ࡱ> -/,%` U bjbj"x"x 4@@U@@@@ L  ddddd???  $?h. \ ??\ \ . ddC  \ Xdd \   dX wh/@   Y 0 W W PW4 ?h 9T???. . ??? \ \ \ \ || Re- enacting a mourning Barbara Formis University of Paris 1 - Pantheon-Sorbonne, France The body is supposed to be the site of emotional expression, the instrument through which our feelings become visible in the social world. However if certain emotions, such as terror and sorrow, are re-enacted (that is reintegrated in a structured form) some non expressive qualities can arise. For example, the intersujective character of grief can emerge beyond individual and cultural differences. We propose to investigate the aesthetic and moral value of re-enactment via the study of Lakonikon (2004) a video-performance of Pia Lindman. For this work, the artist collected hundreds of photos from issues of The New York Times dating from September 11th 2002 to September 10th 2003. All of these photos portrayed people in gestures of mourning after terrorist attacks, whether they be in Tchechnya, Israel or America. The artist then re-enacted each of these gestures in front of a camera, wearing grey clothes, with no expression on her face. Can pain and suffering be re-enacted? What interest would there be in repeating the gestures of mourning? A phenomenological examination of this art piece reveals the perceptual consequences of choosing a procedure where re-enacted gestures are extrapolated from their original context and chained together into a series. *S[T U h hL\]hL\]_H hL*\]T U dgdQq d`gdL$a$gdL $da$gdLU 21h:p@/ =!"#$% @`@ LNormalCJ_HaJmH sH tH DA@D Default Paragraph FontRi@R  Table Normal4 l4a (k@(No ListU*\]TWX0X0X0X0X00*\]TWX0X0X0X0X000 U U U 8@0(  B S  ? 3L <ĚItJ*8BBUvW )4=S[[W =*urn:schemas-microsoft-com:office:smarttags PlaceName= *urn:schemas-microsoft-com:office:smarttags PlaceType> *urn:schemas-microsoft-com:office:smarttags PersonName9*urn:schemas-microsoft-com:office:smarttagsplaceB*urn:schemas-microsoft-com:office:smarttagscountry-region8*urn:schemas-microsoft-com:office:smarttagsCity ؔ  #)GPorszv4WprW3TWWad-^(8$d-:HS0;Gd-:HS|*wlQ,y K (U T=?TMmPGST:"z%a(|(+*-,l-8.L1O1W4C5)P6 8wS8(9d@n-BRCPE cF:eG_eG+H_HIQII1K LLMRO:SYS7+T=T=VGV:VV$nVNXC\z]^S`(bdDefh]j?jqjHl{lnnqn06qQq+Xqyr`u:-w{xL+xR.z{vA}S}Tvvo]uKIq_#j#t`f_||T)4yNs@K|g\'eNfMl5bDd' ]RVS~xtBt m$s|8-K7OR2RA 'hfqXEP )Gp6DfkHddH"A$@TTL/TTU@@UnknownGz Times New Roman5Symbol3& z Arial"1hҪȆʆ   !24dSS2QHX)?=V2)Re- enacting a mourning Barbara Formis Robert W. Jones IIblabadieOh+'0  0< \ h t,Re- enacting a mourning Barbara Formis Robert W. Jones IINormal blabadie13Microsoft Office Word@d@@P/՜.+,0( hp  ý S' *Re- enacting a mourning Barbara Formis Title  !"#%&'()*+.Root Entry F h/0Data  1TableWWordDocument4SummaryInformation(DocumentSummaryInformation8$CompObjq  FMicrosoft Office Word Document MSWordDocWord.Document.89q