The last two decades have witnessed a turn both to materiality and movement in critical, social and feminist

theory. However, theorists of politics and movement often ignore the materiality of the body that moves, and theorists of embodiment and material life sometimes fail to consider the fluidity of physical existence. These disciplines are even further removed from scientific analyses of bodies and movement. Recent feminist and other critical theorists have attempted to unite these analogous although separate spheres by interchangeably engaging with philosophical theories of embodiment and movement and scientific disciplines such as neuroscience, quantum physics and biotechnology. Bodies in Movement situates itself within this shift, outlining and exploring the interstices between scientific-theoretical models and artistic investments in corporeality and movement. Bodies are always-already in movement: embodied processes are subject to the numerous biological and chemical functions of materiality, as well as the theoretical and social mechanisms of material subjectivity. This two-day conference aims to investigate the theoretical/scientific/political/social/ subjective/artistic/literary/virtual spaces where these processes occur. It will explore these themes from three directions. Firstly, we consider the type of ontology, ethics and politics that may emerge in articulations of materiality-in-movement: what potential subjectivities arise within this framework and what are their social and political possibilities? Secondly, we are interested in the types of platforms that may accommodate materiality-in-movement and the particular artistic, literary, technological and/or social works through which it emerges. Thirdly, we investigate and problematise the term materiality-inmovement. What do the separate concepts bodies and movement stand for and how/where/why are they combined? are physical, biological and chemical processes, as well as various embodied discourses and discursive assemblages. may be measured through geographical positioning, cartographical relations or conceptualisations of speed or movement in time. However, movement also signifies locational, theoretical or political directions.

The organisers thank everybody for their participation in and support of this event. We hope that the next two days of discussion will further encourage the development and expansion of this critical area of enquiry.

We will continue to post comments, sources and news on our blog: http://bodiesinmovement.blogspot.com.

The organisers of the Bodies in Movement conference are delighted to invite all our attendees to a wine reception at the Surgeons Hall. The evening begins with drinks and canaps, set in the lavish Fellows Library in the Playfair Building at the Royal College of Surgeons of Edinburgh, the highlight of which is the official launch of the Somatechnics journal published by Edinburgh University Press. Following the launch, attendees are encouraged to explore the Surgeons Hall Museum, which has been opened for our private access. Housing the largest collection of pathological anatomy in the United Kingdom and dedicated to mapping the historical development of surgical practices, the museum includes a spectacular and terrifying array of specimens, instruments, documents and models devoted to the study of the corporeal form in its various states of medical unrest.

The biannual journal Somatechnics, presents thoroughly multi-disciplinary scholarship on the body, providing a space for research that critically engages with the ethico-political implications of a wide range of practices and techniques. The term somatechnics indicates an approach to corporeality which considers it as always already bound up with a variety of technologies, techniques and technics, thus enabling an examination of the lived experiences engendered within a given context, and the effects that technologies, techns and techniques have on embodiment, subjectivity and sociality. Edited by Nikki Sullivan, director and Samantha Murray, research fellow at the Macquarie University Somatechnics Research Centre, the journal publishes articles and special issues every March and September on topics such as the (soma)technics of racialisation, terror, movement, spatialisation, size(ing), reproduction, consumption, gender, medicine, information, gaming, film, nation, globalisation, ecology, bioscience, law, sexuality, family, education, health, visuality and ancestry.

Chrystal Macmillan Building, 15a George Square, Seminar Rooms 1+2, 3 and 4

Registration Opening Remarks Keynote Lecture by Neoliberal Bodies and Feminist Subjects, with response by Lena Wnggren Morning Tea Panel Bracket 1A, 1B & 1C

Xavier Aldana Reyes, Lancaster University, UK Jasie Stokes, London Consortium, UK

Snuff is Enough: Corporeal Liminality in Contemporary Horror Like Socks to be Mended: The Broken War-body as Thing in Post-World War One Art and Literature

Faruk Kokoglu, Mugla University, Turkey dUrbervilles

Tessism or the Masochistic Body without Organs and Contract in Hardys Tess of the

Peta Hinton, University of New South Wales, Australia

The Quantum Dance and the Worlds Extraordinary Liveliness: Refiguring Corporeal Ethics in Karan Barads Agential Realism

Angus McBlane, Cardiff University, UK

Posthuman Corporeality: From Organic Bodies to Inorganic Life

Sue Hawksley, Edinburgh College of Art, UK Bodytext: Speech, Script, (Re)action, Iteration. An Enactive Inquiry into Embodiment and
Language

Tolulope Onabolu, Independent Researcher and Architect, Nigeria

The Stage/Chra: Proscenium, Procession and Pleasure

Hannah Lammin, University of Greenwich, UK

Community and Ecstatic Embodiment in Underground Dance Music Culture

Fiona Hanley, Tami Gadir & Irene Noy , University of Edinburgh, UK

Stepping Out and Into Rhythms: Moving Corporeal Inquiries from Music, Art History and Cultural Studies

Lunch Keynote Lecture by Encounters with Inhuman Ecstasy: Movement without Time, with response by Maria Parsons Afternoon Tea Panel Bracket 2A, 2B & 2C

Jemima Repo, University of Helsinki, Finland

The Life Function: The Biopolitics of Sexuality Revisited

John Paul Narkunas, City University of New York, USA

Completed Subjectivity through Death: Organ Harvesting, Kazuo Ishigiros Never Let Me Go, and Global Biopolitical Regulation

Eve Katsouraki, University of East London, UK

Spectres of Enchantment Embodied Manifestations

Rachel Harkness & Caroline Gatt, University of Edinburgh IASH, UK / University of

Aberdeen, UK Movements: Exploring Work Spaces and Processes in the Light of Environmental Action

Michael R. Stewart, University of British Columbia, Canada Excess and Re(dress): Mobilizing Scarlett in Gone with the Wind Rosemary Deller, Central European University, Hungary
Getting to the Meat(iness) of the Matter: The Dynamic Decay of Jana Sterbaks Flesh Dress of an Albino Anorexic (1987)

Anne Graefer, Newcastle University, UK

Queering Skin: Re-reading Sexuality through the Skin of Online Representations in dlisted.com

Norman Cherry, University of Lincoln, UK

Living Art - Angiogenetic Body Adornment

Zoe Roth, Kings College London, UK

Embodied and Creative Processes: Beyond the Body as a Theme in Literature

Ana Zimmermann, University of So Paulo, Brazil

The Secret Ciphers of Human Movement

John Golden, Florida Atlantic University, USA Embodying Absence: Motions of Affect in In Memoriam Kirsty Martin, University of Oxford, UK
Motion, Emotion and Sympathy between Bodies in the Work of D. H. Lawrence Wine Reception at Surgeons Hall

Keynote Lecture by The Bacchae and the Theatricality of Cruelty, with response by Karin Sellberg Morning Tea Panel Bracket 3A, 3B & 3C

Shih-Mei Lee, University of Edinburgh, UK

Bodily Metaphors in Digital Spaces

Sebastian Schmidt-Tomczak, Massachusetts Institute of Technology, USA

Cyberpunk Bodies on the Move: Tracing Corporeality in Japanese Animation

Gavin MacDonald, Manchester School of Art, UK

On Lines and Lives: Mobile Bodies and the Mapped Trace in Visual Art

J. Joris van Gastel, Leiden University, Netherlands

Beholding Bernini: Sculpture and the Movement in Seeing

Juliet Macdonald, University of Huddersfield, UK

Lines of Movement, Points of Stillness: Drawing and the Figuration of Bodies

Johanna Hllsten, Loughborough University, UK

Sonic Movements Spatial Reflexivity

Katerina Kitsi-Mitakou, Aristotle University of Thessaloniki, Greece Thermodynamic Bodies in Movement in Dickens Hard Times Erika Kvistad, University of York, UK Love and Stabbing in Jane Eyre Douglas Iain Clark, University of Strathclyde, UK
Lunch Existence - in itself: Emily Dickinson and the Movement to Absence in the Poetic Body

Keynote Lecture by The Divivacities of Cixous and Derrida, with response by Kamillea Aghtan
~

Afternoon Tea Panel Bracket 4A, 4B & 4C

Anna Chromik, University of Silesia, Poland Rebecca Coleman, Lancaster University, UK

Pulsating Motility: Corporeal Tropes in the Constructions of Pre-subjectivity Transforming Images: Materialisation, the Future and the Virtual

Anna Gibbs, University of Western Sydney, Australia

Mimesis as a Mode of Knowing: Seeing Beyond Vision in the Aesthetic Practice of Jean Painleve

Peter Arnds, Trinity College Dublin, Ireland

Bodies in Transgression: Hunchbacks and the Sieg Heil Salute in Literature and the Visual Arts

Mark Perlman, Western Oregon University, USA

Musical Communication through Movement: A Philosophical and Semiotic Examination of the Conductors Gestures

Kathleen Coessens & Anne Douglas, Vrije Universiteit Brussel, Belgium / Robert Gordon
University, UK Movement and Moment: In-between Discreteness and Continuity

Alison N. Crockford, University of Edinburgh, UK

Sex in Stasis, Bodies in Becoming: The Monstrous Body and the Eroticisation of the Scientific Gaze

Megan Coyer, University of Glasgow, UK

Phrenological Transformations and Murderous Confessions

Samantha Walton, University of Edinburgh, UK

Closing Remarks

The Self at the Mercy of Mind and Body in Interwar Crime Fiction

Anglia Ruskin University, UK

Patricia MacCormack teaches modules on continental philosophy, post-structuralism, film, sexuality and feminism. She is co-leader of the MA module, Sexuality, Gender and the Post-Human, and also supervises undergraduate and postgraduate dissertations on sexuality, continental philosophy and alternative and extreme cinema. Her principal research interests are in continental philosophy, particularly the works of Deleuze, Guattari, Irigaray, Foucault, Bataille, Serres, Lyotard and Blanchot, and she has published extensively in these areas. She has also written on a diverse range of issues such as body modification, performance art, monster theory and European horror film. Patricias articles have appeared in journals such as Women: A Cultural Review , Theory, Culture and Society, New Formations and Body and Society. She has published chapters in several anthologies on cinema, queer theory and continental philosophy, and has authored Cinesexuality (Ashgate, 2008) and has edited The Schizoanalysis of Cinema (Continuum, 2008) with Ian Buchanan. In April 2011, she gave a series of lectures on animality and aesthetics at the University of California in Santa Barbara and Los Angeles.

University of Dundee, UK
Johanna Oksala is Senior Lecturer in Philosophy at the University of Dundee. She is also a member of the Centre of Excellence in Political Thought and Conceptual Change at the University of Jyvskyl, Finland, where she is a senior member of the research project Politics of Philosophy and Gender. She has published widely on continental philosophy, Foucault, phenomenology, feminist philosophy, political philosophy and embodiment. She is the author of Foucault on Freedom (CUP, 2005), in which she identifies the different interpretations of freedom in the writings of Michel Foucault, placing his work in relation to phenomenology and discussing his treatment of the body in relation to recent feminist work on this topic. She is also the author of How to Read Foucault (Granta Books, 2007), and the co-editor of collections of essays on feminist philosophy and ethics. She contributed with a chapter on Freedom and Bodies in the recent collection edited by Dianna Taylor, Michel Foucault: Key Concepts (Acumen, 2010) and has published in journals such as Continental Philosophy Review, Hypatia: A Journal of Feminist Philosophy, and Radical Philosophy . Her current research focuses on violence and the political, on which theme she has given papers throughout the UK and abroad and has a forthcoming monograph, Foucault, Politics, and Violence (Northwestern University Press, 2012).

University of Edinburgh, UK
Olga Taxidou is a Reader in English Literature at the University of Edinburgh, where she primarily teaches modules in twentieth-century performance and theatre studies, with an emphasis on Modernist drama. As well as being the author and editor of several highly praised books and readers in performance and Modernist studies, Olga is a playwright currently working on an adaptation of The Bacchae. Olgas research interrogates the relationships between modernist experimentation and tradition, in particular classicism and Hellenism. Within this context her work has focused on theories of tragedy and how these have been reconfigured within the project of modernity (from Nietzsche to Brecht). At present she is continuing this work with a study on the significance of tragedy and the tragic for the historical avant-garde. Olgas many publications include Modernism and Performance: Jarry to Brecht (Palgrave, 2007) and Tragedy, Modernity and Mourning (EUP, 2004). She has published widely on the interface between theoretical movements and performative expression.

Independent Colleges Dublin, Ireland

Michael ORourke is a lecturer at the Independent Colleges Dublin. He works extensively at the intersections between queer theory and continental philosophy. He is the co-editor of Love, Sex, Intimacy and Friendship Between Men, 1550-1800 (Palgrave Macmillan, 2003), Queer Masculinities, 1550-1800: Siting Same-Sex Desire in the Early Modern World (Palgrave Macmillan, 2006), The Ashgate Research Companion to Queer Theory (Ashgate, 2009) and Speculative Medievalisms 1 and 2 (in preparation), and he is the editor of Derrida and Queer Theory (Palgrave, 2011) and Reading Eve Kosofsky Sedgwick: Gender, Sexuality, Embodiment (Ashgate, 2012). He is also the editor or co-editor of special issues of the journals, Romanticism on the Net (Queer Romanticisms), borderlands (Jacques Rancire on the Shores of Queer Theory), Rhizomes: Cultural Studies in Emerging Knowledge (The Becoming-Deleuzoguattarian of Queer Studies), Medieval Feminist Review (Queer Methodologies and/or Queers in Medieval Studies) and Studies in the Maternal (Encounter-Events: Reading Bracha L. Ettingers The Matrixial Borderspace). He has published over forty articles and book chapters, has co-convened The(e)ories: Advanced Seminars for Queer Research since 2002, and is the series editor of the Queer Interventions book series at Ashgate Press and of the Cultural Connections: Key Thinkers and Queer Theory book series at the University of Wales Press. He is also an advisory editor for the journals Rhizomes: Cultural Studies in Emerging Knowledge, Glossator: Practice and Theory of the Commentary and postmedieval: a journal of medieval cultural studies (Palgrave).

Lancaster University, UK
x.aldana@lancaster.ac.uk

In my previous work on what I have termed bodily horror (2010), I have argued for a turn to the corporeal in recent horror cinema, and I am currently researching the problematic theoretical process of embodiment behind the act of viewing realistic scenes of mutilation. If other papers have considered the relevance of torture porn to contemporary horror and the turn to the body, this paper aims to put this filmic discourse in dialogue with that of the snuff film. Affect is primordial for an understanding of the cinematic body (Shaviro 1993), and snuff films are the logical conclusion of a taste for realistic dismemberment. With this in mind, I examine the rise of the snuff film over the past ten years (both films about snuff and allegedly real snuff) and aim to contextualise the possible commercial drives behind the ideas they pose. Ultimately, this paper does not wish to engage with the potential facticity of the snuff film or its status as an urban legend (Stine 1999; Mikkelson 2006), but rather to initiate a critical enquiry that will allow for an understanding of this complex phenomenon in light of the contemporary turn to the corporeal. Drawing on Linda Williams and her work on the cinematic body in motion, I conclude by arguing that if scopophilia is one answer to this filmic trend, it needs to be redefined according to our fascination for movement: if cinema starts as a need to explore body mobility, then torture porn and snuff are invested in a contemporary interest in the inner workings of the body and its internal moves (as attested by other successful cultural products like Gunther Von Hagens plastinations or CSIs postmortems).

I am a funded PhD student at Lancaster University currently researching the fields of affect, horror, the body and the Gothic genre. Previous publications include chapters in books ( Twenty-First-Century Gothic, 2010 and Transgression and Its Limits, 2011 (forthcoming)), a review for the Irish Journal of Gothic and Horror Studies (2010) and an article for the AHRC-funded Bodies of Work project (2010). http://www.lancs.ac.uk/fass/faculty/profiles/Xavier-Aldana-Reyes/English/

London Consortium, UK
jasiestokes@gmail.com

In Mary Bordens fragmented war memoirs The Forbidden Zone, she uses the metaphors of daily, household items to describe the transportation of and attendance to wounded soldiers at the field hospital near the hellish landscapes of the French trenches. Bundles of laundry to be mended, loaves of bread pulled out of the oven: human subjects reduced not only to objects but to things. During wartime the body is in a constant metaphorical movement; it becomes a receptacle of meaning, filled and emptied of political, social and cultural significance as the physical form is damaged, mended or destroyed. As a volunteer nurse on the First World War front, Mary Bordens job was to mend the broken body, to shift it from one metaphorical realm to another and successfully restore its political significance, its ability to stand and fight as a symbol of the state. While the irreparable body may continue to act as an object of meaning as casualties are tallied and considered in peace negotiations, on the battle front its form is reduced to thing: a thing to be walked upon and tripped over, to be mended, to be used as a shield against bullets, or merely to be discarded as rubbish. In light of Bill Browns Thing Theory, I wish to discuss how the war-body is often portrayed in culture as a paradoxical thing, baldly encountered yet not quite apprehended. As I explore WWI-era modernist art and literature, specifically Mary Borden and German artist Otto Dix, questions of how the arts grapple with the disturbing and abject body-as-thing, as discarded object, will be examined. In turn I also hope to explore how the body-as-thing affects our understanding of the body-as-self, the body as meaningful subject and object, and how the body moves from one metaphorical realm to another.

I am a first year PhD student at the London Consortium, currently researching depictions of bodies in war art, literature, performance and film. I have an MA in Comparative Studies from Brigham Young University where I wrote a dissertation on contemporary zombie culture. I am also a freelance writer and editor.

Mugla University, Turkey

farukk@mu.edu.tr

Leopold von Sacher-Masoch (1836-1895) and Thomas Hardy (1840-1928) are two contemporaneous writers. Hardy deals with problems in rural communities and their mobility towards larger towns, and Masoch with those of ethnic minorities. Affairs of both love and law are common themes in both writers. Masoch studied law though he never practiced it. Hardy, on the other hand, was interested in law and performed some legislative duties in the courts though he never studied law. As for love, Masoch both experimented and wrote about his extreme relations with the other sex, and Hardy mostly wrote about the relations of the two sexes in their extremities. Gilles Deleuze, in a single sentence in his whole oeuvre, points to another similarity between the two authors: For Masoch, the novel is Cainian, just as it was Ishmaelite for Thomas Hardy (Essays, Critical, Clinical, 55). This study presents a reading of Hardys Tess of dUrbervilles in the light of Deleuzes Masochism, Coldness and Cruelty and his cooperative work with Guattari. Deleuze defines masochism as a platonic and dialectical entity with a mythical and persuasive function as opposed to sadism as a Spinozistic and negative entity with a demonstrative and institutional function. He objects to the complementarity of the two forms of perversity (e.g. the Freudian idea of the primacy of sadism) and hence, rejects the entity called sadomasochism. Tesss masochism (in the absence of a better word for a female form) is testified through analyses of becoming-horse (burdening axiom), the assemblage of master-horse-mistress (training axiom), the relationship with the mother, the sufferings undergone, the encounter with Apollo in his diary clothes (as opposed to a male masochists Venus in furs), the internalised contract (in comparison with Masochs real contract with Mrs Wanda von Dunajew), and finally Tesss becoming a war-machine leading to a murder. The study finally elucidates whether Tesss masochistic body without organs is constructed as an independent entity, or complementary to various other forms of male sadisms which can be associated with Alec, Angel, and the narrator. Is Tess an immanent plane of composition? Or is she a transcendent plane of organisation as a male construction?

I was born in 1968 in Kayseri, Turkey. I currently work as a Lecturer of English at Mugla University in Turkey. I am married with two daughters aged 9 and 7 and an infant son. I have a Bachelors degree in English Linguistics (Hacettepe University, Ankara, Turkey 1990), an MA in Modern Literature: Theory and Practice (The University of Leicester, UK 1998) and a PhD in English Language and Literature (Ege University, Izmir, Turkey 2010). My MA dissertation is entitled Poststructuralism and the Myth of Babel: Derridean Deconstruction and Deleuzian Deterritorialisation. My PhD dissertation is entitled Deleuzian Lines of Flight in the English Novel. Besides the English Literature of the 19th and 20th centuries and literary theory, I am interested in philosophy (especially Spinoza, Nietzsche and Deleuze), sociology, psychology and interdisciplinary studies. I also admire Deleuzes notion of the inseparability of literature and the real, and the critical and the clinical.

University of New South Wales, Australia

p.hinton@unsw.edu.au

In her 2007 monograph Meeting the Universe Halfway, Karen Barad introduces her reader to a world of movement and flux, where bodies ceaselessly participate in their own material configuration, where bodily integrity and identity is entangled in the dynamic materialisation of its social and political significance, where processes of understanding and meaning making are bound up in an ongoing performance of the world in its differential dance of intelligibility and unintelligibility (149). Through her reading of Niels Bohrs philosophy-physics, Barad introduces us to a quantum universe that poses some counterintuitive challenges to the modernist worldview which understands matter to be determinate and measurable, or that may quietly preserve something of matters evidence against cultures symbolic dexterity. Advancing what she terms an agential realist account, Barad moves beyond anthropocentric constraints to conceive of the world in its extraordinary liveliness, an enlarged and productive scene of agency engaged in an ongoing performance of its own intelligibility, articulating itself differently. With the suggestion that agency is extended beyond the framework that assigns it to the intentions and accountability of the human subject, Barad offers a potent rethinking of the politics and ethics of identity in her claim that the ethical call is embodied in the very worlding of the world (160). In this paper I wish to make a preliminary excursion into Barads thought, to consider its implications for how we might conceive a corporeal ethics that accounts for the production of inequalities and exclusions within the very becoming of the world, and becoming embodied.

Dr. Peta Hinton currently teaches on a contract basis in the School of Social Sciences and International Studies at the University of New South Wales, Australia. Her research interests include the politics of disembodiment, identity and divinity, feminist politics of difference, and corporeal ethics.

Cardiff University, UK
McBlaneAA@cardiff.ac.uk

Do all organic beings have bodies? Can objects be embodied? What is the being of a body? Literature on the body has, in part, been focused on the textually constructed nature of bodies, and while this approach enabled a deepening understanding of how bodies are constructed, it has largely reduced the category of body to a human one, categorised in terms recognition, agency, subjectivity or identity. Yet by treating bodies, or even embodiment, as a one of only textual distinction omits underlying processes which enable one to describe/construct a body in the first place. Embodiment needs to be revisited in order to address the materiality of all bodies. This paper address a posthuman approach to corporeality via an analysis of the relation of embodiment(s), as raw materiality, to bodies, as that embodiment expressed textually. Drawing from the work of Maurice Merleau-Ponty (Phenomenology of Perception; The Visible and the Invisible) and Jacques Derrida (The Animal That Therefore I Am, Speech and Phenomenon, Diffrance) I begin by outlining the relation found in Phenomenology of Perception which stresses the body as a site of expression and speech, which however, while attempting to return to a form of materiality lends itself more towards the analysis of bodies as texts, which can be written on and write the world, in partial conjunction with Derrida. This however, only provides a partial account of corporeality and is expanded via Merleau-Pontys move to an ontologically focused analysis in The Visible and the Invisible distinctly through his notion of flesh which [is] a sort of incarnate principle that brings a style of being wherever there is a fragment of being. The flesh is in this sense an element of Being (MP VI, 139). MerleauPontys notion of flesh opens up corporeality to be analysed from an ontologically oriented posthuman approach which outlines an intertwining of embodiment(s) (Materiality) and bodies (Textuality) and enables an expansion of what could be considered a body, a life or a being.

Angus McBlane is currently completing a PhD at the Centre for Critical and Cultural Theory at Cardiff University, Wales UK. His thesis focuses on developing a critical posthuman approach to the question of corporeality through the work of Maurice Merleau-Ponty and Jacques Derrida.

Edinburgh College of Art, UK

This paper outlines the process, performance, and the concepts behind and emergent from Bodytext, an interactive installation and performance artwork involving speech, reading, (re)writing and the (dancing) body. The dancers movement and speech interact recursively within an augmented computer-controlled environment employing real-time motion tracking, voice recognition, interpretative grammar systems, projection and granular audio-synthesis. The dancers speech, a description of an imagined dance, is acquired and displayed upon a large video projection. She then dances the dance she has just described, her movement causing the texts to interact, recombining with, and rewriting, one another. What is written or heard is affected by the dance, whilst the emerging recombinant descriptions determine what is danced. the movement and tension patterns of the bodyscape in turn (in)forms the capacity to organise (embodied) thinking. Any apparent meanings inherent in the dancer's initial texts are disrupted and placed in question. She increasingly follows the form and dynamics of the moving texts, rather than syntactic or semantic structure. What is revealed, embodied in her movement habits, patterns and choices, are the performative utterances of enactive, extended body-mind in the (interactive) environment. Bodytext thus questions and seeks insight into the relations between kinaesthetic experience, mind, memory, agency and language.

Bodytext interrogates the notion that the manner in which language (in)forms, fixes and scripts

Sue Hawksley is a dance-artist and bodywork therapist, currently completing a practice-led PhD in Dance at Edinburgh College of Art. Her research inquires into embodiment, engaging dance and choreographic practices and their mediation through performance and/or technologies. She is artistic director of Edinburgh-based dance company articulate animal. http://www.articulateanimal.org

Independent Researcher, Nigeria

toluonabolu@gmail.com In The Laws, Plato suggests that all things associated with spiritual and bodily excellence are good. To demonstrate this, he begins a discussion on pleasure and artistic education, and argues that pleasure is as important as the taking up of arms, and is thus good. However, he argues that artistic judgement and education is not the prerogative of everyone, but should be exclusive to the chorus of Dionysus, which he argues has the production of pleasure (through spirit singing/music, and body dancing/gymnastics) and artistic judgement as central to its purpose. In architecture, movement (apropos of pleasure) is addressed through the The Tragic Stage [1] procession or the proscenium. However, while both words have different etymological origins, both address movement in the former, as moving forward, and in the latter, as the foreground of a scene. However, between Bergson, Deleuze and Badiou, the scene (via the cinematic) is central to the thesis on process, perception and movement. In The Use of Pleasure, vol. II of The History of Sexuality, Foucault discusses sexual pleasure as central to the preparation of men for political life. In his thesis, the political resides in the negotiation between the erastes and the eromenos, and the scene/staging of their encounter. Again, it is the scene that sanctions the politics of engagement, or what Badiou would term the situation of the event. Therefore, under an aesthetics and politics of Being, if Plato is to be taken seriously, an understanding of the use of pleasure is important to the organisation of bodies and an ethical praxis of architecture.
This is just what the true legislator will persuade (or, failing persuasion, compel) the man with a creative flair to do []: to compose correctly by portraying, with appropriate choreography and musical setting, men who are moderate, courageous and good in every way (Plato, The Laws, 660a)

Thus, this paper will discuss the proscenium and procession as central to an understanding of the politics of the stage in architecture; and the aesthetics of pleasure as a superstructure (apropos of Badiou and Mao) out of which the ethical proceeds through negation.
[1] http://www.lib.cam.ac.uk/Newsletters/nl05/tragic-stage.html, Woodcut of the Tragic Stage, from Book II of Sebastiano Serlio's Architettura, Paris, 1545.

Tolulope Onabolu recently completed a PhD in architecture (by creative practice) at Edinburgh College of Art. In his thesis, he explored the notions of emergence and becomings, of sovereignty, of material production and of event. His method of enquiry followed the nomadic science of the war machine in Deleuze and Guattari, constructive evolution in the thesis of Dawkins, and event in Badiou. He is currently an independent researcher and architectural consultant in Lagos, Nigeria.

University of Greenwich, UK
H.E.Lammin@greenwich.ac.uk

Jean-Luc Nancys deconstruction of community challenges the notion of communion, which he argues is Christian in origin. Rejecting the idea that a group of individuals can, or should be fused into a unified collective body, Nancy proposes that community names an originary experience of sociality which precedes the formation of subjectivity. This placing of social experience as ontologically prior to the individuated subject has implications for the way in which the embodied self is understood. Nancy follows Georges Bataille in claiming that community is constituted through an ecstatic relation to death, which reveals the essential incompleteness of singular beings. Bataille links death to eroticism through a dialectic of transgression, in which communal relations are conceived in terms of the interpenetration of bodies. However, Nancy identifies an impasse in this logic, claiming that the essentially subjective basis of Bataille's thinking is incommensurable with the problematics of sociality. Nancy opens up the interiority of the subject, figuring corporeality as a topological surface which is constituted as it touches the outside. This paper explores the relations between community, death and embodiment through an examination of ecstatic collective experiences in two adjacent buildings in East London: firstly, the consecrated space of a church; secondly, the abject space of a disused abattoir which was occupied by squatters and used as a venue for raves. Drawing on Batailles ideas about the ambiguity of the sacred, two contrasting religious experiences are identified which operate according to different temporal logics, and different relations to death. These divergent temporalities engender distinct libidinal economies, thereby generating differential experiences of embodiment. It is argued that underground dance music culture creates an environment in which bodies in movement constitute an experience of ecstatic sociality that escapes the closure of collective hypostasis that Nancy critiques in the Christian tradition.

Hannah Lammin is an AHRC-funded PhD student at the University of Greenwich, UK, researching non-essential articulations of community in relation to performative spatialities and the collective production of sense. Originally trained at the London Contemporary Dance School, she works as a performance artist and has been involved in producing collective art events in non-institutional spaces across Europe. Im a final year PhD student from the Institute for the Converging Arts and Sciences, University of Greenwich, London. My background is in dance and performance art and I am currently engaged in philosophical research concerning non-essential articulations of community, which examines social relations as performative spatial practices. My work is very much concerned with questions of embodiment and the political implications of how the body is positioned through the collective production of sense.

University of Edinburgh
finbubbles@gmail.com

University of Edinburgh

University of Edinburgh

Three researchers from Music, Art History and Cultural Studies meet to inquire about their relations to movement, the body and the senses. Tami talks about the dancing body. What stirs this dancing body to move? Irene talks about the sound-led body. Is this a passive or active movement? And Fiona talks about the writing body. Is the pitter-patter of typing its only movement? Three researchers agree that they are concerned with movement, and with the implication of the senses and embodied beings within this movement. They begin to talk. Movement is a departure point for our collaborative inquiry that seeks to understand this term. We begin from the premise that movement is fundamental to all corporeal experience, as our physical selves are always in a state of fluidity and motion, and that this motion, including the movement of thought, is experienced through the body and therefore through the senses. From this we seek to ask not only what our disciplines understand conceptually as movement, but how we can begin to express the materiality of movement and the experience of movement in relation to our differing sites of practice. By instigating this disciplinary-collaborative research we also aim to question, in Henri Lefevbre's mode of rhythmanalysis, what gestures and movements we are, if not forced to repeat, rather blindly repeating within our academic disciplines and in this way, attempt to question that which is taken for granted. If the senses can be understood in Michel Serress concept of a mingling milieu, a con-fusion of all the senses together, then this collaboration is an effort not to dissect and define separately, but to complicate, to enrich and ultimately to nourish a greater understanding of movement, the body and the senses.

Fiona Hanley, PhD candidate Cultural Studies, University of Edinburgh: my research is concerned with the practice of poetic theory; theory that is composed in a manner that speaks something of its making and resounds rather than only informs. My work attempts to situate itself in the gap between creative practice and non-creative, non-practice based PhD research. It attempts to draw these two practices together by highlighting the creative act of composing what is termed a traditional text-based PhD. Tami Gadir, PhD candidate Music, University of Edinburgh: Tami Gadir is undertaking research at the University of Edinburgh, with popular musicologist Simon Frith. Her interests are in the musical aesthetics, sociology and musicology of contemporary nightclub dance music. She is particularly interested in what elements drive people to dance. Tami is a composer, piano teacher, classical pianist, DJ and clubber. Irene Noy, PhD candidate History of Art, University of Edinburgh: my research is concerned with the shift from the critique of the spectacle regarding its limitation to the sense of sight, to the contemporary emphasis on multi sensory experiences. Sound works which require participation and corporeal movement stand thus at the core of this study.

University of Helsinki, Finland

jemima.repo@helsinki.fi

Foucaults History of Sexuality, vol. I has served as a seminal and inspiring text for a generation of gender and queer theorists. The literature, nonetheless, too often detaches sexuality from the biopolitical context in which Foucault took it up as a topic of interest, to the point where the theorisation of the explicit biopolitics of sexuality remains relatively underdeveloped theoretically since Foucault. The recently published Collge de France lectures provide renewed reason to re-examine Foucaults biopolitics of sex. Especially the Society Must Be Defended volume, in its discussion of the production of difference through race, raises the question of how sexuality differs from race in the production of difference. To grasp the distinction between the modes of difference of sexuality and those of race, I juxtapose Foucaults lectures against History of Sexuality. Sexuality and race, I argue, share similar tactics of difference production, but serve opposing biopolitical strategies. The tactics of race are those of inclusion and exclusion to delineate population, and strategically it enables the states death function. By contrast, the tactics of sexuality include and exclude, but also pertain to the function of bodily (reproductive) organs and discipline. Gilles Deleuze and Flix Guattaris Body without Organs that is territorialised by power into organism allows us to understand how organs are given functions, like the sexual organs are given the function of the reproduction of life. The paper conceptualises the strategy of sexuality as the life function, in other words, the endeavour to reproduce life itself; the very object of biopolitics.

I am a doctoral fellow of Politics at the University of Helsinki. My dissertation entitled The Biopolitics of Gender examines the deployment of gender theory by the population sciences in the last decades and considers the challenges this poses to contemporary feminist theory. http://blogs.helsinki.fi/jrepo/

City University of New York, USA

jnarkunas@jjay.cuny.edu

Kazuo Ishiguros Never Let Me Go depicts an all-too familiar educational system where students are being trained in the literary and artistic classics to develop their character or souls on the path to fulfilling a greater mission of public service as something called carers and donors. Indeed, the story unfolds like a bildungsroman through the simple, often banal, memoir of Kathy H, recounting lessons of experience for students who attend what seems to be an exclusive school for a privileged elite, Hailsham. Eventually the reader learns that the educational mission of Hail-sham is a humanitarian marketing sham: the students higher purpose is to donate their organs until they complete, a euphemism for donating their vital organs until death. The characters and the narrator are genetic clones who represent a disposable class of people, outside legal protections, whose sole measure of existence is literalised through the biological plane, their healthy fresh organs. The students of Hailsham are a humanitarian experiment of organ donors designed to show that the clones were not merely Cartesian bte machines, but inventive and creative selfmaking individuals that could carve our meaningful lives until they are carved up as organ donors. The lives of Ishiguros students represent the zone of indistinction between biological life and the political life of the social that Michel Foucault described as biopolitics. The clones precisely inhabit this interstitial condition for their very existence as a population is to die so that others may live. They are forms of existence who are made to die. However, their lives are given biopolitical utility through an interesting set of linguistic markers that represents the failure of their subjectivity until they complete themselves through multiple organ donations and death. Building on Ishiguro, I will argue about the dangers of the contemporary global circulation and consumption of fresh body parts, and the challenges of conceiving of humans as merely embodied entities in world of uneven development. Ishiguro illustrates the unsettling formation of subjectivity through training or Bildung, and problematises the bioethical concerns of leading ethicists of utilitarian, contract theory (Rawls), and capabilities approach (Nussbaum) who assume a world of property rights. However, Ishiguros clones suggest a situation where biologically human entities do not have the right to bodily integrity or the right to property of their own organs. The central figuration of trash in the novel, including humans themselves as detritus literally blowing in the wind, depicts the evanescence of the human category and the failures of representation and organicism for guaranteeing the human. Instead, Ishiguro indicates something akin to Latours ding-politics at the organic level that I will explore in this presentation.

J. Paul Narkunas is an Assistant Professor of English at John Jay College/CUNY. He has published articles in Theory and Event, Theoria: A Journal of Social Theory, Modern Fiction Studies, and in several collections. He is currently completing a manuscript entitled The Ahuman: Rethinking Life in the Wake

of Biotechnology and Neoliberalism.

University of East London, UK

e.katsouraki@uel.ac.uk

In letter to friends sent in 1898, Rosa Luxemburg, who wrote the Spartacus Manifesto in 1918, complained that much of the socialist writing at the time felt wooden and mechanical and blamed the dry and disconnected politics to which they were part of. She thus became convinced that if any political change was to be won, it had to first captivate in words the living, feeling component of socialism. The revolutionary writing of Rosas Spartacus manifesto became pivotal to the communist project in early twentieth century and heralded the collective call of the Spartacus Uprising which in January 1919 mobilised its members to take part in armed combat in Berlin. The Manifesto in this instant can be understood as a political document of an artistic nature which does not outline an unconscious political vision but forces this unconscious to unveil itself through the manifestos submerged desire to undertake collective attacks. In this paper I explore the art of manifesto as a performative participatory act of a political nature capable of subverting the performance it enacts. Its proposed revolution, thus, is not simply a proposal but a collective demand made on such powerful words that go beyond the notion of mere rally cries or political speech acts. Indeed, such fierce manifestation encourages, and even commands, an affective attachment with the world. As I argue, the genre of the manifesto attains to the performative power that it does exactly because it possesses the power to enchant and channel this enchantment in embodied acts of real political as well as theatrical performance.

Eve Katsourakis doctorate studies at the University of Edinburgh explore questions of aesthetics and politics on the intersections between theories of subjectivity, particularly Jacques Rancire, Alain Badiou and Slavoj Zizek with philosophy and performance theory. Her current research projects concern the notion of the sublime in contemporary performance practice, theories of subjectivity in radicalising performance, the politics of subversion in avant-garde performance, and the idea of the manifesto as performative acts of transgression. Her practice is interdisciplinary combining performance with multimedia and postdramatic forms of performance and installation art. She is currently a Senior Lecturer in Theatre Studies at the University of East London.

University of Edinburgh IASH, UK

rharkne1@staffmail.ed.ac.uk

This presentation seeks to explore, in a somewhat experimental way, the material-social processes of building and maintaining environmental movements. As social anthropologists who have worked with Friends of the Earth activists and the builders of off-grid eco-homes, both in international contexts, we propose to consider movement in terms of the thinking, efforts, actions, events and processes that together transform, shift and reposition both personal and wider societal values, norms and practices. Weaving together the practical and the theoretical, the real and the virtual, the corporeal and the intellectual, the literary, textual, and multi-sensorial albeit not comprehensively we strive to present something where content is allowed to shape form, and thus our mode(s) of presentation will reflect our interest in exploring the everyday and always embodied work of participating in movements. We pay attention to the physical nature and corporeality of engagement with the environment/environmental issues in both movements as equally as we do the role of imagination and commitment to the cause of forging socially and environmentally just futures for self and other, people and wider world. We will consider different instances in which both the activists and the eco-builders can be seen to be whole persons, moving together as mindful bodies in a shared world: their knowledge of eco-systems and the likely impact of their living and livelihoods often learned through research and practice are examples of this way of being, as are their mastery and exploitation of various virtual and high-tech modes of communicating and coordinating common movement. Finally, we will consider the materiality and embodied nature of our own academic practice, and whether the realm of academia can be understood in terms of movements increasingly guided by a consciousness of environment, process and the embodied nature of both theory and practice.

Dr. Rachel Harkness is currently the Mellon Sawyer Postdoctoral Fellow at the University of Edinburghs Institute for Advanced Studies in the Humanities and a Leverhulme Postdoctoral Fellow at Strathclyde University. Caroline Gatt is a doctoral candidate in the Department of Anthropology at the University of Aberdeen and a Visiting Assistant Lecturer at the University of Malta.

University of British Columbia, Canada

michael.richard.stewart@gmail.com

In her enormous iconic green Twelve Oaks barbeque dress and prodigiously wide-brimmed straw hat, Scarlett OHara of Gone with the Wind (1939) sits surrounded by multiple orbits of suitors. Scarletts centrifugal femininity, which snags all men but the effeminate Ashley Wilkes, is so fulsome, so surplus to genteel taste and propriety that it takes on a symbolic significance in her clothing. Her excess eroticism, which resists free truck and exchange in the conservative erotic economy of Southern pseudo-aristocracy, produces an expansive, foreign and symbolic body in her dress. Meanwhile, Scarlett herself moves not only from Tara, to Atlanta, and back again, but also swells in the nostalgic imagination of America, moving to a 1037-page novel and a 238-minute epic film. In a world where the fruits of slavery are literally worn on white bodies, this mobilising and mobilised sartorial excess is deeply tied to the films racist and sexist narratives. It would be easy, with a film of the stature of Gone with the Wind, to ascribe its excess to its complicity, or shall we say confederacy, with consumer capitalist culture. I want to argue, however, that the film is acutely, reflexively aware and resistive of its racist, anti-feminist and capitalist mythologies even as it attempts to smuggle them into our hearts. Through the work of Giorgio Agamben, Sianne Ngai and Eve Sedgwick, I posit movement not only as the process of bodies moving elsewhere, but as a means of intersubjectivity that is, of connecting bodies to other bodies. I will show that the animation Scarlett effects both in the hearts of her suitors and her viewers points to a utopian space, a potentiality, where the pleasure of excess is acknowledged and admired; and perhaps suggesting a strategy where the Other excesses of America race, gender, class can be recuperated and embraced.

Michael R. Stewart is a PhD candidate at The University of British Columbia in Vancouver, Canada. He is interested in modernity, movement and excess, particularly as it relates to late-nineteenth-, earlytwentieth-century literature and the American social novel of the 1930s. He has lived in Montreal, Edinburgh and Vancouver.

Central European University, Hungary

rosemary.deller@northumbria.ac.uk

While Lady Gagas decision to wear a meat dress to the MTV Video Music Awards in 2010 may have led some commentators to declare that red meat is the new black (Spencer 2010), Jana Sterbak was already on trend over a decade earlier, creating minor shockwaves with her contentious performance piece, Flesh Dress for an Albino Anorexic (1987), formed of 60 pounds of raw meat. Nearly twenty-five years after its divisive premiere, my paper stages a return to this visceral piece of body art as a means of exploring the challenge to representation that is posed by a body that moves; more specifically, a meaty body that necessarily putrefies as a condition of its display. Although the use of meat in Flesh Dress has been typically interpreted as a powerful feminist critique of the degree to which female corporeality is suffused with constraint, my paper argues that this view ignores the specific materiality of meat upon which the piece hinges. Instead, I will argue that the processes of decay inherent in Flesh Dress point to a contradictory dynamism that defies any attempt to confine the dress, and with it discussions of the female body, to a paradigm of passive, if not outright pathological matter. As the vitality of the meat of Flesh Dress comes to challenge the binaries of subject/object, human animal and will/determinism explored by Jane Bennett (2010), this refracts back onto feminist concerns regarding the representation of the female body in a broader culture of corporeal consumption, suggesting that to become meat may not always fit reassuringly into one narrative of bodily destruction and deformation. Rather, I argue that embodied meatiness may contribute to, rather than deface, the attempt of feminist theory to engage critically with visually driven consuming practices that trade off spectacularised corporeality.

After completing an MA in Gender Studies in Central European University in 2009 (a version of which is due to be published in a forthcoming issue of peer-reviewed Feminist Theory), I am currently applying to continue my studies at PhD level, positing the notion of an emergent meaty body in a number of cultural texts. For my paper, I would require the use of Powerpoint in order to show images and video of Flesh Dress and any other related meat art performance pieces.

Newcastle University, UK
anne.graefer@newcastle.ac.uk

The relation between online representations and the gendered body have long interested and occupied feminist theoretical and empirical work (Turkle 1995; Doane 1990; Haraway 1999; Paasonen 2002, 2005, 2006; Consalvo 2002; Campbell, 2004; ORoirdan 2007; Van Dorn 2008). Even though especially post-structuralist informed approaches try to reveal the intermeshing of online and offline practices of embodiment they often overemphasise discursive offline practices over online practices and leave the body (materiality) behind. In this paper I argue that skin as a heuristic device, enables an alternative, more dynamic and relational, understanding of online representations. This is because skin can be seen a contested site where our traditional understandings of binary oppositions, inside and outside or self and other become blurred. Skin becomes the place where both sealing and permeation occur, where things are allowed to seep in and out of the leaky body. Skin in this understanding helps to deconstruct an ideology of ridged boundaries that are the prerequisites to the idea of individuality and the notion of the male body as universal (Grosz 1994; Irigaray 1985). Many scholars have shown with their work how skin can serve as a useful tool to rethink normative understandings about the body, technology and sexuality (Prosser 1998; Tyler 2001; Probyn 2001; Shildrick 1999). In my paper I will demonstrate on the example of dlisted.com, a satirical celebrity gossip blog, how a reading through the skin moves us affectively (in that it causes laughter or disgust) and that these creative practices online, on and through the skin of celebrity representations, shift the boundaries of our traditional understandings about sexuality. Through the technique of queering skin I will show how these online practices reveal the constructedness of sexual labels and practices and how they mock understanding of sexuality as only orientated on sexual object choice (Sedgwick 1990).

I am currently working on my PhD thesis: Skin, Celebrity and Cyberspace. Reading Online Representations through the Skin at Newcastle University, UK. My academic credentials include a MSc in Gender and the Media from London School of Economics (2009) and a MA in Political Science from Ludwig Maximilians University of Munich, Germany (2006). I worked as an online editor for Cond Nast Publications Germany between 2006 and 2008.

University of Lincoln, UK
ncherry@lincoln.ac.uk

This fully illustrated paper will examine aspects of body adornment which for some time have been influential on the creative practices of many of those working in the visual arts. Tattooing, piercing, and scarification, contemporary refinements in cosmetic surgery, competitive bodybuilding, implants, and the recent history of organ transplant and technology, are all woven together. Recent developments in the biomedical discipline of Tissue Engineering may well provide a viable opportunity for permanent body modification via deliberate and planned growth of ones own tissue. Tissue Engineering can be described as a discipline which applies the principles of biology and engineering to restore or improve the function of human tissues. Cells from a patients own body are cultured in vitro, then inserted into a biodegradable three dimensional matrix which is reintroduced to the subjects body where the cells multiply and new tissue grows, via the natural process of Angiogenesis, in effect replacing that which has been lost through disease, accident, or surgery. So far skin, cartilage, and bone have been produced successfully and throughout the world biomedical teams are making strenuous efforts to develop neo-livers, breast tissue, and even hearts. Recent media attention has been concentrated on new oesophagi and transplanted faces. During and immediately after the Second World War, plastic surgery was extensively refined as a means of providing some alleviation of the horrific injuries suffered by many military veterans but within a very few years this had developed commercially to become what we know today as Cosmetic Surgery. I believe it is quite likely that in a not dissimilar fashion Tissue Engineering will grow into a commercial opportunity for some, enabling them to have implants which over a period of several months, even years, will grow to form new, living body adornment. The practices of Orlan, The Lizard Man, and the somewhat extreme activities of the international body modification subculture, indicate an existing desire, while the most recent activities of Stelarc prove that what might have been thought of as Science Fiction is indeed a new reality. My presentation will review up-to-date Tissue Engineering developments and current body modification practices, postulate likely forms of Angiogenetic body adornment, and inform the ethical debate within an intelligent constituency sensitive to the creative possibilities of the human body.

Professor Norman Cherry is Dean of the Faculty of Art, Architecture and Design at the University of Lincoln (www.lincoln.ac.uk). He combines his creative output as a jewellery artist with what he describes as predictive research, i.e. proposals for future forms of body adornment informed by his knowledge of recent developments in biotechnology and contemporary sub-cultures.

Kings College London, UK

roth.zoe@googlemail.com

The notion of embodiment shifts thinking of the body away from static or fixed categories be they biological or discursive towards an understanding of the body as a process. The body is not merely a thing, but is in a constant movement towards becoming, which in turn opens it up to other embodied subjects. This understanding of embodied experience sees the body as a creative process and as an active part of how we make sense of the world. Yet despite the increasing importance of these more fluid and process-driven theories of the body in fields such as critical theory, feminist studies, anthropology and sociology, as well as the increasing visibility of the body as a theme in both contemporary literature and literary studies, no systematic attempt to theorise the relationship of embodiment to literature has yet been undertaken. This paper will set out the importance of seeing embodiment and embodied processes as a constitutive element of literature, above and beyond the body as a literary motif. It will act as a brief introduction to the difficulties of thinking through this relationship, including whether representation is inimical to understanding the fluid materiality of the body and how we would identify embodied processes beyond the thematical concerns of a text. It will go on to propose some possible directions to come, including the notion of literature as an inter-subjective interface through which embodied subjects affect each other and are affected; and whether literature can be understood as the material production of the creative energy of the body, of its will to be(coming). This shifts the emphasis away from the relationship between bodies and texts, to the relationship between embodied and creative processes in order to show that embodiment, like language, forms one of the materials out of which we tell stories about ourselves.

I hold a BA (Honours) in Media and Modern Literature from Goldsmiths College, London and a MA in Comparative Literature from Kings College London. I am currently undertaking a PhD in Comparative Literature at Kings where my research concentrates on the relationship between embodiment and literature in 20th century literature.

University of So Paulo, Brazil

ana.zimmermann@usp.br

Nowadays, the human body is strongly present in social imaginary and mass media. On the one hand it highlights our corporeality, but paradoxically it also indicates objectification. The improvement of control and attention in relation to the human body demonstrates ever more uncertainty about it. Curiously many descriptions of the human body make reference to the idea of a machine and descriptions of human movement use art as metaphor. This demonstrates a contradiction we experience between production and expression. Art and science illustrate the enigma we live in our own bodies, which presents the paradox of the living world. However, it also provides the key to accessing the enigmas that it brings to light. Corporeality is not one of our qualities, but it is the condition of possibility for an I or Other to present itself. Based mainly on Merleau-Pontys ideas we intend to explore what the experience of human movement could teach us about ourselves, considering contributions from science and art. Our own body, neither object nor subject, it is a mode of orientation. In this sense, our bodies in movement celebrate our dialogue with the world. Our movement indicates a special way of being communicative; our gesture unifies all the possible configurations and defines our position as a being-in-the-world. These reflexions could credit citizenship to a kind of wisdom that is not the same as knowledge, but that anchors everything. Human movement aggregates tradition and freshness, technique and expression, science and poetry. Recognising this ambiguity could empower a being that has no shame of its corporeality, giving a chance to a wisdom that presents itself not only when we express opinions, but mainly when we become gesture.

Ana Zimmermann completed her PhD in Education (2010), at the University of Santa Catarina, Brazil, including a period at the University of Nottingham, UK. The thesis Essay on Human Movement is an interdisciplinary study combining philosophy, education, sports and art. She is currently working at the University of So Paulo, Brazil, on the socio-cultural and philosophical dimensions of human movement.

Florida Atlantic University, USA

jgolde21@fau.edu

The experiences of loss and mourning were central to Victorian culture, and the central representation of these experiences is often taken to be Tennysons long poem (composed of a sequence of short lyrics), In Memoriam A.H.H. Published in 1850, the poem refuses simple narrative progression and strenuously defers its hard-won consolations for the length of its 131 sections. Most critics have taken this deferral as In Memoriams organising principle: the poem has become an obstinate refusal to move forward. Yet such accounts miss the poems emphasis on forms of motion at every level: from its physical imagery to its carefully modulated use of the four-line stanza form. This paper considers In Memoriam not as an evasion of movement forward but as a radical interrogation of the concept of motion itself. The poems many lyrics embody as many different textures of movement and gesture, even as they fail to coordinate themselves into a simple, large scale progression. This approach allows Tennyson to represent the motion not of linear trajectory but of the fractured, plural, incommensurate impulses of affect released by trauma. Situated between a Romantic aesthetic of expressive, continuous motion and a late-Victorian (or early modernist) emphasis on the isolated instant, In Memoriam works out a proto-cinematic conception of consciousness and its motions best described in Deleuzian terms as mobile sections.

John Golden studies nineteenth-century British literature, primarily poetry, and teaches courses on Romanticism and the Victorian period at FAU. He received his Ph.D. in English from Harvard University in May 2010. His current work focuses on kinesthetic notions of form developed by nineteenth century poets as part of a larger cultural reconsideration of physical motion as central to experience. He is also interested in the intersections of literary criticism with philosophies of language and of mind. Forthcoming publications include Thronging the Ear: Hopkins and the Counterpoint of Prosody, to be published in Hopkins Quarterly (jointly with Victorian Poetry). Assistant Professor, Department of English, Florida Atlantic University

University of Oxford, UK
kirsty.martin@linacre.ox.ac.uk

In Lawrences The Rainbow, Tom Brangwen notes that when he first met Lydia it was her curious, absorbed, flitting motion [...] that first arrested him. Tom is drawn to a complex of qualities inherent in Lydias moving body, and in response his own bodys movement is arrested. Such scenes, where sympathy between people depends on bodily movement and gesture, pervade Lawrences fiction. This paper will explore the historical contexts for Lawrences sense of the importance of bodily movement and it will examine how Lawrences work might continue to trouble thinking about emotion and sympathy today. My paper will shed new light on Lawrences engagement with contemporary science (particularly vitalist theories of the energy of bodies, and Herbert Spencers ideas of the importance of rhythm) and will also show how Lawrences moving bodies are influenced by depictions of bodies in Victorian fiction. Lawrence sees individuality as based in a persons energy, expressed in the movements of their bodies and he often depicts connection between people involving bodies falling into rhythm with each other. This paper will explore how basing identity and relationships on bodily movement disrupts ideas of respect for individual autonomy. It will show how Lawrences writing provides a challenge to recent philosophical work on the cognitive importance of emotion, especially unsettling understandings of emotion and ethics proposed by Martha Nussbaum. It will also begin to look at how Lawrence touches on ideas that have become important to recent evolutionary criticism (which has emphasised the importance of bodily movement, gesture and rhythm in creating sympathy between people). My paper, then, hopes to offer fresh insight into one intriguing literary treatment of moving bodies, as well as looking more broadly and philosophically at the ethical importance of bodies in movement.

I am a Junior Research Fellow in English at Linacre College, University of Oxford, working on literature and emotion. My paper is drawn from my doctoral thesis, which I am currently editing for publication as a monograph entitled Modernism and the Rhythms of Sympathy.

University of Edinburgh, UK
S.Lee-20@sms.ed.ac.uk

Unfortunately, Shih-Mei Lee was unable to present at the conference

Since the rapid development of digital technology has given us more opportunities to overcome spatial constraints, the interaction of people with each other and surroundings has increasingly become disembodied and symbolic. The freeing of the subject from physical space of the body allows new freedoms in the forming of digital cultures, such as virtual body representation and virtual communities, which then gives rise to the disembodying predisposition of cybertheory in academic discourses. In recent years, more researchers have attempted to recognise the essential role of the human body in digital spaces, many of whom draw upon Merleau-Pontys concept of the bodysubject to articulate body spatiality that is extendible through objects. Although those phenomenological discourses highlight the mutable aspects of physical boundaries in space, the view for embodiment still provides less evidence on how the lived body extends to and reconciles itself in the fluid continuity of physical and digital environments. In other words, the users mental activity in disembodied and symbolic communications cannot be fully attributed to bodily experiences. However, the research from cognitive science and linguistics provides more solid evidence on embodied human thinking process, which also includes the suggestion that spatial experiences form patterns of inference for the dynamic aspects of metaphors as our bodies constantly interact with environments. Therefore, this paper will analyse examples of digital cultural practices in East Asia, including the use of metaphoric gestures and iconic body signs, to ground the relevance of the study of bodily metaphors in relation to embodiment effects on the perception and creation of digital cultures. The analyses will then be given to support the position in discussions of embodiment in cyberculture and to suggest that the inherent dynamics of bodily metaphors can unfold the embodied process into the disembodied interpersonal relationship in digital spaces.

Shih-Mei Lee is a PhD candidate in Architecture from the School of Arts, Culture and Environment at the University of Edinburgh. Her research examines the relationship between the human body and space since 2009, and currently she works on relating the theory of embodied metaphor to the digital network analysis.

Massachusetts Institute of Technology, USA

stt@mit.edu

Prosthetic bodies, virtual bodies, assembled bodies, fragmented bodies or transforming bodies; the conceptions of corporeality in Japanese cyberpunk animation seem sheer endless, and are ever-changing. Movement has become one of the key notions in theorising and understanding the simultaneous materiality and fluidity of the cyberpunk body and its mobile soul. In this paper, I will be investigating some of the fascinating and philosophically rich bodies that populate cyberpunk animation. Beginning with an overview of the most striking examples since the release of tomo Katsuhiros groundbreaking Akira (1988), I will then present a close contemplation of Oshii Mamorus Ghost in the Shell films (1995 and 2004) and Nakamura Rytars TV series Serial Experiments Lain (1998). I will argue that the cyberpunk body might well be the most complex technological body-on-themove we have ever seen, becoming a metaphor for the difficulties we are facing in navigating an increasingly fast-moving world. It is a true amalgam of opposing conditions: it has both an explosive power that expands our concepts of what a body is, and an implosive power that draws in and appears to cannibalise anything we ever thought we knew about our bodies. It epitomises the conflicting desires for a reliable body and a fluid body, for both permanence and change, becoming an arena for the sometimes visceral, sometimes intellectual negotiations between these extremes. Within the medium of animation, whose visual limits are set only by the imagination, these bodies are fast-moving and fast-changing. They require an equally flexible approach to be understood, one that crosses disciplinary boundaries and that embraces the complexity that all our bodies real and virtual have attained. I will thus argue for a way of looking at cyberpunk bodies that considers them devices for probing into our own existence in an informational age, uncovering the conflicting desires for a reliable body and a fluid body, for both movement and inertia.

BA in Media and Cultural Studies (University of Dsseldorf, Germany), MSc in The City (University of Edinburgh, UK). Currently pursuing a PhD in the History, Theory and Criticism of Architecture and Art at the Massachusetts Institute of Technology, USA. My research is focused on interdisciplinary research methodologies, visual and material culture and representations of the city. Most recent publication (coauthored with Ella Chmielewska): The Critical Where of the Field: A Reflection on Fieldwork as a Situated Process of Creative Research, in V. C. Bernie, S. Ewing, J. McGowan & C. Speed (eds.), Architecture and Field/Work (Routledge, 2010).

Manchester Metropolitan University, UK

gavin.macdonald@gmail.com

Mapping and performances of embodied mobility are a recurrent pairing in art, from marked site practices emerging out of conceptual art and post-minimalisms expanded field (Rosalind Krauss) to contemporary media art practices involving GPS. The last decade has seen a proliferation of such art, often grouped under the genre of locative arts, and there now exist substantial bodies of work from individual and collaborative practitioners who have engaged with cartographic technologies and practices. Often works of this sort involve the visualisation of indexical traces produced by mobile bodies: fixings sometimes ephemeral, sometimes animated, sometimes static additions to a map of the lines of lives as they are lived along (Tim Ingold 2007). Concern with mobile bodies in these works is juxtaposed with the disembodied and universalising cartographic gaze that is intrinsic to their technical support. Reflecting a non-representational turn in geography, recent critical tendencies in mapping theory have stressed process, performance and embodiment over a focus on maps as stable representations. Theoretical treatments of movement philosophical (Brian Massumi) or anthropological (Tim Ingold) also have much to bring to a consideration of these artworks. This paper will draw on recent interviews, conducted during doctoral research, with British and international artists who have made a significant engagement with GPS, mapping and mobility over the past decade. Referring to specific artworks it will draw on recent critical theories of mapping and mobility to consider the different ways in which artists have negotiated the tension between the cartographic gaze with its (explicitly or implicitly) gridded field and the situated and mobile bodies that trace their lines (and lives) through it.

Gavin MacDonald is a university-funded doctoral candidate and associate lecturer in art history and visual culture at Manchester School of Art, MMU. His research looks at contemporary artists involvement with mapping and mobility, with a particular focus on the use of GPS in media art.

J.J.Van.Gastel@hum.leidenuniv.nl

Leiden University, Netherlands

Where did the sculptor want the viewers of his work to stand? Is there a single angle on his work? Or should it rather be understood as a narrative progression of viewpoints? No other sculpture has been so extensively discussed in terms of viewpoint or points, as the acclaimed marble group of Apollo and Daphne by the Roman baroque sculptor Gian Lorenzo Bernini (15981681). In the proposed paper, I will argue that this discussion has largely been informed by an obsolete way of thinking about perception a way of thinking that has hampered our understanding of the particular ways in which sculpture is perceived and experienced. Indeed, art historians, departing from the dominant model of the art of painting, tend to understand perception in terms of pictures; to see something, means to represent it as a two-dimensional array of colours and lines. Berninis masterpiece, so I will argue, challenges this way of thinking. To do justice to both the dynamic, vivacious qualities and the physical, tangible presence of the Apollo and Daphne, we need to radically rethink our conception of perception. As an alternative, I will refer to the Alva Nos 2004 book Action in Perception, in which he sets out what he calls the enactive approach to perception. The perceptual process is here understood as an active, embodied engagement with the world, and, I will argue, it is such an active engagement that brings us literally closer to the art of sculpture. For if sculpture can only present us with a body fixed in time, the beholders movements animate it, make it tangible and give it life.

Joris van Gastel studied Psychology and Art History at the VU University Amsterdam and the Universit Ca Foscari in Venice (MSc 2004, MA 2005, both Cum Laude). Since 2006 he has been part of the interdisciplinary project Art, Agency, and Living Presence in Early Modern Italy at Leiden University, Netherlands, where he is at the point of completing a PhD thesis on the experience of baroque sculpture.

University of Huddersfield, UK
j.macdonald@hud.ac.uk

This paper will develop one aspect of my PhD thesis. The research project, which I will briefly summarise, is an investigation into drawing as a process of enquiry, and a consideration of its figurative operations as knowledge-making. The primary method and object of this practice-based study is the manual/visual practice of observational drawing. The drawings conducted are descriptions of bodies and embodied experience, and the fluency of bodily action and sensory experience in the act of drawing is central to the investigation of corporeality that underpins the research. The thesis calls on MerleauPontys description of the chiasmic relation between seeing and being seen, and on feminist understandings of the volatility of matter. Initially drawings were of still bodies posed models or animal corpses allowing a concentration on particularity and physiognomy but denying the shifts and changes that take place over time even in comparative stillness. Subsequent drawings attempted to figure moving bodies, responding to changes of position, to fleeting glimpses, to trajectories and perceived intentionality. My presentation will include a number of drawings, my own and those of other practitioners, to illustrate the difference between these two approaches to the drawing and perception of bodies. I will summarise the tendency within current art discourse to characterise drawing by its provisionality, and to regard the drawn mark as a direct means of making visible a gesture, an instant record of bodily movement. Drawing seems to offer an immediacy and fluidity to the figuration of bodies in movement. However, my research also addresses the inherited apparatus of my drawing practice, passed down through academic discourse. I will discuss the way in which the tropes of hand and eye as human attributes of control and judgment continue to inhabit the practice of observational drawing and affect its knowledge outcomes.

Juliet MacDonald is a Research Assistant at the University of Huddersfield. Her PhD (2010) is an investigation of drawing as enquiry. A practicing artist, she has held solo exhibitions of drawings relating to her research at Alsager Arts Centre Gallery (2007) and Drawing Spaces, Lisbon (2008), and presented findings at: Creative Practice Creative Research conference, York St John (2009) and at Observation Mapping Dialogue, University of Brighton (2010).

Loughborough University, UK
J.Hallsten@lboro.ac.uk

This paper aims to investigate the creation of space and sound through movement by way of the Japanese concept of Ma, with particular emphasis on the notion of interval and duration in the production and experience of soundscapes. This discussion arises out of a particular research project involving the Japanese floor called Uguisubari (). Moving through space the body becomes both the site and the tool by which that said space is being created, continually hovering on the cusp of being immersed and abstracted, the participant struggles to settle. As a practitioner working predominantly between contemporary art and philosophy (with further investigations into areas such as, architecture, botany, sound ecology and cultural history) I am seeking to explore the boundaries between disciplines and how these can excite new developments both in art and other fields. My work is primarily location-responsive and concerns duration, translation, movement and is often articulated through sound. Sound installations, most commonly, bring together sounds and space. However, what I am interested in here with the use of the Uguisubari is how sounds create a space (however temporary), and that that sound in turn is created through movement. As John Cage put it, spaces tend to multiply among themselves. Movement enables us to understand the three-dimensional qualities of space and we experience an oscillation between time and space unfolding, covering up, and making visible different phenomena as well as their fading away. Thus the paper seeks to unpick aspects of the reciprocal relationship and performative act that the participant and the space engages in through movement on the Uguisubari, whilst creating a sonic environment that permeates the boundaries of said space.

Born in Stockholm, 1973. Lives and works in London/Loughborough. Hllsten completed her PhD in 2004 on the Uncanny in contemporary installation art. Recent shows include: Episode 1: Acute Melancholia Stockholm (2010), and ANTI Festival, Kuopio (2010) amongst others. Hllsten has also been also included in books and journals (WFAE, n.Paradoxa, Contemporary Aesthetics, IIAA, etc). Lecturer in Fine Art/Artist, School of the Arts, Loughborough University. www.johannahallsten.com; http://www.lboro.ac.uk/departments/sota/staff/johannahallsten.html

Aristotle University of Thessaloniki, Greece

katkit@enl.auth.gr

This paper will explore bodies in movement and nineteenth-century machinic embodiments in Dickenss novel Hard Times (1854). The body in flux the body as transformable energy, according to the first law of thermodynamics which was formulated in the 1830s and 1840s is, in the industrial setting of the book, a body in stasis caught in the treadmill of a timeless present (one in which today is and tomorrow will be the same as yesterday). Like a steam engine itself, the body of the industrial worker was a thermodynamic machine calculated as so much power and exploited for its potential to transform energy into gold for the benefit of capital, or fueling machines with its materiality: amputated limps, liquefied body parts, or corpses of workers. Industrial change and movement in Dickenss text are not enabling progressive, empowering embodiments, but repetitive, regressive returns to savagery. In its effort, though, to transgress this crude industrialised commodification of the material body, and envisage alternative subjectivities, the text borrows from the second law of thermodynamics that argues for disorder and randomness in a closed system. The disruptive potential of entropy seems to have inspired and sustained Dickenss anarchic delight in the grotesque, in pantomime, melodrama, or roleplaying, as well as his trust in fairytales. Chaos and muddles in Hard Times instigate molecular connections that either expose the absurdity and cruelty of a politico-economical system that feeds on bodies and is therefore consumed by its own voracity (flesh turns into robotic abstractions or Parliamentary dust), or allow some of the characters to experience embodiment outside the confines of utilitarian discourses (they may ascend and unite with stellar bodies, exceed body limits through acrobatics, or transform into fairytale creatures).

Katerina Kitsi-Mitakou is Assistant Professor in English Literature and Culture in the School of English, Aristotle University of Thessaloniki, Greece. She has been teaching and publishing on Realism, Modernism, and the English novel, as well as on feminist and body theory. Her book Feminist Readings of the Body in Virginia Woolfs Novels was published in Thessaloniki in 1997. She has contributed to the Reception of British and Irish Authors in Europe in the volumes on Virginia Woolf and Jane Austen and has co-edited a special journal issue, Wrestling Bodies (Gramma 11, 2003), and three collections of essays: The Flesh Made Text Made Flesh: Cultural and Theoretical Returns to the Body (Peter Lang, 2007), The Future of Flesh: A Cultural Survey of the Body (Palgrave Macmillan, 2009), and Bodies, Theories, Cultures in the Post-Millennial Era (University Studio Press, 2009). http://www.enl.auth.gr/staff/findex.htm

University of York, UK
ejk503@york.ac.uk

In 1848, the reviewer of Jane Eyre in the Christian Remembrancer was convinced that though the name and sex of the author is still a mystery, the novel had to be written by a woman not in spite of, but because of the mutilation Rochester undergoes before he is able to marry Jane. Maimed, blinded and firescarred, he is, the reviewer notes, not the sort of romantic hero a male writer would give his heroine, but a true embodiment of the visions of the female imagination. What happens when a romantic hero can no longer rely on physical strength and a penetrating gaze? Later critics have found the end of Jane Eyre less immediately explicable, often reading Rochesters injuries as a dramatic shift of the power balance between him and Jane. As a consequence, the final happy ending, with Jane in the ascendancy, tends to appear either utopian, sinister, or oddly disappointing. But in the context of Janes and Rochesters relationship, where love is performed and made possible by power struggles that often shade into physical conflict, Rochesters injuries, devastating though they are, seem less like an abrupt unseating from masculine power. This paper reads Jane Eyres central love story as a pattern of reciprocal and often consensual and desired injury, exploring the needles of repartee, steely points of agony, and sly pen-knives stuck under ears that create and sustain the relationship. It argues that Brontan bodies are not producers of fixed, gendered meanings, but the sites where any predictable relations between women and men, powerlessness and power, penetration and enfolding, giving and taking pain, are undermined.

Erika Kvistad is a second-year Ph.D student in English and Related Literature at the University of York, writing on the relation between eroticised power dynamics and societal gender-based power structures in Charlotte Bronts novels.

University of Strathclyde, UK
douglas.clark@strath.ac.uk

In her work The Undiscovered Continent, Suzanne Juhasz proposes that Emily Dickinsons poesy is defined by an idiom of experiential causality, conveyed through the potential action of the poetical self towards transcendence: A movement is always implicit. What is problematic for Dickinson throughout her life is not the travel but its direction, the location of eternity (Juhasz, The Undiscovered Continent, 1983, 319). My paper will seek to investigate this notion of movement towards the dissolution of the material self (conveyed through aspects of mortality and finality of being, resulting in the transcendence of the conscious self). I seek to analyse Dickinsons linguistic embodiment of self-reflection that resides in her syntactically, and semantically, complex poetry, in relation to an exploration of the existential self. Taking into consideration Judith Butler and Toril Mois contribution to the critical reappraisal Beauvoirs feminist existentialism, I shall interrogate the nature of the freedom and volition (or the lack thereof) made implicit by a notion of bodily movement in the existential project. I seek to elicit the problematic process of this project; that the facticity of existence, the phenomenological shaping of the process of being denoted in the materiality of language, is a performance of subjectivity as intricate, and ontologically problematic, as Butler suggests in Gender Trouble. Dickinsons work questions the inauthenticity at the heart of being in this materialist project of subjectivity, as she poses to the reader: But since Myself assault Me / How have I peace / Except by subjugating / Consciousness? (Poem 642, Emily Dickinson: The Complete Poems, 1976, 319). An analysis of Dickinsons poetry will enable an interrogation of the theoretical correspondence between the materiality of language, and the material influence of the gendered situation of the lived body. I wish to convey the importance of Dickinsons work for destabalising the conditions for the apparent formation of subjectivity through lived experience, through the performance of it.

Douglas Iain Clark is a Ph.D student at the University of Strathclyde. His research is concerned with investigating the multifarious representations, and operations, of the will within the literature of the early modern period. He also maintains a firm interest in poststructuralism, gender studies, and the works of Jacques Derrida.

University of Silesia, Poland

ania.chromik@gmail.com

The pre-subjective experience of the body is constantly characterised by such metaphors as pulsing, flickering, flowing, and merging, thus constituting a conceptual frame for modes of movement defying the locatedness and self-identity of the subject. By tracing the imagery of flux and merging in Lacan, Kristeva, Grosz, and Spitz, the paper proceeds from the contrast between the motile, ambulatory body/self of the Real and the self-contained subject of the Symbolic marked by motoric coordination as presented by Lacanian psychoanalysis Since I argue that there is a confluence of nomenclatures between the psychoanalytical and philosophical construction of congealing subjectivity, the question arises how the corporeal imagery of pre-subjective motility is expressed in the philosophical accounts of pre-modern self. To answer this question I will track some tropes of rhythmic but nonexpressive totalityin the bodily and motorial metaphors used by the philosophical critique of the modern project, especially in the texts of Horkheimer and Adorno, thus trying to spot the kinaesthetic/corporeal imagery that can be described as radically anti-modern.

Anna Chromik is a Lecturer in Cultural and Literary Theory at the Institute of English Cultures and Literatures, University of Silesia, Poland. She is currently publishing her first book, Disruptive Fluidity: The Modern Discourse of Body Boundaries. Her research and previous publications focus on the discourses of corporeality in the contemporary critique of modern subjectivity.

Lancaster University, UK
rebecca.coleman@lancaster.ac.uk

Contemporary culture and society is increasingly described as alive and intense (Lash and Lury 2007), mobile (Urry 2007; Elliott and Urry 2010) and vital (Fraser, Kember and Lury 2005) and emphasis is placed on socio-cultural life as a transformative process where the body is central (Featherstone 2010). A key aspect of this transformative logic is an orientation towards a future which, while anticipated, expected and planned for, also functions as potential (Adkins 2008) in seeming to suggest a not-yet that is materially different. This paper examines the crucial role of images in the materialisation (Barad 2007) of the future and argues that images are not so much read as texts from a distance but are affectively felt and lived out. Focusing especially on images of (self-)transformation (changing room mirrors, health campaigns, makeover television, dieting websites), the paper explores how images bring the future into the present and affectively draw in some bodies more than others. In this way, images are understood to be potentials or virtuals which are materialised into particular modes of embodiment and ways of living. The paper examines this claim through a focus on the screen, where certain kinds of bodies are brought to life (Sobchack 2008, Cubbitt 2009). It asks, which bodies are affectively caught up in what images? Which futures are seen as desirable or necessary and in what ways are they materialised? How do screens act to arrange and organise the potentiality of the materialisation of images?

Rebecca Coleman is a Lecturer in the Sociology Department, Lancaster University. Her research is concerned with the relations between bodies and images; her book The Becoming of Bodies (MUP, 2009) develops a Deleuzian approach to explore empirical research on how girls experience their bodies through images, and she is currently writing a book on the materialisation of images with a focus on affect, futures and screens. http://www.lancs.ac.uk/fass/sociology/profiles/Rebecca-Coleman/

University of Western Sydney, Australia

A.Gibbs@uws.edu.au

Jean Painlev (1902-1989) was a writer and documentary filmmaker who took as his subject the objects of study of the biological sciences, especially marine animals. For him, both writing and film were a means of doing research as well as a means of documenting it and educating others about it, and combined, they were an artform as well as a scientific tool. Science is Fiction, asserts the title of a collection of essays about and by him, but for Painlev, who also recognised the difference between them, fiction was a way of making science and art speak to each other. Especially fascinated by the phenomenon of marine mimicry for example, the seahorse as chameleon Painlev composed shots in which marine life is made to mimic the composition and choreography of modernist art and ballet, while his own voiceovers mimic various modes of modernist fiction. Here scientific observation is refracted through a syncretic modernist lens in ways which enabled Painlev to see what others at the time couldnt: that is, a relationship between aspects of human and animal behaviour. Painleves aesthetic practice reveals the noncognitive, sensory and affective modes of knowing of his marine subjects and simultaneously engages our own sensory and affective responses by his mobilisation of the human mimetic faculty (as Walter Benjamin called it), into a scientific education by virtue of cross-species mimesis in which our own corporeal organisation is temporarily reconfigured. Deleuzes work serves as the major philosophical reference point for this paper, to which concepts of movement, synchrony and stillness are central.

Anna Gibbs works on affect theory across the fields of textual, media and cultural studies. Recent publications include contributions to Cultural Studies Review , 2008 (on Tarde, affect contagion and publics) and on mimesis and affect to The Affect Reader (eds G Seigworth and M Gregg, Duke, 2010). Prof. Anna Gibbs, Writing and Society Research Group, University of Western Sydney

Trinity College Dublin, Ireland

arndsp@tcd.ie

Gnter Grasss novel The Tin Drum (1959) contains a moment in which the contours of the erect Aryan body and its arm stretched out at a 45-degree angle into the Hitler salute are carnivalised in the Bakhtinian sense of breaking down the classical closed into the grotesque open body. Bakhtins open body resonates with philosophical-political theories of hybridity, Foucaults notion of the monstrous, Agambens concept of the wolf-man and nuda vita, and as an echo to Agamben with what Eric Santner has described as creaturely life. Creaturely life, thus Santners argument, appears particularly in Walter Benjamins image of the cringed body, the hunchback. Thinking primarily of the plight of Jews and their 2000-year long history of suffering inscribed into the image of the hump Benjamin sees this figure everywhere in the work of Kafka. The motif of the fluid, transgressive body expressed in the hump and the stretched-out arm denote the liminality between the human and the non-human so frequent in the literature dealing with the fascist period. My presentation will highlight key moments from Grasss The Tin Drum, but also in Michel Tourniers The Ogre, and Primo Levi If this is a man (with a sidelong glance at the tradition of magical realism outside of Europe, e.g., Salman Rushdies Midnights Children and Isabel Allendes The House of Spirits) as well as from the visual arts: from film (Volker Schlndorfs Tin Drum film, Agniezska Hollands Europa Europa), photography (Anselm Kiefers Sieg Heil parodies), paintings/drawings (A. Paul Webers Sieg Heil parodies) in order to demonstrate how one of Nazi Germanys racist ideals the erect, rigid body based on bourgeois discipline in the wake of Enlightenment is satirised in post-war artistic representations. My central argument is that the body in movement in these representations serves a politically subversive paradigm steeped in myth, in which the delineation between human and animal, human and machine, life and death is a great deal more fluid than in our so-called rationalist Western societies. These images of physical excess and transgression are artistic ways of protesting against physical and mental docility prescribed by rationalising societies in the name of utility and public health.

Dr. Peter Arnds, Trinity College Dublin, Director of Comparative Literature and Literary Translation; Professor of German and Italian at Kansas State University from 1995-2008; visiting appointments at the University of Kabul, and recent lectures at the University of Delhi. I have worked extensively on myth and literature, and on configurations of the body and nationhood at the interstices between the humanities (comparative literature) and the sciences (medicine). Author of two books and about 40 peerreviewed articles as well as poetry and prose.

Western Oregon University & Willamette Falls Symphony, USA

perlmam@wou.edu

Conductors are unique in the musical world in their having a central role in music-making without making the sounds themselves. Some may even think that a conductor is really more of a dancer than a musician. How does conducting count as making music if the conductor makes no sounds or notes? In fact, conductors communicate musical ideas and directions using gestures, which can greatly affect the outcome of a musical performance. This paper will use the methods of philosophical aesthetics and semiotics to examine the gestures made by orchestra conductors. It will specifically compare the gestures to the gestures of sign language, to ask if there is actually a language of conducting. It will also examine the degree to which conducting gestures picture the message they send, and whether they are iconic or indexical signs, or abstract symbolic communicative signs. It will also consider how the nature of human perception erects psychological constraints on what gestures can be successfully used in conducting. Looking at these aspects will help explain why certain gestures successfully communicate musical meaning, and others do not. It will help locate the place of conductors movements and gestures in the larger scheme of communication systems, semiotics, meaning, and representation.

Mark Perlman is Professor of Philosophy at Western Oregon University (USA) and Music Director and Conductor of the Willamette Falls Symphony (Oregon, USA). He is the author of books and papers in philosophy of mind, philosophy of biology, and aesthetics of music.

Vrije Universiteit Brussel, Belgium

kcoessen@vub.ac.be

Robert Gordon University, UK

This paper explores a paradox. We breathe in, and then out. We walk by making paces, alternating left and right feet. Walking and breathing are made up of discrete intervals of space and time, involuntary actions of the living body, sustaining continuity. Continuity in movement is constituted by its opposite. The necessity to transpose the weight of our body between first the left and then the right foot creates motion. By analysing these discrete movements, it becomes possible to transpose, transform, translate them into signs and symbols and their narratives notation, drawing, documenting what has happened to inform what might happen. Creativity intervenes, allowing us to vary the patterns playfully, because it is possible to do so with this kind of notational knowledge or trace. Form building in art thereby constitutes an effective, visual, embodied method of understanding how the body moves: a complex dialogue between gravitys pull towards stasis, the centre of the earth, countered by the urge to move from that centre into motion, into life. We will take two examples of artistic processes: one in the visual arts and the other, musical performance to explore how notational practices such as scores that are used by artists in the process of developing their work, can and does inform understandings of embodiment more generally.

Professor Kathleen Coessens is a philosopher and musician, whose research is situated at the crossings of science and art, human creativity and cultural representations, looked at from an embodied, epistemological and philosophical point of view. She is currently professor at the Vrije Universiteit Brussel, Belgium (VUB Centre for Logic and Philosophy of Science) and a Senior Researcher at the Orpheus Research Centre in Music, Ghent, Belgium. Professor Anne Douglas is a visual artist and director of the On the Edge research programme at Grays School of Art, Robert Gordon University, Aberdeen, UK. Her research focuses on the dynamic role of the artist in the public sphere through a range of issues including artistic leadership; contemporary art and remote and rural cultures; the aesthetics and ethics of working in public. Both, together with Darla Crispin, are the authors of The Artistic Turn A Manifesto (Leuven UP, 2009).

University of Edinburgh, UK
A.N.Crockford@sms.ed.ac.uk

It is a well-established fact of the monstrous body that it confuses the boundaries of the human. Numerous scholars, amongst them Judith Halberstam, Margrit Shildrick, Jeffrey Jerome Cohen, and Sara Cohen Shabot, have considered the way in which it bends and warps the already fragile definition of humanity by encompassing the decadence, excess, and unstable essence of nature that is so insistently labelled unnatural. Slavoj iek suggests that this confusion goes further, that it is fundamentally bound up in the fearful, unknowable sameness of monster and subject that renders the monstrous body in toto an undefinable absence, fragmenting the process of signification so that definition is endlessly deferred to its parts. And thus it is that the inherently broken bodies of medical monsters, only ever knowable as far as their dismemberment, must maintain a fluid multiplicity of meaning; they must stay, in Cohens words, always in the process of becoming. This paper is interested in exploring the way that this fluid fragmentation of the body manipulates, even seduces the scientific gaze, revealing its inherent intimacy. I shall examine the brief moments of erotic tension that appear in so many scientific examinations of medical monsters in the nineteenth century particularly the late nineteenth century and consider their significance with regards to the potential eroticisation of the determinedly distant medical gaze. With reference to Cohen, Halberstam, iek, Shildrick, Fred Botting, and Kelly Hurley, I will explore whether the relationship between scientist and living monster-specimen, in its progression throughout the realms and degrees of examination, carries with it a higher element of vulnerability than that between doctor and patient or freak and audience and whether the medical gaze thus becomes susceptible to seduction by the monstrous bodys fragmentary fluidity.

Originally from Canada, Ally Crockford is a PhD candidate currently in her third year of of study at the University of Edinburgh. Her PhD thesis focuses on the representation and role of the child-figure in late nineteenth century aesthetic fiction, exploring the relationship between the child-figure and language, the re-construction of death, and literary spaces in these works. She is also currently a teaching assistant and formerly a research assistant at the university, and was co-editor of the 9th and 10th issues of Forum: The University of Edinburghs Postgraduate Journal of Culture and the Arts. Her research interests also (naturally) include the representation of so-called monsters and freaks in the nineteenth century as portrayed in contemporary medical and personal accounts, as well as feminist, and sex and gender theory. In her spare time she delights in knitting, particularly hats.

University of Edinburgh, UK
s.walton@sms.ed.ac.uk

Im mad he thought. God forgive me Im mad and I'm murdering Fran.

For Badmington, to read Freud is to witness the waning of humanism: this is because Freud's thesis of unconscious impulses undermines the Cartesian model in which the critical determinants of being is rational, fully conscious thought (Posthumanism, 2000, 6). Coincident with the rise of Freud, British criminology was experiencing a metamorphosis from biological determinism to neurological determinism. By fusing Darwinian science with technological methods of reading and charting the body, Cesar Lombroso had defined nineteenth century means of recognising, profiling and reproducing criminal types. Charles Goring's The English Convict (1913) aimed to put Lombrosan criminology to rest, but instead shared its deterministic prejudice in positing a model of mind centered on mental and intellectual inheritance, and a self that is physically, because neurologically, embodied. This paper considers the development of materialist theories of mind and explores their representation in crime fiction from 1920-1945. The typical image of the killer in these novels is of a rational, self-interested schemer, but many writers toyed with the notion that characters might be moved to act because of innate mental conditions they were unable to control. Suspects suffering from automatism, epilepsy and the legally recognised moral imbecility reflected the periods psychiatric and legal incentives to find a mental component, on a material, cellular level, which predestined individuals to crime. In novels like Christianna Brands Heads You Lose, the plight of the non-criminal Cartesian self trapped within the criminally possessed body/mind is dramatically realised, while Gladys Mitchells When Last I Died exposes the class prejudices accompanying theories of inborn criminality. In this conflation of the physical with the psychic, what is at stake is a reappraisal of the self-determining individual, a figure who would suffer further attacks throughout the twentieth century in both poststructuralist and posthumanist thought: these critiques, in turn, have radical consequences for the very legal and moral structures that crime novels are alleged to reinforce.

I'm a PhD Candidate in English Literature at the University of Edinburgh, researching representations of psychoanalysis, psychiatry and mental illness in female-penned golden age crime fiction. This interdisciplinary project developed from my masters research in social and political theory, and I intend to become more involved in the Edinburgh Medical Humanities Research Network. I also teach undergraduate Scottish literature.

University of Glasgow, UK
megancoyer@googlemail.com

In J. G. Lockharts Peters Letters from his Kinsfolk (1819), Dr. Peter Morris reports the response of James Hogg, The Ettrick Shepherd, to Dr. J. G. Spurzheims account of the strange nineteenth-century science of phrenology: My dear fellow, quoth the Shepherd, if a few knots and swells make a skull of genius, Ive seen mony a saft chield get a swapping organisation in five minutes at Selkirk tryst. This commonsensical rebuttal is of course intended to poke fun at the bump-reading science; however, the transformational capacity of the human mind was in fact an important element of the phrenological teachings of George Combe (1788-1858). While one was born with an inherent natural character, through education and habitual conduct, one could strengthen or weaken certain aspects of character, and evidence of corresponding physical transformation was put forth. In my paper, I propose to examine Hoggs masterpiece, The Private Memoirs and Confessions of a Justified Sinner (1824), in relation to what might be termed the phrenological nature versus nurture debate. To do so, I will read the Confessions in relation to two contemporary confessional texts: Robert Macnishs The Confessions of an Unexecuted Femicide (1827) and David Haggarts The Life of David Haggart (1821) a confessional memoir of a convicted murderer to which is amended Combes Sketch of the Natural Character of David Haggart, as indicated by his Cerebral Organization. Macnishs confessional text advocates complete physiological determinism only to reveal the importance of habit and experience in shaping moral character and the physical body, and includes a benevolent inversion of Hoggs demonic mental manipulator, Gil-Martin. In my paper, I will argue that Hogg draws upon both the fatalistic and transformational capacities of phrenology in his depiction of Robert Wringhims progression mental and physical degradation.

I recently completed my PhD in Scottish Literature at the University of Glasgow, UK, under the supervision of Dr. Kirsteen McCue and Dr. Gerard Carruthers, with my thesis entitled The Ettrick Shepherd and the Modern Pythagorean: Science and Imagination in Romantic Scotland. I am currently working as a Research Assistant to the James Hogg Songs Project at the University of Glasgow.

Chrystal Macmillan Building, 15a George Square, Seminar Rooms 1+2, 3 and 4 University of Edinburgh, 28-29 May 2011

The organisers would like to thank James Loxley, Carole Jones, Anne Mason and Catherine Williamson at the Department of English Literature of the University of Edinburgh. Without their support, patience and expertise, this conference would not have been possible. We would also like to thank Lila Matsumoto, Sarah Humayun, Jenny Seven, Sarah-Jane Stapleton, Kirsten Banks, Stephanie Spoto and Elysse Meredith for their wonderful assistance during the conference.