Furthermore, some relevant reasoning on the body and its relationship with art and the media taken from the official site of the Museum of Modern Art (MOMA, in New York City) 3 3 In our days it is already acknowledged that we frequently experience emotions directly in our body, which means a necessary relevance must be applied to the study of contemporary thought and of its artistic representation and mediatic expression. The saying "Just because we don't have the technology to visualize the mind-body connection doesn't mean it's not real" (Mercola) seems to summarize postmodern thinking on the body as a signifying medium or, as Elizabeth Grosz defines it, "a vehicle of expression, a mode of rendering public and communicable what is essentially private (ideas, thoughts, beliefs, feelings, affects)" (9).Īccording to Daniel Lieberman, "e live in paradoxical times for our bodies" (ix). See for this purpose Gender Trouble (1990) and Bodies that Matter (1993). The so-called "natural body" has been dismantled, and Judith Butler has joined in Foucault's claim that there is no "natural body" that pre-exists its cultural inscription.
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As a platform for the human experience, the subject has thus been refigured as a corporeal being, and the body, no longer an inert entity or a danger to the operation of reason, has been considered as the center of perspective, insight and agency. It is from and through the body and its intruding affective force on our desires and emotions that we can make some sense of the reality around us. We are not a ratio inserted in a body: we are our own body. Produced through and in history, the body situates oneself in the world. Under the conditions of disciplinary normalization of the body at work in the Western world, power produces the subject's desire and pleasure, and that is why the body becomes a priviledged target of the interrelations between knowledge and power. Stands out in this respect as far as he contends that the body is a discursive construction and, as such, it presents particular modes of inscriptions that command different kinds of behavior and practices. See for this purpose Microfísica do Poder (1982) and História da Sexualidade (1988). Only in the last two centuries the body has been regarded as a semantic field, a space and a topos for the elaboration of new theoretical perspectives, particularly concerning the relation between corporeality and the psychic reality of the emotions, traditionally relegated to secondary relevance in relation to human beings' rational capacities. As a result of the overgrading of reason, the role of emotions was disdained for centuries.
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This view was common in multiple areas of knowledge such as the medical, psychological, anthropological, philosophical, and many others. Corporeality was taken as a mere support of the reasoning capacity and it had a precultural status. In other words, the human being was seen from a dualist perspective: physical and mental, body and mind, material and substance.
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From the most remote times and for a long time, the human body and mind were considered two distint organs that had different and independent functions.