[Commlist] Call for Papers - international conference Bodies, Arts, and Media: (Re)Configurations in the Digital Era

***


The *IRMÉCCEN* (Sorbonne Nouvelle University) and *LabSIC* (Sorbonne 
Paris Nord University) laboratories, *research committees 14* (Sociology 
of Communication, Knowledge, and Culture), *37* (Sociology of the Arts), 
and *54* (The Body in Social Sciences) of the *International 
Sociological Association (ISA)*, as well as *research committees 38* 
(Socio-anthropologie Politique: Médias et Cultures) and *33* (Sociologie 
de la Communication et du Numérique) of the *Association Internationale 
des Sociologues de Langue Française (AISLF)*, the *Cité du Genre*, and 
the *Groupe de Travail “Genre et Espace Numérique” *of the *Centre 
Internet et Société (CNRS)*, are jointly organizing the bilingual 
(French and English) international conference entitled */“Bodies, Arts, 
and Media: (Re)Configurations in the Digital Era”/*.

The body is both a physical and symbolic entity that characterizes the 
human being (Le Breton, 2008). Although it is a private possession where 
the most intimate biological and psychological activities of social 
beings are expressed, it also serves as an artifact through which 
individuals interact with the world and their peers. >From this 
perspective, the body is influenced and shaped by social norms and 
cultural discourses (Butler, 1993). These factors play a significant 
role in society by setting specific expectations for the human body, 
encouraging the construction of certain body types over others, and 
shaping the relationships individuals are expected to maintain with 
their own bodies. Thus, the body is subject to permanent norms and 
injunctions, which vary according to different forms of marginalization 
(gender, class, race, sexuality, age, etc.), contributing to the 
formation of bodies that are considered more or less legitimate[1] 
(Larochelle and Bourdeloie, 2023).

Unlike other concepts such as 'patriarchy' or 'gender,' which have 
sparked considerable debate in gender studies, the notion of the 'body' 
was long neglected by researchers in this field (Canning, 1999). 
Although often implicitly present in studies related to subjects such as 
reproduction, beauty, prostitution, and witchcraft, the body only truly 
emerged as a subject of study in the 1980s (Turner, 1996).

As a site where power is exercised and manifested, but also contested 
and resisted (Foucault, 1975), the body has been the subject of much 
reflection and debate within gender studies (e.g., Ahmed, 2006; Alcoff, 
2006; Bartky, 2020; Bordo, 2004; Davis, 1995; Haraway, 1991; hooks, 
1992; McRobbie, 2008; Mulvey, 1975; Rich, 1980; Showalter, 1997; Wolf, 
1991). It participates in the ritualization of femininity (Goffman, 
1959) and the construction and mediation of masculinities (Connell, 
1995), playing an essential role in gender performance and its 
deconstruction (Butler, 1990, 1993; Halberstam, 1998, 2011; Halperin, 
2002; Jagose, 1997; Kosofsky Sedgwick, 1990; Lorber, 1993; Rubin, 2006; 
Wilchins, 2002).Feminist studies have long examined representations of 
bodies in the arts and cultural industries, highlighting how these 
representations contribute to the normalization of certain bodily norms 
such as beauty, thinness, youth, and validity. They also underscore the 
objectification of individuals, particularly women, which often impacts 
how individuals perceive their own bodies (Clark, 1972; Davis, 2003; 
Gill, 2006; Gill and Scharff, 2011; Gimlin, 2002; Grogan, 2016; hooks, 
1995; Kilbourne, 2000; Merleau-Ponty, 2002; Paasonen, 2018; Thompson, 
1994). However, it is important to emphasize that representation 
constitutes a site of conflict between dominant and subaltern actors 
(Macé, 2006). From this perspective, several case studies of bodily 
representations confirm that the media are both instances of 
/invisibilization/ and /visibilization/ (Voirol, 2005) of “illegitimate” 
bodies (Koch-Rein et al., 2020; McLaren et al., 2021; Capuzza and 
Spencer, 2017). It also emerges that the body constitutes a site where 
gender norms are destabilized (e.g., Atkinson, 2014; Preez, 2009; 
Kalogeropoulos Householder and Trier-Bieniek, 2016; Lapeyroux, 2023).

The analysis of bodily representations through the arts and cultural 
industries is a profoundly political undertaking. The body, especially 
that of people marginalized by prevailing social relations (e.g., 
gender, race, ableism), often falls under specific forms of knowledge 
that legitimize prevailing social norms (Foucault, 1975). It becomes the 
object of medicalization and pathologization in the public space 
(Bartky, 2020; Showalter, 1997; Stoll and Egner, 2021). This is 
particularly evident in the cultural industries, which then reinforce 
the existing power relations (Farrell, 2011; Wykes and Gunter, 2005). 
Moreover, the body serves as a physical vector through which individuals 
express their political identities or challenge established norms 
(Waskul and Vannini, 2020). In this way, the body becomes a site of 
political struggle (Turner, 1996). Far from being immune to political 
and social ideologies, media representations of the body can be 
instrumentalized to influence public perceptions of political issues 
(Grimes et al., 2008; Gamson, 1998).

Beyond representations of the body in the arts and media, the body plays 
a central role as both a medium and site of artistic performance 
(Goldberg, 2011; Jones, 1998; Jones and Stephenson, 1999; Jones and 
Warr, 2006). Various art forms, such as dance, fashion, and theater, 
have long been arenas where gender is both performed through the body 
and challenged, offering spaces of resistance against oppressive gender 
norms (Banes, 1987; Geczy and Karaminas, 2023; Halberstam, 2011; 
Hausman, 1995). Although the body is today a widely explored object of 
study, the rapid evolution of digital technologies and artificial 
intelligence (AI), as well as the changes they bring to the arts and 
cultural industries, present numerous challenges that require in-depth 
reflection by researchers in the humanities and social sciences.

Digital technology, a double-edged sword (Bourdeloie, 2021), contributes 
to amplifying and multiplying hegemonic discourses, particularly 
regarding body standards (Tiggemann and Slater, 2013), yet it also helps 
counteract them (Larochelle and Bourdeloie, in press). Digital platforms 
cannot be considered neutral; they are often biased by algorithms that 
favor the propagation of images conforming to dominant beauty ideals, 
thus perpetuating the marginalization of bodies deemed “outside the 
norm” (Ekström, 2021). Exposure to such discourses significantly affects 
the social subjects who encounter them. Existing literature demonstrates 
that exposure to idealized body images on digital platforms negatively 
impacts the body perception of social subjects, particularly women 
(Fardouly and Vartanian, 2016; Holland and Tiggemann, 2016; Rodgers and 
Melioli, 2016). At the same time, these platforms provide a space for 
the dissemination of pathologizing discourses about the body (Barker et 
al., 2018; boyd, 2014; Yeshua-Katz and Martins, 2013). However, digital 
platforms also offer a space where injunctions to normativity can be 
contested, as evidenced by self-acceptance movements (e.g., body 
positivity[2], skin positivity[3], hair positivity[4]) and trends such 
as #whatIeatinadayasafatwoman[5] and #celebratemysize, which have 
proliferated online since the 2010s (Sastre, 2014).

Digital technologies also reinforce body self-monitoring, notably 
through the proliferation of digital platforms, wearable devices, and 
other digital tools (Almalki et al., 2017; Ford and De Togni, 2021; 
Lupton, 2016; Sharon and Zandbergen, 2017). Empirical studies have shown 
that self-monitoring apps reinforce body stigmas (Ward et al., 2017) by 
propagating conventional standards of appearance and well-being 
(Ruckenstein and Pantzar, 2017). These apps impact self-image and 
individuals' relationships with their bodies (Fletcher, 2023). 
Conversely, empirical studies have also demonstrated that social 
subjects develop resistance strategies against the body surveillance 
imposed by digital technologies (Goodyear et al., 2017).

 From an interdisciplinary and transdisciplinary perspective, this 
conference aims to bring together researchers from diverse disciplines 
such as sociology, information and communication sciences, gender 
studies, cultural studies, anthropology, history, computational 
sciences, political science, and others. It seeks to explore reflections 
on bodies in the arts and media in the digital age. We strongly 
encourage research that adopts an intersectional perspective and 
intersects various social relations of oppression (e.g., gender, 
sexuality, class, race, ableism, ageism). Papers may focus on (but are 
not limited to) the following themes:

*Representations and discourses*

Research in this area aims to analyze representations and discourses 
about the body in the arts and media in the digital age. In addition to 
traditional arts and media, this area also explores the transformations 
brought about by the development of digital cultural industries and 
technologies. Areas covered include information media, /mediacultures/ 
(Maigret and Macé, 2005), the arts, fashion, and popular culture. 
Similarly, proposals may examine the construction of discourses and 
representations in digital media and institutional settings, such as the 
medical profession. Specifically, proposals may explore how these 
discourses and representations contribute to the pathologization of 
minority and dysmorphic bodies—bodies that deviate from prevailing 
bodily norms—and to the perpetuation of bodily normativity and 
normalization.

*Reception/uses*

This area focuses on studying how representations and discourses about 
the body are perceived and appropriated by audiences, broadly including 
users (followers, etc.) of digital platforms, audiences of so-called 
traditional media, and digital communities. The aim is to explore the 
effects of these representations and discourses on individuals' 
self-esteem and body image, as well as the tactics and strategies of 
resistance, reversal, or circumvention implemented by audiences and 
users to question and deconstruct diktats related to the body. In 
particular, we are interested in studies focusing on the ways in which 
bodies can be vehicles for political and subjective statements.

*Platform design and the co-construction dynamics of bodily norms*

This area focuses on the analysis of technological devices as sites 
where bodily norms are produced, constructed, and contested. In 
particular, it examines how the design - architecture, interface, 
functionalities, visual appearance, accessibility, power dynamics, 
discrimination bias, and technological transparency - of digital devices 
(such as mobile health/wellness applications, platforms, social media, 
and websites) contributes to producing and reproducing bodily norms. It 
involves interrogating the co-construction of devices and norms by 
considering the reciprocal interactions and dynamics between humans and 
“non-humans” in this process (Boullier, 2018).

*Performance in the digital age*

The body plays a central role as a tool for performance, with the notion 
of "performance" encompassing both artistic and identity-related 
aspects. This approach aims to examine how individuals perform and/or 
deconstruct social identities through their bodies and subversive 
practices (e.g., drag) and how these performances manifest in a digital 
context. Additionally, this approach examines transformations in 
performance art. For example, some musicians plan to perform on stage as 
holograms, thus perpetuating the musical experience despite their aging 
(Guibert, 2024). This development raises questions about the influence 
of technological tools on artistic performance and how it is 
experienced, appropriated, and interpreted by the audiences it reaches.

*Epistemology, methods, and ethics*

This line of inquiry focuses on the analysis of the body as an 
epistemology, a method of investigation and inquiry, an observable and a 
reflexive “tool” in ethical matters. Bodies reflect moral and hygienic 
norms but are also sites of power—subject to legislative, moral, social, 
and health concerns—and thus serve as instruments for analyzing social 
phenomena (Canning, 1999). The body therefore serves as a method for 
analyzing social change in the public arena (ibid.). We are also 
concerned here with the epistemological, ethical, and methodological 
issues involved in analyzing the social aspects of the body.

*_Submission guidelines:_*

Paperproposalsshouldnotexceed*500words(excludingbibliography)*andshouldbesubmittedinEnglishorFrenchby*June1^st 
,2024*(tobodiesartsandmedia /at/ gmail.com) <mailto:(bodiesartsandmedia /at/ gmail.com)>

Responses to paper proposals will be sent by e-mail on July 1^st , 2024.

_Format:_

Thefileshould 
besentindocorodtformatandentitledNAME_Firstname_TitleOfTheCommunication_CONUM2024.

This     document        will      contain the       following:       
names, last names, emails, affiliations, title ofpaper,abstract́.

_Conferencedates_: 5 – 6 December, 2024

_Conference venue_: Maison de la recherche (4, rue des Irlandais 75005, 
Paris - France), “Claude Simon” room



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  _Membersofthescientificcommittee:_

Helena ALVIAR,SciencesPo

Simon APARTIS,CentreInternetetSociété,CNRS

Audrey BANEYX,Sciences Po

Philippe BOUQUILLION, Sorbonne Paris Nord University

Hélène BOURDELOIE, Sorbonne Paris Nord University

Hélène BREDA,SorbonneParisNord University

Solenne CAROF,SorbonneUniversity

Omar CERILLO,MonterreyInstituteofTechnologyandAdvancedStudies,Sociology

Christiana CONSTANTOPOULOU,PanteionUniversity

Laurence CORROY, University of Lorraine

Jérôme COURDURIÈS,ToulouseJeanJaurèsUniversity

Sophie DUBEC,SorbonneNouvelleUniversity

Delphine DUPRÉ,SorbonneNouvelleUniversity

Dulce MariaFILGUEIRADEALMEIDA, University ofBrasília

Gérôme GUIBERT,SorbonneNouvelleUniversity

Lena HÜBNER,University ofOttawa

Nicole JENKINS, Howard University / Harvard University

Rym KIRECHE-GERWIG,CELSA

Joëlle KIVITZ,UniversitéParisCité

Natacha LAPEYROUX, UniversitéLibredeBruxelles

Dimitra Laurence LAROCHELLE, Sorbonne Nouvelle University

Éric MAIGRET, SorbonneNouvelleUniversity

Mélanie MILLETTE, Université du Québec à Montréal

Camila MOREIRA CESAR, Sorbonne Nouvelle University

Nelly QUEMENER, CELSA

Ilaria RICCIONI,FreeUniversityofBolzano

José RUIZ SAN ROMAN, Complutense University of Madrid

Zeineb TOUATIBENALI, NantesUniversity


------------------------------------------------------------------------

[1]Illegitimate bodies can be those that carry a stigma (disabled, 
trans, fat, skinny, sick, etc.); in other words, any mark of difference 
likely to discriminate against an individual. These bodies tend to be 
invisibilized in contemporary societies (Botta, 2000). However, the same 
cannot be said of dominant bodies (white, thin, able-bodied, 
heterosexual, etc.).

[2]The movement in question aims for the acceptance and appreciation of 
all human bodies. Its originslie in the /Fat Acceptance /movement, which 
emerged in the United States in the 1960s. This 
movementadvocatedrespectforthe rightsofoverweightpeople (Wann, 2009).

[3]The"skinpositivity"movementpromotesacceptanceandappreciationofallskintypes.

[4]The "hair positivity" movement promotes acceptance and appreciation 
of all hair types.

[5]What I Eat in a Day" content contains normative messages about diet 
and weight (Pfender et al., 2023), often encouraging dieting and body 
monitoring, as well as idealizing bodies that conform to prevailing 
beauty standards (e.g., "what I eat in a day as a model", etc.). 
However, in an effort to subvert the stigma attached to corpulence, 
larger content creators produce content such as "What I eat in a day as 
a fat woman". Such content seeks to offload the moral aspect often 
associated with foods labeled as "bad", as well as the guilt that 
accompanies their consumption. The aim is to shed light on everyday 
eating practices that depart from diet culture (Larochelle and 
Bourdeloie, in press).


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