The position of the body in the aesthetic realm is not a fixed element but a process. By choosing the verb “to incorporate” for this issue of Intermédialités, the body takes centre stage in critical reflections on intermedial practices and perspectives. The verb “to incorporate” presupposes, by its etymology, the distinction of at least two material entities, as well as a movement of assimilation or integration of one by the other. This movement further implies the introduction of something external into the body’s internal space. As the body is also a source of innumerable metaphors and images of the human world, it is not surprising that the introduction of one thing into another—even in a metaphorical sense—is also considered an incorporation. “To incorporate” also refers to processes in which one artistic technique is subsumed into another or when two or more media become one. The presence of the body within another medium and the uses of media in relation to the body are incorporated forms of intermedial relations. Incorporation can go as far as homologation, subsumption, partial integration, or total absorption. In the realm of experience, it takes on the sense of appropriating or reappropriating.
This issue delineates three significant perspectives in the study of embodiment and the body within the context of intermediality studies. The first is phenomenological, and explores the sensorium and its interactions with the materialities of communication and processes of perception. The second is informed by cultural studies to address issues such as the production of self through different media, including in the work of indigenous artists. And third, the cognitive approach integrates a scientific understanding of how the brain perceives and creates artistic objects with humanistic inquiries regarding cultural significance and the fundamental human role of art. Together, the articles range from literary works to performing and fine arts as practiced in different parts of the globe while dealing with the body as a mediating instance that is at the same time creating, experiencing, decoding, and interacting with the world.
Summary
Introduction
María Andrea Giovine, Universidad Nacional Autónoma de México
Susana González Aktories, Universidad Nacional Autónoma de México
Roberto Cruz Arzabal, Universidad Veracruzana
Articles
Between Word and Body: (Re)Organ-izing the Autobiography in bpNichol’s Organ Music: Parts of an Autobiography
William Brubacher, Université de Montréal
Vers une mise « mise en corps » de l’existant animé : Penser le néo-animisme à travers Hatsune Miku
Mathieu Rondeau, Université de Montréal
Considerations about Materiality and the Medial Processes in the Puppet Company “Die Klappe. Das Kabarett an Fäden”
Rodrigo Orduño Bucio, Universidad Anáhuac México
Interpassivity and Presence: Some Reflections on the Concept of Autoteatro
Anxo Abuín González, Universidad de Santiago de Compostela
Intermediate Encounters in Experimental Cinema: The Body as Performance Space
Loukia Kostopoulou, Aristotle University of Thessaloniki
Maria Ilia Katsaridou, Ionian University
Fragmentation visuelle et immersion sonore des corps dans le cinéma de Lucrecia Martel
Charlotte Van der Elst, Université de Montréal
Incarner la pietà pour contester l’histoire : les sculptures mémorielles de Tavares Strachan
Nathalie Dietschy, Université de Lausanne
Lire pour/avec le corps : Activations sonores de la poésie de Celerina Sánchez et Víctor Gally
Luz María Lepe Lira, Universidad Autónoma de Querétaro
Mariana López Durand, Universidad Autónoma de Querétaro
A Frame for Fiction: On Halo Ghigliotto’s El Museo de la Bruma
Jorge Téllez, University of Pennsylvania
A Tradition and its Metamorphoses (1968–2024): Corporeality in Works by Octavio Paz, Ulises Carrión and Rocío Cerón
Josué Humberto Brocca, University of Cambridge
Turning Attention Inwards: Seventeenth-Century Poetry of Interoception
Lorena Uribe Bracho, City Colleges of Chicago
Intermediate Acts of Incorporation: Body, Psychogeography, and Drift in Arts with Electronic Technologies
Jesús Fernando Monreal Ramírez, Metropolitan Autonomous University
Intercorporeal Togetherness: Live Arts and Embodied Poiesis
TACo Collective: Ximena A. González-Grandón (Universidad Iberoamericana / Universidad Nacional Autónoma de México / Instituto de Filosofía y Ciencias de la Complejidad), Ainhoa Suárez Gómez (Universidad Nacional Autónoma de México), Mauricio García De la Torre (Escuela Superior de Música / Universidad Panamericana), Katia Castañeda Urzúa (independent performer), Evoé Sotelo Montaño (independent researcher)
Artist Dossier
Interview with Tania Candiani
María Andrea Giovine, Universidad Nacional Autónoma de México
Susana González Aktories, Universidad Nacional Autónoma de México
Roberto Cruz Arzabal, Universidad Veracruzana