José Gil’s Concept of "The Space of the Body"

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

José Gil’s Concept of "The Space of the Body"

Popis výsledku v původním jazyce

The paper is devoted to the concept of the “space of the body” in the thought of the contemporary Portuguese philosopher José Gil. It summarizes the basic characteristics of the space of the body, which are the “prosthetic” extension of the body into space and the rapprochement of the body with space through the expansion of its “skin”. In particular, however, it focuses on Gil’s reflections on the space of the body as opened by danced movements. The paper draws attention to the affective and energetic nature of this space and emphasizes the constant variability of this space in terms of time and space. Gil’s thinking on the dynamic nature of the space of the body is inspired in many ways by the concepts of Gilles Deleuze and Félix Guattari. This concerns the distinction between “pulsed” and “non-pulsed” time, “smooth” and “grooved” space and the concept of “becoming”. The paper further highlights the “narcissism” of the dancing body, i.e. the multiplicity of aspects from which this body is observed. In connection with narcissism, the paper will also recall the connection between Gil’s reflections and the views of Maurice Merleau-Ponty. It points out that the dancer&apos;s sharpened narcissism needs to be combined not only with Gil’s reflections on seeing, kinesthesia and hearing dancing, but also with Merleau-Ponty’s reflections on the versatility of sensory experience drawn from a work of art. Gil shows that this versatility of experience, including seeing, hearing, and kinesthesia, is constantly evolving from the current position of the dancing body to the virtuality of its further positions. In such a development, an “affective map” is created, i.e. an affective layout of the space of the body, in which this synesthesia of experience is applied from multiple perspectives. The synesthesia of the affective map points to the heterogeneous character of the space of the body, i.e. to the fact that it is composed of various elements. Nevertheless, the mentioned multiplicity of aspects of the synesthetic experience realized through the development of the actual position of dancing body into its virtual positions is also actualized in the doubling or multiplication of the dancing body, i.e. in the formation of a dancing pair or group. This doubling or multiplication is the basis of the “osmosis” of dancing bodies, i.e. their “participation” in a shared rhythm. In conclusion, the paper emphasizes that Gil understands this osmosis as the basis for describing the nature of the “atmosphere”. Unlike the well-established philosophical conception of atmosphere, in Gil’s concept, atmosphere is fundamentally variable and heterogeneous. Atmosphere includes changes in spatial and temporal arrangement, changes in “texture” and “density”; actually, it always includes a number of different atmospheres.

Název v anglickém jazyce

José Gil’s Concept of "The Space of the Body"

Popis výsledku anglicky

The paper is devoted to the concept of the “space of the body” in the thought of the contemporary Portuguese philosopher José Gil. It summarizes the basic characteristics of the space of the body, which are the “prosthetic” extension of the body into space and the rapprochement of the body with space through the expansion of its “skin”. In particular, however, it focuses on Gil’s reflections on the space of the body as opened by danced movements. The paper draws attention to the affective and energetic nature of this space and emphasizes the constant variability of this space in terms of time and space. Gil’s thinking on the dynamic nature of the space of the body is inspired in many ways by the concepts of Gilles Deleuze and Félix Guattari. This concerns the distinction between “pulsed” and “non-pulsed” time, “smooth” and “grooved” space and the concept of “becoming”. The paper further highlights the “narcissism” of the dancing body, i.e. the multiplicity of aspects from which this body is observed. In connection with narcissism, the paper will also recall the connection between Gil’s reflections and the views of Maurice Merleau-Ponty. It points out that the dancer&apos;s sharpened narcissism needs to be combined not only with Gil’s reflections on seeing, kinesthesia and hearing dancing, but also with Merleau-Ponty’s reflections on the versatility of sensory experience drawn from a work of art. Gil shows that this versatility of experience, including seeing, hearing, and kinesthesia, is constantly evolving from the current position of the dancing body to the virtuality of its further positions. In such a development, an “affective map” is created, i.e. an affective layout of the space of the body, in which this synesthesia of experience is applied from multiple perspectives. The synesthesia of the affective map points to the heterogeneous character of the space of the body, i.e. to the fact that it is composed of various elements. Nevertheless, the mentioned multiplicity of aspects of the synesthetic experience realized through the development of the actual position of dancing body into its virtual positions is also actualized in the doubling or multiplication of the dancing body, i.e. in the formation of a dancing pair or group. This doubling or multiplication is the basis of the “osmosis” of dancing bodies, i.e. their “participation” in a shared rhythm. In conclusion, the paper emphasizes that Gil understands this osmosis as the basis for describing the nature of the “atmosphere”. Unlike the well-established philosophical conception of atmosphere, in Gil’s concept, atmosphere is fundamentally variable and heterogeneous. Atmosphere includes changes in spatial and temporal arrangement, changes in “texture” and “density”; actually, it always includes a number of different atmospheres.

Druh

O - Ostatní výsledky

CEP obor

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OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2020

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů