Brainbodies and the imaging of plasticity
- Submitting institution
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The University of Huddersfield
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 11
- Type
- D - Journal article
- DOI
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10.1080/14702029.2019.1633090
- Title of journal
- Journal of Visual Art Practice
- Article number
- -
- First page
- 238
- Volume
- 18
- Issue
- 3
- ISSN
- 1470-2029
- Open access status
- Compliant
- Month of publication
- July
- Year of publication
- 2019
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This article considers two conceptual formations –brainbodies and plasticity –through some of the image-form processes of neuroscience, art and curation. Underpinned by the writings of the philosopher Catherine Malabou, the ethnography of Science and Technology Studies (STS) scholar Joseph Dumitand the artistic projects of curator Carolyn Christov-Bakargiev, the article firstly examines Positron Emission Tomography (PET) (as articulated by Dumit) and its image-making processes to show how plasticity is at work in the brainbody’s molecular negotiations with the scanning apparatus. Secondly, the article analyses the entanglements generated out of the receptions of neuro-aesthetic and artistic image-forms in the curatorial directions of two of Carolyn Christov-Bakargiev’s projects: dOCUMENTA (13)and the 14thIstanbul Biennial SALTWATER: A Theory of Thought Forms. A diffractive methodology of reading, as articulated in the feminist technoscientific writings of Donna Haraway and Karen Barad, helps to re-register the plasticity of matter in the contexts of art and curation. The image-forms that feature in this article expose some of the boundaries and limitations of cultural meaning-making and their associated forms. This includes the productive insights generated out of the crossing through of disciplinary perspectives and image-making mechanisms. This article evolved out of the 7thAnnual Conference on New Materialisms, organised by the European Cooperation in Science and Technology (COST Action IS 1307 Networking European Scholarship ‘How Matter Comes to Matter’). The conference, held in Warsaw in 2016, sought to revisit Donna Haraway’s ‘Situated Knowledges: The Science Question in Feminism and the Privilege of the Partial Perspective’ (1988). An earlier form of this paper was staged in the workshop ‘Process of Imaging/Imaging of Processes’, organised and led by Liv Hausken, Bettina Papenburg and Sigrid Schmitz.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
