MEDIA SPECIFICITY AND INTERDISCIPLINARITY, MAY 31− JUNE 4, 2009 YOLANDA AND DAVIDKATZ FACULTY OF THE ARTS, TEL AVIV UNIVER...
The “Freudian body is a 20th century westerncultural artifact.Based on Freuds theories, the “Freudian body”reflects a corp...
The principles on which the collectiveidentification was based, were already presentin Freuds 5th conference entitled “Fem...
Modern corporeality   the ‘strong’ straight vertical ascending phallic bodiesWhen western men andwomen started identifying...
But, in 1980’s, few cultural phenomena pointed at a “Coupure”                         Fredrick Jameson“Postmodernism or th...
According to Jameson, thesephenomena were the signs ofthe passage from modernity topost modernity in westerndeveloped coun...
In its present state, the new cultural logic radically                                                           weakens t...
The new postmodern structure is                                                                        therefore linked to...
“Rhizome” is a philosophical concept                                                                          developed by...
“The rhizome itself assumes very diverse forms,                                                                from ramifi...
Guggenheim Museum, Franck Gehry architect, 1997   The dominant visibility of the Guggenheim                               ...
It discloses a rhizomic structure.Guggenheim Museum, Franck Gehry architect, 1997
Relying on the new rhizomic  structure and on the principles of its  new aesthetics, the visibility of the  Guggenheim Mus...
The Guggenheim Museum istherefore a model.It has become a reference for thosebuildings which have adoptedsimilar aesthetic...
“Multi" having become one                    of the main signifiers of the                    new cultural logic,         ...
So, the new Visibility      And its rhizomic          structure is         the sign of a   ‘COUPURE’ or ‘BREAK’           ...
For, the field of Fashion clotheshas adopted the new visibility, itsaesthetics and its radical spirit.In the 1990‘s, John ...
John Galliano & IsseyMiyakes outfits wereperformed according tothe new post moderncultural logic.Issey Miyake 1991
Towards the postmodern body                              Post modern Fashion clothes                              aestheti...
Towards the postmodern body                              Dominant post modern aesthetic                              param...
Towards the postmodern body    Knots and Knotting                     Y. Yamamoto 2006
Towards the postmodern bodyKnots and Knotting    Rei Kawakubo 1983
Towards the postmodern body       ‫מקטעים אלכסוניים‬Diagonals/transversals segments      Yohji Yamamoto 2008
Towards the postmodern body       ‫מקטעים אלכסוניים‬Diagonals/transversals     segments    Yohji Yamamoto 2008
Towards the postmodern body                ‫מקטעים אלכסוניים‬Diagonals/transversals segments    Yohji Yamamoto 2008
Towards the postmodern bodyAssemblage‫יחידות מחוברות‬Linked units Vivienne Westwood 2007
Towards the postmodern bodyAssemblage‫יחידות מחוברות‬Linked units Vivienne Westwood 2007
Towards the postmodern bodyAssemblage‫יחידות מחוברות‬Linked unitsY. Yamamoto2007
Towards the postmodern bodyAssemblage‫העמדה של יחידה ביחס ליחידה אחרת‬or Super imposed units /super-impositionsY. Yamamoto...
Towards the postmodern bodyAssemblage‫העמדה של יחידה ביחס ליחידה אחרת‬or Super imposed units /super-impositionsVivienne We...
Towards the postmodern bodyAssemblage‫העמדה של יחידה ביחס ליחידה אחרת‬or Super imposed units /super-impositionsVivienne We...
Towards the postmodern body                                                        Assemblage                     super-im...
Towards the postmodern bodyMultiplicity - ‫ריבוי‬Viktor and Rolf, 2003
Towards the postmodern body‫עגול ועיגוליות‬RoundnessHussein Chalayan, 2000
Towards the postmodern body‫עגול ועיגוליות‬Roundness Viktor & Rolf 1998-99
Towards the postmodern body‫עגול ועיגוליות‬Roundness    Rei Kawakubo,Comme des Garçons 2003
Towards the postmodern body‫עגול ועיגוליות‬RoundnessAnn Sofie Back 2007
Towards the postmodern bodyStrings, Links and LinkingAnn Sofie Back 2007
Towards the postmodern bodyLumps“Lumps“were          placed on   different parts of the body -   from bottom to top, front...
Towards the postmodern bodyLumps  When Kawakubo created her novel  radical proposals, thus replacing  modern clothes , she...
Towards the postmodern bodyLumps  Rei Kawakubo1997
Towards the postmodern bodyLumps    Rei Kawakubo1997
Towards the postmodern bodyBumpRei Kawakubo1997
Towards the postmodern body    U:phoria architecture+design payed tribute to “Comme des Garcons”                        19...
Thus, when in the 1980s and the 1990s,a critical approach to the “Freudianbody” was initiated by artists anddesigners, a n...
"‫"נטולי המכנסיים‬Men’s Proximal fashion                                               No trousers                        ...
Men’s Proximal fashion                                                     "‫"נטולי המכנסיים‬                             ...
Men’s Proximal fashion   "‫"נטולי המכנסיים‬                                 No trousers        VivienneWestwood 1997-98   ...
Men’s Proximal fashion                   ‫קיצור המכניסים‬                   Shortened pants                               ...
Men’s Proximal fashion                   ‫קשירה וקשרים‬                   Knots & KnottingKnots & Knotting                ...
Men’s Proximal fashion                 ‫שרוול יחיד‬                 One-sleeve         Vivienne  Westwood 2005-6
Towards the postmodern bodySo, one can therefore ask:   Who are the men and the women who                             wear...
The answer is:   post modern men and women.                 For, post modern men and women have accepted the idea         ...
The post modern body is therefore no longer a homogeneous body .                     It is not a vertical body responding ...
Postmodern  rhizomorphic  structured body-  multiplicity &  proximityRelying on rhizomic,multiple, complex ,proximal and v...
Postmodern rhizomorphicstructured body -assemblage, fluidity &movement
roundness, links & fullnessGenetics the science of cloning, transplants andDNA, presents the body as a set of knottedrepla...
Postmodern rhizomorphic structured body-roundness, fluidity & knots
Postmodern     rhizomorphic structured     body -links, diagonals &     fluidity59
Postmodern     rhizomorphic     structured body -     roundness, links &     proximity     Keith Haring, 198860
Postmodern rhizomorphic structured bodies - proximity, roundness & links                                                  ...
Postmodern rhizomorphic structured bodies -fullness & roundnessGiving much importance to"roundness" which symbolic value i...
Thecoordinatesof the bodyPostmodernrhizomorphicstructured body-roundness &diagonals
Postmodern rhizomorphic structured body- roundness & assemblageBased on a "mix" of coordinates, "a connecting ofstems", a ...
Postmodern rhizomorphic structured body-roundness & knotted, linked together limbs, fluidity& movement.Although relying on...
Postmodern rhizomorphic structured body- diagonal segments~limbs &Post modern corporeality and its                        ...
Postmodern rhizomorphic structured body- transversal                                                    vectorialized knot...
Rhizomorphic or rhizomic corporeality               is not a new proposition. Already present in within              „Mode...
What, then, will be the visual translation of the new cultural postmodern  anatomy in the field of advertisement?Up to now...
If it continues to be “what sells”, onewill ask oneself what kind of images willadvertisement invent?To this question, an ...
Advertisement : visual translation
Thank You.Dr. Michal Popowsky
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  1. 1. MEDIA SPECIFICITY AND INTERDISCIPLINARITY, MAY 31− JUNE 4, 2009 YOLANDA AND DAVIDKATZ FACULTY OF THE ARTS, TEL AVIV UNIVERSITY, MEXICO BUILDING AND THE GENIA SCHREIBER, UNIVERSITYART GALLERY New cultural understanding of the signifier "corporeality“ Dr Michal Popowsky School of Arts and Technology, "Visual Literacy in Education", M.Ed. Graduate Program Kibbutzim College of Education, Technology and Arts
  2. 2. The “Freudian body is a 20th century westerncultural artifact.Based on Freuds theories, the “Freudian body”reflects a corporeal image which has exerted ahuge influence on the Imaginary of western menand women. For, by converting Freud’s thesisabout sexuality into an apparel of reference andan apparel of control, 20th century western The “Freudian Body”"Freudian culture" has produced images with Leo Bersaniwhich a whole population of men and womenhave identified. The identification with theFreudian model, its idea of sexuality and sexedbodies, was mostly a collective phenomenon. Assuch, it has influenced several generations ofmen and women. In other words, under theinfluence of Freudian-sexed-bodies-leadingprinciples, 20th century western men and womenredesigned their bodies and transformed it into a“Freudian body”.
  3. 3. The principles on which the collectiveidentification was based, were already presentin Freuds 5th conference entitled “Femininity”.In his conference, delivered in 1933, Freuddivides human sexuality into two categories:the positive [+] category and the negative [-]category.Referring respectively to man and to woman asmale and female, Freud asserted that male menwere to be referred to as [+phallus] and femalewomen as [-phallus]. For, according to Freud,men have what women do not have. Richard Hamilton “Just What is it that Makes Todays Home so Different so Appealing”, 1956Freud, Sigmund, 5th conference entitled “Femininity”, 1933
  4. 4. Modern corporeality the ‘strong’ straight vertical ascending phallic bodiesWhen western men andwomen started identifyingthemselves with the imageof the modern body, theyalso started requiring it forthemselves.Since the vertical linerepresented “Power”, bodiesof western modern men andwomen became straightvertical ascending bodies.Bodies which did not fit theFreudian model and the newmodern corporeal image Helmut Newtonwere considered powerlessand as such, bodies of no Modern femaleimportance, negligible and Body:Sumo6insignificant.
  5. 5. But, in 1980’s, few cultural phenomena pointed at a “Coupure” Fredrick Jameson“Postmodernism or the Cultural Logic of Late Capitalism”, 1991
  6. 6. According to Jameson, thesephenomena were the signs ofthe passage from modernity topost modernity in westerndeveloped countries. Based on anew order and a new deepstructure, in short, writesJameson, new superstructures,they reflected a new culturallogic.Fredrick Jameson, “Postmodernism or the CulturalLogic of Late Capitalism” , 1991« superstructural expression » :3
  7. 7. In its present state, the new cultural logic radically weakens the power and the influence of the fundamental principles of 20th century modernity. Among others, it weakens the symbolic power of the signifier "One" hereby replaced with "multiple" and "multiplicity", two of the signifiers on which the new post modern order and the new post modern reality rely. "Multi" becoming one of the main signifiers of the new post modern cultural logic, "multiple" and "multiplicity" imply a new reality which departs from the reality of the "grid", one of the basic fundamental concepts of 20th century modernity. Thus, the structure of the grid while replaced with net- structures of the type of the "rhizome", its replacement has led to a multiplicity of rhizomic structures.Lauren Berlant: “What does it matter who One is?” , Critical Inquiry: Vol “’, nb1, Autumn 2007Jameson, ibid: 2, « the nature of multinational capitalism today »Gilles Deleuze and Félix Guattari, 1980, Capitalisme et Schizophrénie, Milles Plateaux, Les Editions de Minuit:13-15Gilles Deleuze and Félix Guattari, ibid.:16
  8. 8. The new postmodern structure is therefore linked to the )1(« rhizome ».(1) Rhizome: Gilles Deleuze & Felix Guattari, 1980 , Capitalisme et Schizophrenie, 1000 Plateaux, Ed. du Seuil, Paris http://transcriptions.english.ucsb.edu/archive/courses/liu/english165HL/materials/class12notes.html#3
  9. 9. “Rhizome” is a philosophical concept developed by Gilles Deleuze and Félix Guattari in their Capitalism and Schizophrenia (1972- 1980) project. It is what Deleuze calls an "image of thought," based on the botanical rhizome, that apprehends multiplicities.http://en.wikipedia.org/wiki/Rhizome_(philosophy)http://transcriptions.english.ucsb.edu/archive/courses/liu/english165HL/materials/class12notes.html#3
  10. 10. “The rhizome itself assumes very diverse forms, from ramified surface extension in all directions to concretion into bulbs and tubers. “Deleuze & Guattari in A Thousand Plateaus: Capitalism and Schizophrenia [University of Minnesota Press, 1987-http://www.gseis.ucla.edu/courses/ed253a/kellner/deleuze.htmlhttp://transcriptions.english.ucsb.edu/archive/courses/liu/english165HL/materials/class12notes.html#3
  11. 11. Guggenheim Museum, Franck Gehry architect, 1997 The dominant visibility of the Guggenheim Museum in Bilbao, Spain, denotes the new post modern cultural logic .
  12. 12. It discloses a rhizomic structure.Guggenheim Museum, Franck Gehry architect, 1997
  13. 13. Relying on the new rhizomic structure and on the principles of its new aesthetics, the visibility of the Guggenheim Museum in Bilbao has transformed the Museum into a symptom of the time. It has transformed the Museum into a sign-building which dominates both the Bilbao local cultural scene and the international cultural scene.Guggenheim Museum, Franck Gehry architect, 1997
  14. 14. The Guggenheim Museum istherefore a model.It has become a reference for thosebuildings which have adoptedsimilar aesthetical values.Guggenheim Museum, Franck Gehry architect, 1997
  15. 15. “Multi" having become one of the main signifiers of the new cultural logic, "multiple" and "multiplicity" imply a new reality – a reality which dispels the "grid", one of the fundamental concepts of 20th century modernity. Jameson, ibid: 2, « the nature of multinational capitalism today » Gilles Deleuze and Félix Guattari, 1980, Capitalisme et Schizophrénie, Milles Plateaux, Les Editions de Minuit:13-15Guggenheim Museum
  16. 16. So, the new Visibility And its rhizomic structure is the sign of a ‘COUPURE’ or ‘BREAK’ …not only in Fredrick Jameson architecture but in Fashion as well.Fredrick Jameson, “Postmodernism or the Cultural Logic ofLate Capitalism” : 1991
  17. 17. For, the field of Fashion clotheshas adopted the new visibility, itsaesthetics and its radical spirit.In the 1990‘s, John Galliano andIssey Miyake designed outfitswhich structure was not withoutrecalling the structure of theGuggenheim Museum in Bilbao.John Galliano 1993
  18. 18. John Galliano & IsseyMiyakes outfits wereperformed according tothe new post moderncultural logic.Issey Miyake 1991
  19. 19. Towards the postmodern body Post modern Fashion clothes aesthetic is so different from the John Galliano & Issey aesthetic of modern clothes that, Miyakes outfits to understand its new logic and reflect Fashion POST the radical changes involved, one MODERN AESTHETICS needs to collect the aesthetic features which disclose the deep break between modern and post modern Fashion.
  20. 20. Towards the postmodern body Dominant post modern aesthetic parameters and characteristics in the field of fashion: •diagonal / transversal segments •Units •Super impositionsHere are some of the basic •Assemblagesdominant parameters and •Knotssome of the basic dominant •Round volumescharacteristics of post •stringsmodern outfits aesthetics: •Wraps •Ropes •Lumps • Bumps •One-sleeve outfits •Multi/plicity •movement •roundness
  21. 21. Towards the postmodern body Knots and Knotting Y. Yamamoto 2006
  22. 22. Towards the postmodern bodyKnots and Knotting Rei Kawakubo 1983
  23. 23. Towards the postmodern body ‫מקטעים אלכסוניים‬Diagonals/transversals segments Yohji Yamamoto 2008
  24. 24. Towards the postmodern body ‫מקטעים אלכסוניים‬Diagonals/transversals segments Yohji Yamamoto 2008
  25. 25. Towards the postmodern body ‫מקטעים אלכסוניים‬Diagonals/transversals segments Yohji Yamamoto 2008
  26. 26. Towards the postmodern bodyAssemblage‫יחידות מחוברות‬Linked units Vivienne Westwood 2007
  27. 27. Towards the postmodern bodyAssemblage‫יחידות מחוברות‬Linked units Vivienne Westwood 2007
  28. 28. Towards the postmodern bodyAssemblage‫יחידות מחוברות‬Linked unitsY. Yamamoto2007
  29. 29. Towards the postmodern bodyAssemblage‫העמדה של יחידה ביחס ליחידה אחרת‬or Super imposed units /super-impositionsY. Yamamoto 2000
  30. 30. Towards the postmodern bodyAssemblage‫העמדה של יחידה ביחס ליחידה אחרת‬or Super imposed units /super-impositionsVivienne Westwood 2006
  31. 31. Towards the postmodern bodyAssemblage‫העמדה של יחידה ביחס ליחידה אחרת‬or Super imposed units /super-impositionsVivienne Westwood 2006
  32. 32. Towards the postmodern body Assemblage super-impositions - ‫העמדה של יחידה ביחס ליחידה אחרת‬ Y. Yamamoto 2000
  33. 33. Towards the postmodern bodyMultiplicity - ‫ריבוי‬Viktor and Rolf, 2003
  34. 34. Towards the postmodern body‫עגול ועיגוליות‬RoundnessHussein Chalayan, 2000
  35. 35. Towards the postmodern body‫עגול ועיגוליות‬Roundness Viktor & Rolf 1998-99
  36. 36. Towards the postmodern body‫עגול ועיגוליות‬Roundness Rei Kawakubo,Comme des Garçons 2003
  37. 37. Towards the postmodern body‫עגול ועיגוליות‬RoundnessAnn Sofie Back 2007
  38. 38. Towards the postmodern bodyStrings, Links and LinkingAnn Sofie Back 2007
  39. 39. Towards the postmodern bodyLumps“Lumps“were placed on different parts of the body - from bottom to top, front and back, on the waist, the hips, the belly, the buttocks and the shoulders.Rei Kawakubo 1997
  40. 40. Towards the postmodern bodyLumps When Kawakubo created her novel radical proposals, thus replacing modern clothes , she did not perform “superficial” or surface changes – such as change in colors, fabrics and length - but deep structural changes in relation to bodies. Her corporeal alternative has been an issue in the field of Fashion since the 1980s. Rei Kawakubo1997
  41. 41. Towards the postmodern bodyLumps Rei Kawakubo1997
  42. 42. Towards the postmodern bodyLumps Rei Kawakubo1997
  43. 43. Towards the postmodern bodyBumpRei Kawakubo1997
  44. 44. Towards the postmodern body U:phoria architecture+design payed tribute to “Comme des Garcons” 1997 idiosyncratic collectionThe studio of U:phoria architecture+design embarked on an exploratory journey to study the parallel practices in fashion andarchitecture, with inspiration drawn from Comme des Garcons‟ Spring/Summer 1997 “Bump & Mind” Collection.www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=11104
  45. 45. Thus, when in the 1980s and the 1990s,a critical approach to the “Freudianbody” was initiated by artists anddesigners, a new cultural understandingof the human body, which extent, thoughlimited, has reduced neither itsimportance nor its influence and itsquality; was launched.Based on a new cultural logic , this newpost modern cultural understanding ofthe human body has weakened andtherefore limited the power of theFreudian corporeality and its impact onwestern men and women.
  46. 46. "‫"נטולי המכנסיים‬Men’s Proximal fashion No trousers It is in the context of this new corporeality that post modern fashion designers presented their men’s collections which radical aspect consisted in that they included no trousers or pants. By eliminating the trousers from men’s collections, not only did post modern fashion designers show that they rejected the Freudian masculinity of male men and its phallic or phallo-centric Power; but that they were willing to relate to or, eventually, to define a new masculinity which basis would no longer be the signifier ‘penis/phallus’ and its metonymic generic corporeal image. Rei Kawakubo, Comme des Garçons 2009
  47. 47. Men’s Proximal fashion "‫"נטולי המכנסיים‬ No trousers Wrapped in the new sartorial proposals, from waist to hips and legs, men were not presented as “female” or as “feminine” but rather as proximal. Mens new proximal identity denoting mens proximity to women was defined in terms of similarity not only in the field of Fashion clothes but in the domain of the corporeal. Etro 2009
  48. 48. Men’s Proximal fashion "‫"נטולי המכנסיים‬ No trousers VivienneWestwood 1997-98 Vivienne Westwood 2005-6 diagonal VivienneWestwood 2005
  49. 49. Men’s Proximal fashion ‫קיצור המכניסים‬ Shortened pants RoundnessKnots & Knotting Vivienne Westwood 2005-6
  50. 50. Men’s Proximal fashion ‫קשירה וקשרים‬ Knots & KnottingKnots & Knotting Vivienne Westwood 2005-6
  51. 51. Men’s Proximal fashion ‫שרוול יחיד‬ One-sleeve Vivienne Westwood 2005-6
  52. 52. Towards the postmodern bodySo, one can therefore ask: Who are the men and the women who wear, or will wear, the new diagonal rhizomic knotted post modern sartorial proposals or outfits? Who are those men and women who will wear the Lumps and the Bumps that Kawakubo has designed?
  53. 53. The answer is: post modern men and women. For, post modern men and women have accepted the idea that they have the power to change the structure of their body and construct a new body. Since, they relate to each limb and each organ as to an individual independent separate organic item, they feel free to transform each limb and each organ, in terms of dimensions, volumes, textures, forms. Reducing they buttocks, flattening their belly, increasing the volume of their breast, diminishing the volume of their breast, expanding the volume of their lips, stretching the skin of their arms, straightening their nose, implanting new teeth, they have been given - thanks to the new technological and technical developments in the field of cosmetics plastic surgery - the choice and the power to enhance their visibility and therefore their look.
  54. 54. The post modern body is therefore no longer a homogeneous body . It is not a vertical body responding to the modern principle of the "One". It is not even a "natural" body relying on the concept of "Nature" and "natural" anatomy. The post modern body is the result of linked together individuated segments-limbs. It is therefore a construct. As a constructed body based on the principle of "assemblage" of knotted body segments, knots acting as "connexions"; the post modern corporeality is necessarily rhizomic. Here are some examples which will help understand what the post modern body is like:
  55. 55. Postmodern rhizomorphic structured body- multiplicity & proximityRelying on rhizomic,multiple, complex ,proximal and variablestructures, the postmodern corporealitydiscloses a new culturalreality of the body
  56. 56. Postmodern rhizomorphicstructured body -assemblage, fluidity &movement
  57. 57. roundness, links & fullnessGenetics the science of cloning, transplants andDNA, presents the body as a set of knottedreplaceable limbs~ organs
  58. 58. Postmodern rhizomorphic structured body-roundness, fluidity & knots
  59. 59. Postmodern rhizomorphic structured body -links, diagonals & fluidity59
  60. 60. Postmodern rhizomorphic structured body - roundness, links & proximity Keith Haring, 198860
  61. 61. Postmodern rhizomorphic structured bodies - proximity, roundness & links These examples show that the new postmodern cultural logic cannot reiterate the rupture between women and men as stated by Freuds theories. Thus, after he integrated the concept of “phallus” into the register of the Symbolic, Lacan stated that "there is no woman“ . Indeed, in the post modern cultural logic, there is no "woman". Not only because the signifier lack on the basis of which the Henri Matisse, The signifier woman used to be defined - is no Dance, 1909/10 longer a leading signifier but because men and women now share a proximal full complete entire rhizomic body, a corporeality which leaves open the concept of mens and womens “sexuation” or sexual identity. 61 "Il ny a pas la femme", Encore, Séminaire XX, p:68
  62. 62. Postmodern rhizomorphic structured bodies -fullness & roundnessGiving much importance to"roundness" which symbolic value is"fullness“ , the corpo-reality of postmodern time has a goal.Its aim is, while redefining men‘s andwomen ‘s proximal identities, notonly to dispel a sexually orientedapproach to the bodies but toeliminate the binary logic basedFreudian corporeality herebyreplaced with a horizontalcombination of "coordinates" - "Thecoordinates of the body".Deleuze & Guattari ,A Thousand plateaus, ibid:176 Eric Fischl, 1982
  63. 63. Thecoordinatesof the bodyPostmodernrhizomorphicstructured body-roundness &diagonals
  64. 64. Postmodern rhizomorphic structured body- roundness & assemblageBased on a "mix" of coordinates, "a connecting ofstems", a "knot of arborescence", a "multiplication"and a "proliferation", a "deterritorialization "of theorganic body "pushed towards a new threshold", thenew post modern corporeality has become apolyvocal rhizomatic corpo-reality.quotes: Deleuze & Guattari, A Thousand plateaus
  65. 65. Postmodern rhizomorphic structured body-roundness & knotted, linked together limbs, fluidity& movement.Although relying on virtuality, thisnew corporeality is neverthelessreal.It is real not only because it relieson the experience of the subject butbecause it responds to the newsuperstructures of the time.As a cultural artifact, the postmodern corpo-reality is not only theresult of what psychoanalysis calls asubjects "fantasy" but the result ofa subjects deep structural program. ….the fluid round, full, complete curvilinear corporeal image has eliminated the Freudian metonymic linear vertical ascendant corporeality
  66. 66. Postmodern rhizomorphic structured body- diagonal segments~limbs &Post modern corporeality and its their assemblagemultiple generated bodies are thereforepolitical.They "outline particular assemblage ofpower": the power of "late Capitalism"and its fluid monetary masses, thepower of globalization and its geo-economic reality.These "very specific assemblages ofpower impose signifiance andsubjectification as their determinateform of expression" write Deleuze andGuattari.For, according to Deleuze and Guattari,"There is no significance without adespotic assemblage, no mixture of thetwo without assemblage of power thatact through the signifiers and act uponsouls and subjects."
  67. 67. Postmodern rhizomorphic structured body- transversal vectorialized knotted limbsThis is why, by reproducing the idea of"assemblage" and generating rhizomic postmodern bodies, post modern subjects create"assemblages capable of plugging intodesire".Performing their postmodern body accordingto their desire, desire becomes the engine ofpost modern subjects and generates thecombination of the coordinates of the postmodern body.Desire, therefore, "opens a rhizomatic realmof possibility effecting the potentialization ofthe possible". It allows the body to jump – Iquote Deleuze and Guattari - "from theorganic strata to the strata of significance andsubjectivization". As such, it leads to rhizomic,variable and unpredictable bodies.A Thousand Plateaus, ibid:166A Thousand Plateaus, ibid:190A Thousand Plateaus, ibid:181
  68. 68. Rhizomorphic or rhizomic corporeality is not a new proposition. Already present in within „Modernity‟, its status however, has changed. For although its image is not yet the image the majority identifies with, it nevertheless reflects a new …. ….dominant cultural understanding of bodies. Quoting Jameson [1], we shall say that the rhizomorphic or rhizomic postmodern corporeal image has become a “cultural dominant”. [1] Postmodernism or the Cultural Logic of Late Capitalism, 1991
  69. 69. What, then, will be the visual translation of the new cultural postmodern anatomy in the field of advertisement?Up to now, advertisement has shown images of women with open legs, open mouth and indirect "seducing" look. Be they dressed or naked or in between these two situations when wearing bathing suit, bras or knickers, women were photographed on the basis of the “Freudian body”. So were men, virile or not.But now, when women‟s and men‟s cultural anatomy has become full, fluid, round, rhizomic, multiple and when the symbolic position of men and women has been redefined as proximal; new images are required.
  70. 70. If it continues to be “what sells”, onewill ask oneself what kind of images willadvertisement invent?To this question, an answer has alreadybeen given by Vodka Absolute.
  71. 71. Advertisement : visual translation
  72. 72. Thank You.Dr. Michal Popowsky

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