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This book explores the potential of specific photographic images
for reflecting on experiences of mental disorders. Instead of
looking at photographs of (people suffering from) mental disorders,
this volume aspires to comprehend the complexities of such
conditions through photographic lexicons, metaphors, and practices.
For this book, a mental disorder is not to be seen as a dysfunction
or impairment, but a state in which the sustaining balance of
stable and unstable mind is unsettled, which may induce
mental/bodily disturbances. The term "psychosomatic" refers to the
interaction of the mind (psyche) with the body (soma); it refers to
their co-dependence. By the term "Psychosomatic Imagery" this
volume refers to a distinctive trope of photographic images that
deal with the body-mind interaction during the states of mental
disorders. This novel theoretical framework in photography theory
instigates critical discussions about the experiences of mental
disorders visualized as disturbed corporeal and mental perceptions
of the world. While the introduction of the volume unpacks and
assesses the applications of photography in mental disorder studies
from theoretical and historical perspectives, the chapters focus on
specific cases of Psychosomatic Imagery in contemporary
photography. Those cases include, but are not limited to: PTSD,
hysteria, paranoia, psychosis, bipolar disorder, and Hikikomori.
The abundance of images in our everyday lives—and the speed at
which they are consumed—seems to have left us unable to critique
them. To rectify this situation, artists such as Daniel Richter,
Jaune Quick-to-See Smith, and Artur Zmijewski have demonstrated
that painting is brilliantly equipped to produce ‘slow images’
that enable, encourage and reward reflection. In this book, Helen
Westgeest attempts to understand how various forms of slow painting
can be used as tools to interrogate the visual mediations we
encounter daily. Painting was expected to disappear in the digital
age but, through interactive painting performances and
painting-like manipulated photographs and videos, Westgeest shows
how photography, video and new media art have themselves developed
the visual strategies that painting had already mastered. Moreover,
the fleeting nature of digital mass media appears to have unlocked
a desire for more physically stable and enduring pictures, like
paintings. Slow Painting charts how, in a world where the constant
quest for speed can leave us exhausted, the appeal of this
‘slower medium’ has only grown.
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