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In this book, Nick Crossley explores the concept of reflexive embodiment ? how we, as embodied beings, reflect upon our own embodiment. He considers the ways in which we modify and maintain our bodies, from brushing our teeth and washing our faces through to tattooing and bodybuilding. Some forms of ?body work? are demanded by social conventions; others represent legitimate choices, and others still deviate from or resist the norm. He argues that a proper understanding of reflexive embodiment must be alert to these differences, and that we must appreciate that our bodies are not passive or inert substances that we can mould as we like. They change in ways that we do not intend and of which we are not aware, and they may prove difficult to change in the ways we do intend. Many theorists in sociology offer perspectives on the link between society and body modification, mostly focused in one way or another upon ?modernity?. Reflexive Embodiment in Contemporary Society reviews this literature, evaluates competing claims and suggests an alternative approach. Nick Crossley contends that existing perspectives are very selective in the range of modification practices they focus upon and in their conception of both modernity and its effects upon the body. While various theories identify clusters of modification practices and link them to aspects of modernity, there has been no systematic attempt to combine these partial accounts into a coherent vision. This book provides such a vision and offers a major contribution to the sociology of the body.
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Video is an electronic medium, dependent on the transfer of electronic signals. Video signals are in constant movement, circulating between camera and monitor. This process of simultaneous production and reproduction makes video the most reflexive of media, distinct from both photography and film (in which the image or a sequence of images is central). Because it is processual and not bound to recording and the appearance of a "frame," video shares properties with the computer. In this book, Yvonne Spielmann argues that video is not merely an intermediate stage between analog and digital but a medium in its own right. Video has metamorphosed from technology to medium, with a set of aesthetic languages that are specific to it, and current critical debates on new media still need to recognize this. Spielmann considers video as "transformation imagery," acknowledging the centrality in video of the transitions between images--and the fact that these transitions are explicitly reflected in new processes. After situating video in a genealogical model that demonstrates both its continuities and discontinuities with other media, Spielmann considers three strands of video praxis: documentary, experimental art, and experimental image-making (which is concerned primarily with signal processing). She then discusses selected works by such artists as Vito Acconci, Ulrike Rosenbach, Joan Jonas, Nam June Paik, Peter Campus, Dara Birnbaum, Nan Hoover, Lynn Hershman, Gary Hill, Steina and Woody Vasulka, Bill Seaman, and others. These works serve to demonstrate the spectrum of possibilities in video as a medium and point to connections with other forms of media. Finally, Spielmann discusses the potential of interactivity, complexity, and hybridization in the future of video as a medium.
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America's rapid and drastically changing demographics pose new challenges to society and particularly to the workplace. Taking as their theme that "The only antidote to stereotyping and discrimination is to know each other as individuals," the authors look carefully at the direction in which America is heading demographically and where it will be in the 21st century. They discuss what the workplace will be like and how it will be affected by the characteristics of the people who will comprise it. The essence of the problem, say the authors, is communication--the face-to-face interaction between people of different ethnicities, races, and genders. They may be speaking to each other but are not being heard. Exploring the relationship between culture, communication and management, this new research in management introduces and applies the theory of 'Reflexive Communication' and the microskills necessary for using it in day-to-day work situations. The authors lay out the patterns of culture-specific values and behaviors of the major demographic groups in the workplace--white males, women, African-Americans, Hispanics, and Asian Americans. In each of these chapters the authors apply their theory and show step-by-step how individuals within each group can be accessed and trained by the precepts of 'Reflexive Communication'. The book concludes with a thoughtful examination of the future of diversity and diversity training in America and reasserts the need for people of differing cultures to find ways to work together, not only for their own personal benefit, but for the benefit of their workplaces and organizations.
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