• W3007084893 cites W1570020475 @default.
• W3007084893 cites W1594434806 @default.
• W3007084893 cites W1594840789 @default.
• W3007084893 cites W1594900630 @default.
• W3007084893 cites W200012063 @default.
• W3007084893 cites W2002272291 @default.
• W3007084893 cites W2038859510 @default.
• W3007084893 cites W229016807 @default.
• W3007084893 cites W2346943284 @default.
• W3007084893 cites W2626631423 @default.
• W3007084893 cites W2797657221 @default.
• W3007084893 cites W2798796285 @default.
• W3007084893 cites W2801681773 @default.
• W3007084893 cites W383267467 @default.
• W3007084893 cites W588746662 @default.
• W3007084893 cites W590179397 @default.
• W3007084893 cites W599665624 @default.
• W3007084893 cites W613590425 @default.
• W3007084893 cites W639027155 @default.
• W3007084893 doi "https://doi.org/10.1353/cul.2020.0004" @default.
• W3007084893 hasPublicationYear "2020" @default.
• W3007084893 type Work @default.
• W3007084893 sameAs 3007084893 @default.
• W3007084893 citedByCount "0" @default.
• W3007084893 crossrefType "journal-article" @default.
• W3007084893 hasAuthorship W3007084893A5076003514 @default.
• W3007084893 hasConcept C142362112 @default.
• W3007084893 hasConcept C17744445 @default.
• W3007084893 hasConcept C199539241 @default.
• W3007084893 hasConcept C2776359362 @default.
• W3007084893 hasConcept C2781426162 @default.
• W3007084893 hasConcept C52119013 @default.
• W3007084893 hasConcept C94625758 @default.
• W3007084893 hasConceptScore W3007084893C142362112 @default.
• W3007084893 hasConceptScore W3007084893C17744445 @default.
• W3007084893 hasConceptScore W3007084893C199539241 @default.
• W3007084893 hasConceptScore W3007084893C2776359362 @default.
• W3007084893 hasConceptScore W3007084893C2781426162 @default.
• W3007084893 hasConceptScore W3007084893C52119013 @default.
• W3007084893 hasConceptScore W3007084893C94625758 @default.
• W3007084893 hasIssue "1" @default.
• W3007084893 hasLocation W30070848931 @default.
• W3007084893 hasOpenAccess W3007084893 @default.
• W3007084893 hasPrimaryLocation W30070848931 @default.
• W3007084893 hasRelatedWork W163049555 @default.
• W3007084893 hasRelatedWork W169794994 @default.
• W3007084893 hasRelatedWork W1965401213 @default.
• W3007084893 hasRelatedWork W2078916040 @default.
• W3007084893 hasRelatedWork W2268712973 @default.
• W3007084893 hasRelatedWork W2682274646 @default.
• W3007084893 hasRelatedWork W2748952813 @default.
• W3007084893 hasRelatedWork W3193615524 @default.
• W3007084893 hasRelatedWork W394050644 @default.
• W3007084893 hasRelatedWork W612963211 @default.
• W3007084893 hasVolume "106" @default.
• W3007084893 isParatext "false" @default.
• W3007084893 isRetracted "false" @default.
• W3007084893 magId "3007084893" @default.
• W3007084893 workType "article" @default.