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 This book explores the intersections between wearable
objects and human health, with particular emphasis on how artists
and designers are creatively responding to and rethinking these
relations. Addressing a rich range of wearable artefacts, from
mobility aids and prosthetics to clothing and accessories to
digital health tracking devices, its themes include care and cure;
wellness culture and the commoditization of health; and the complex
interactions between (human) bodies and (non-human)
objects. With a theoretical framework inspired by the work of
materialist thinkers including Sherry Turkle, Bruno Latour and Jane
Bennett, and bringing the disciplinary fields of fashion studies,
art and design practice, and medical and health humanities into
dialogue for the first time, this volume draws attention to the
complex agencies entangled in the things we wear, and situates
fashion and art in relation to broader cultural and historical
contexts of health, illness and disability. Â
Consuming the Body examines contemporary consumerism and the
commodified construction of ideal gendered bodies, paying
particular attention to the new forms of interaction produced by
social networking sites. Describing the behaviours of an ideal
neoliberal subject, Woolley identifies modes of discipline, forms
of pleasure, and opportunities for subversion in an examination of
how individuals are addressed and the ways in which they are
expected to respond. Key modes of address that compel the consumer
to consume are: sadistic commands communicated in adverts, TV
programmes and magazine articles; a fetishistic gaze that dissects
the body into parts to be improved through commodification; and a
hystericized insistent presence that compels the consumer to
present their body for critique and appreciation that is
exemplified in the selfie. Woolley interprets the visual
characteristics of different types of selfies, including
#fitspiration, #thinspiration, #fatspiration, and #bodypositivity
to understand how they relate to current body ideals. Healthism and
culture bound illnesses such as hysteria and eating disorders are
examined to demonstrate the impact of commodified body ideals on
consumers’ bodies. An analysis of thinspiration images
(photographs of emaciated bodies shared on pro-eating-disorder
blogs and websites) suggests that the anorexic body represents the
logical (and fatal) end point for the idealised body in consumer
culture. Fat acceptance selfies suggest there is a fourth mode of
address, empowering presence that has the potential to liberate
consumers from the ‘trap of visibleness’ produced by the other
three modes of address. In conclusion, the book identifies some
creative methods for producing selfies that evade commoditisation
and discipline.
Consuming the Body examines contemporary consumerism and the
commodified construction of ideal gendered bodies, paying
particular attention to the new forms of interaction produced by
social networking sites. Describing the behaviours of an ideal
neoliberal subject, Woolley identifies modes of discipline, forms
of pleasure, and opportunities for subversion in an examination of
how individuals are addressed and the ways in which they are
expected to respond. Key modes of address that compel the consumer
to consume are: sadistic commands communicated in adverts, TV
programmes and magazine articles; a fetishistic gaze that dissects
the body into parts to be improved through commodification; and a
hystericized insistent presence that compels the consumer to
present their body for critique and appreciation that is
exemplified in the selfie. Woolley interprets the visual
characteristics of different types of selfies, including
#fitspiration, #thinspiration, #fatspiration, and #bodypositivity
to understand how they relate to current body ideals. Healthism and
culture bound illnesses such as hysteria and eating disorders are
examined to demonstrate the impact of commodified body ideals on
consumers’ bodies. An analysis of thinspiration images
(photographs of emaciated bodies shared on pro-eating-disorder
blogs and websites) suggests that the anorexic body represents the
logical (and fatal) end point for the idealised body in consumer
culture. Fat acceptance selfies suggest there is a fourth mode of
address, empowering presence that has the potential to liberate
consumers from the ‘trap of visibleness’ produced by the other
three modes of address. In conclusion, the book identifies some
creative methods for producing selfies that evade commoditisation
and discipline.
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