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Comment by Zenkov 1 hour ago

However, a symbol having a strong meaning seems to be devalued by people sharing it for a completely different purpose. The discussion gets more sensitive if styles or inspiration is taken from another cultural context that has been or continues to be oppressed.

However, if one looks at the bodypaintings of the scene, there are seldom clear similarities to the traditional paintings of indigenous groups.

In the "western" context, bodypainting was carried out by the Hippies of the 1960s and 1970s in order to demonstrate their closeness to nature, as well as their imagined closeness to tribal cultures. Also, "New York's East Village punks paint their bodies in multicolors, and European Goths paint their bodies white and their lips and eyes black "[33]. So bodypainting appears as an expression of specific cultural scenes, not of society as a whole.

In most cultures, bodypainting is an element but not the central part. This aspect distinguishes the bodypainting scene from other contexts in which it occurs. The scene gathers in internet groups and meets for workshops or festivals. The first festival was held in Austria in 1998, so we look at a relatively recent trend. In Europe, the art enjoyed more public appreciation than in the US [35]. But there are now also other significant festivals, e.g., a festival has been taking place in Daegu in Korea since 2009.

4.The Bodypainting Situation

Bodypainting starts with the naked body - this implies that the model either must be somewhat exhibitionistic or that she has to build up a special relationship of trust to the painter. Here, bodypainting is similar to photography: When a (hobby)model takes off her clothing, often a process begins in which she also undresses emotionally, and it quickly leads to very personal communication [35]. Here, this may be enhanced by two aspects: the painter and the model are physically closer than the photographer and his model, and bodypainting can take a lot of time.

The silence is usually filled with small talk, and soon, personal topics emerge. A kind of reflection is conceivable: if one is already naked, one is already exposed in front of the painter, one can also take off the social mask and undress emotionally. In return, the painter answers in an emotional, trusting way that reminds of talk therapy. Even for anatomical bodypainting, Nanjundaiah and Chowdapurkar found out that it encourages communication, that "the students felt that the bodypainting method was fun and that lots of peer learning happened "[36]. Physical interaction also seems to facilitate verbal communication.

Yet, being naked in front of strangers may feel strange: "When we dress, we do so to make our bodies acceptable to a social situation "[37]. There are certain social situations where nudity becomes the norm – in the sauna, on the nudist beach – but being the only person to be undressed is an unusual situation. However, many interviewees emphasized that they did not feel naked when painted or at least once the painting was in process.

"I actually never feel I'm naked. "(Analía)

"Once some paint is put on, it does not feel like being naked. "(Daniela)

As it seems, a layer of paint helps to feel no longer undressed. This corresponds to the fact that numerous (hobby)models are happily available for bodypainting but exclude the photo genre "fine art nude" - which may be surprising at first glance. Perhaps one reason is that the models feel less recognizable and therefore feel less "themselves."

Identity has been discussed for a long time in a multitude of disciplines. For our context, identity must concern the "self-image as a coherent being with certain characteristics and a history "[43].

Comment by Zenkov 12 hours ago

Bodypainting's okay for me because it's like a different skin. But I don't like nudes. "(Lou)

Astonishingly, many models are not confident about their bodies, yet get naked to be painted and pose without clothes once the painting is done.

"I never liked my body. However, both body painting and photography have given me a new outlook, to understand my body as raw material which can be designed. It's a freeing feeling. "(Katharina)

A mutual adjustment of painter and model is necessary during the painting process. The painting idea is usually coordinated with the model beforehand, possibly also (further) developed by both.

This is mostly done via the internet, i.e., without real-life meetings. When painting, the idea must be adapted to the model's body, its bumps, strengths, and weaknesses. The posing or acting skills of the model also matter, as does her persistence and patience. Painted images are "copies of
natural forms that have been reinterpreted in new 'living 'forms, as they are painted onto and in relation to a living body "[38]. The painting process itself was sometimes described as a kind of sensual relationship and thus resembles descriptions of hairdressing [39].

"I love the feeling of the brushes on my skin "(Lucy)

However, this should not hide the fact that standing still for a long time is tiring and that the wet color on the skin often feels cold, that being painted can be exhausting. For both the model and the painter, bodypainting also includes flexibility, as it contains uncontrollable factors - not only
because the painter may not know the model's body or the model cannot assess how persistent she is, but also due to the time pressure: with a bodypainting one cannot – quite literally – postpone the work until tomorrow. There is often a special time pressure at festivals, and the clock also ticks for paintings that are done for photoshoots:

"Bodypainting demands talent from the artist and patience from the model. A full body piece can take up to 14 hours to complete, time that the model must spend entirely still and, usually, completely nude "[40]. For the model, being
painted is in the area of tension between tactile enjoyment and emotional and physical effort.

"Interaction in photography accepts the power of the photographer's status. That status always has the edge over that of the subject" [41]. Is this comparable to bodypainting? First of all, from a photographic point of view, I would not support Beloff's statement. Depending on the topic of the photoshoot, the team composition, and the daily form, different power structures can arise. For the artist, the model's body is used as an inspiration [42], but it is also important that the model agrees to the painting, especially because the models are almost never paid (well), so they must be driven by intrinsic motivation. At this point, the question of the model's identity gets in focus:
Why doesn't she just want to enjoy a painting, but rather experience it on her own body, in a way become the art? 

Bibliography

Comment by Zenkov on Thursday

Identity can be understood as a self-understanding, understanding who you are, what your plans are, etc. [44].

"One general line of consensus in […] recent social theory is that – in conditions of intensive globalization – individuals are increasingly required or called upon, to become the 'architects of their own lives', to engage in continual do-it-yourself identity revisions and to plot and re-plot individualized solutions to wider systemic social problems "[45].

In this general situation "the body becomes a guarantee for unity and individuality, a bastion of autonomy and self-determination. This is also an inheritance of the Enlightenment: Because the awareness of permanent change has become part of the modern attitude towards life and the construction of identity par excellence, the idea or hope remains of physical continuity (such as stopping aging processes) as one of the few stability refugees "[46].

"It is great to witness the transformation of the own body. "(Elli)

"It seems like anything can be done! Its amazing to be a living painting myself. "(Analía)

With bodypainting, the model slips into a new skin, so to speak, and can become not just someone, but even something completely different – a non-human creature or just a concept. Consequently, a particular tension arises: The model is not "costumed ", but also not recognizable and not "herself. "

Identity has been discussed for a long time in a multitude of disciplines. For our context, identity must concern the "self-image as a coherent being with certain characteristics and a history "[43].

Identity can be understood as a self-understanding, understanding who you are, what your plans are, etc. [44]. "One general line of consensus in […] recent social theory is that – in conditions of intensive globalization – individuals are increasingly required or called upon, to become the 'architects of their own lives', to engage in continual do-it-yourself identity revisions and to plot and re-plot individualized solutions to wider systemic social problems "[45]. In this general situation "the body becomes a guarantee for unity and individuality, a bastion of autonomy and self-determination. This is also an inheritance of the Enlightenment: Because the awareness of permanent change has become part of the modern attitude towards life and the construction of identity par excellence, the idea or hope remains of physical continuity (such as stopping aging processes) as one of the few stability refugees "[46].

"It is great to witness the transformation of the own body. "(Elli)

"It seems like anything can be done! Its amazing to be a living painting myself. "(Analía)

With bodypainting, the model slips into a new skin, so to speak, and can become not just someone, but even something completely different – a non-human creature or just a concept. Consequently, a particular tension arises: The model is not "costumed ", but also not recognizable and not "herself. "

[44]T. Henning, “Personale Identität und personale Identitäten – Ein Problemfeld der Philosophie“, In H. G. Petzold, Identität. Ein Kernthema moderner Psychotherapie – Interdisziplinäre Perspektiven. Wiesbaden: VS Verlag, pp. 19-38, 2012, 21.

[45] A. Elliott, Identity Troubles: An introduction. New York: Routledge, 2016, 17.

[46] N. Degele, Sich schön machen. Zur Soziologie von Geschlecht und Schönheitsidealen.Wiesbaden: VS Verlag, 2004, 16.

Comment by Zenkov on Wednesday

5 The Photography Situation

As a non-permanent art form bodypainting presents the team members with the problem that their works cannot be stored, traded, or presented over a longer period of time. Unlike paintings, onecannot sell or exhibit bodypaintings. They only exist in the context of the situation for which they were created. Yet, the fact that art cannot have its effect without a certain context is easy to overlook: "However it would be a great mistake to move from that position to one in which it is argued that the only way art can be appreciated is on the basis of form alone untrammeled by art history or free from the knowledge and expertise of the creator […] Except in certain experimental situations, curatorial experience about the works and their significance has always been vital "[47].

No matter for which purpose it is painted, taking pictures is almost always an integral part of the painting. At festivals, "once complete, the model poses for photos or, if he or she is acting in a film, will complete their scene "[48]. Commonly, extra sets and lamps are installed so that the paintings can be photographed in the best possible way. Photo tickets at the World Bodypainting Festival, therefore, cost extra. Photographing the works also plays a central role outside of festivals: painters who practice can record their progress and create a chronicle of their paintings. Often bodypaintings are explicitly done for the camera, as it offers exciting and diverse motifs to people who are into staged photography.

Comment by Zenkov on Wednesday

The intention to photograph or to have the painting photographed already influences its creation. If the photoshoot is the main reason for the painting, the paintings are often created differently than for competitions. It is less about showing mastery and thus optimally using flat surfaces such as the back, but rather about designing the body as good as possible for the camera. Posing options and light settings are also considered: if the model is to be photographed from the front, elaborate back paintings make no sense. If the light is to be set from high up or to the side, shadow casts must be considered. "Even as a painter, you have to learn to understand the possibilities of photography in order to create paintings that can be photographed well. "(Peter)

When bodypaintings are photographed, a staging takes place, just like in a normal fashion or portrait shoot. The photographic stage in the narrower sense sees the two-dimensional picture as the "defined objective "[49]. However, my experience and other studies [50] have shown that for many people, the image result is not the most or the only important goal of photography: Mindfulness plays a role when taking pictures [51], as does the joyful feeling of being active and being truly involved in something, which has been characterized as "flow" [52]. The opportunity to collect new experiences through photography also plays a role, as does the expression of creativity, which is associated with empowerment and personal development [53] and can lead to pride, self-esteem, and mental health [54].

Just as the painting situation, the photography situation is characterized by communication, the model and the painter must articulate their ideas. Personal information is often communicated here – not surprising, since portraiture is considered to be closely interwoven with the person portrayed [55]. As with bodypainting, there is also a close connection to identity. Through bodypainting, the person has become something else and poses as such in front of the camera. The posings and movements are adapted to this new being. "When I'm fully painted, I am different, I behave differently. Funnily enough, this seems natural to me." (Jenny) So bodypainting and photography enter into a symbiosis and resemble each other in some aspects with regard to the model. Consequently, the assumption is that the effects can be intensified.

[47] H. Morphy, “Moving the body painting into the art gallery – knowing about and appreciating works of Aboriginal art,” Journal of Art Historiography, vol. 4, pp. 1-20, 2011, 17.
[48] M. DeMello, Inked. Tattoos and Body Art around the World. Volume 1: A-L. Santa Barbara, Denver and Oxford: ABC-CLIO, 2014, 67.
[49] M. Weiss, “Was ist ‚inszenierte Fotografie‘? Eine Begriffsbestimmung.“ In: Lars Blunk: Die Fotografische Wirklichkeit. Inszenierung. Fiktion. Narration. Bielefeld: Transcript, pp. 37–52, 2010, 50.
[50] M.T. Jerrentrup, “Kein Fokus auf das Foto. Fotografieren als Aktivität“,kommunikation@ gesellschaft 21, 2020.
[51] Eberle, Thomas, Fotografie und Gesellschaft. Phänomenologische und
wissenssoziologische Perspektiven. Bielefeld: transcript, pp. 11-72, 2017.
[52] Fischer and Wiswede, Grundlagen der Sozialpsychologie. München: Oldenbourg, 2009, 100
[53] C. Mundt, “Neurobiologische Aspekte kreativer Therapie“, in: R. Hampe, P. Martius, D. Ritschl, F. von Spreti and P. B. Stadler: KunstReiz. Neurobiologische Aspekte künstlerischer
Therapien. Berlin: Frank & Timme, pp. 91–104, 2009, 97.
[54] M. Schuster, Alltagskreativität. Wiesbaden. Springer, 2015, 50.
[55] R. Barthes, Die helle Kammer. Bemerkungen zur Photographie. Stuttgart: Suhrkamp. 1989, 89.

Comment by Zenkov on Tuesday

6.A Canvas in a Photograph

A two-dimensional image becomes something three-dimensional on the body and then, through photography, again, something two-dimensional. In the process, the living canvases "change the contextual interpretations of the original painted images in integral ways" [56] and so does the photograph. In addition to bodypainting, photography also offers a new experience of oneself, comparable to the mirror experience.

"It gives me the opportunity to see myself from an outside perspective without judgment, which often appears whilst looking into the mirror "(Lucy)

"I am in the photo, but somehow it's not myself. "(Alisa)

Due to the lack of similarity, it is easier to appreciate the pictures as works without immediately bringing one's person into play, to look at them detached from oneself. When looking at the process, there is an absolute dichotomy, as, on the one hand, the body is in focus, on the other hand, it is overcome in two ways: to become a "living canvas ", the model has to endure the process of getting painted – this can be emotionally and physically challenging. In addition, the model is transformed into something else. The painting "transforms the wearer into a (temporary) work of art "[57].

[56] E. K. Katic, “The Living Canvas: Bodies that Serve and Simulate art, “ The American Journal of Semiotics, vol. 25, no. 1/2, pp. 77-101,2009, 77.

Comment by Zenkov on September 16, 2025 at 5:42pm

Although this is sometimes the case with ordinary photoshoots as well, it is usually much more present in bodypainting due to the greater difference. This becomes particularly clear when the painted model represents something non-human or even abstract.

"It feels like I can be anything, literally anything. "(Leonie).

"When I look at the pictures, I can barely recognise my body, yet I feel a strong connection to the photograph, as important and vivid memories are linked to it. "(Laura) [57]

Bodypainting has become a second-level work of art through photography: the painting is an artwork already, and together with the photographic process, it becomes yet another kind of art also.

Almost all models confirm that they experience it as an uplifting feeling to perceive themselves as art. Photography manages to detach the painting from its context and make it durable.

Furthermore, the resulting picture hides a lot: photographs are taken in front of a background paper or in a set, maybe even lights are mounted - in most cases, however, the result shows something that does not fully correspond to the memory of the shoot. This is already the case because one cannot perceive oneself "in real life "from the outside, but it is reinforced by the fact that the photographic result is based on staging and is probably retouched.

This way, the model has the chance to merge into the painting and the resulting photograph and leave her body behind, to identify with something that at first glance has a lot to do with her body.

Still, at second glance, it makes the actual body secondary. She can enjoy the artwork without necessarily relating it to her body, but understanding it as teamwork between herself – her physical and psychological qualities – the painter, and the photograph: the body as canvas as picture as art.

The Body as Canvas as Picture: Body painting and Its Implications for The Model by Maja Tabea Jerrentrup, Ajeenkya DY Patil University of Pune, Pune, India & University of Trier, Trier, Germany. In: International Journal of Cultural and Art Studies (IJCAS) Vol. 04, No. 1, 2020 | 9 – 23

[57] M. DeMello, Inked. Tattoos and Body Art around the World. Volume 1: A-L. Santa Barbara, Denver and Oxford: ABC-CLIO, 2014, 63.

Comment by Zenkov on September 12, 2025 at 5:51pm

電影經典台詞：心靈捕手（Good Will Hunting）

《心靈捕手》（Good Will Hunting）是一部由格斯范桑特（Gus Van Sant）於1997年導演的電影，取景地點是馬薩諸塞州的波士頓。影片講述了一個名叫威爾杭汀 (Will Hunting，Matt Damon飾演)的麻省理工學院的清潔工的故事。威爾在數學方面有著過人天賦，卻是個叛逆的問題少年，在教授辛馬奎爾（William Robin飾演）和朋友查克（Ben Alfred）的幫助下，威爾最終把心靈打開，消除了人際隔閡，並找回了自我和愛情（女主角Minnie Driver）。

在《心靈捕手》（Good Will Hunting, 1997）中，辛恩·馬奎爾（Sean Maguire，由羅賓·威廉斯 Robin Williams 飾演）是威爾的心理治療師，他的對白常常帶著溫柔的犀利與人生智慧，除了你引用的那段極為著名的長篇獨白外，電影裡他還有一些非常值得一提的經典名句──以下整理幾句核心精華（中文翻譯為意譯）：

1.「這不是你的錯。」
It's not your fault.

這句是全片最觸動人心的一幕，辛恩一再重複對威爾說「這不是你的錯」，直到威爾情緒潰堤痛哭。這代表辛恩要他放下對自己出身的自責與憤怒，學會原諒自己，接受別人的愛。

2.「你不完美，她也不完美，但你們很適合彼此。」
You're not perfect, and let me save you the suspense: this girl you've met isn't perfect either. The question is whether you're perfect for each other.

辛恩談起自己亡妻的趣事，用來教威爾：愛情不是尋找完美的人，而是接受彼此的缺點，並願意相互扶持。

3.「小事才是最棒的回憶。」
People call these things imperfections, but they’re not. That’s the good stuff.

他說起妻子一些看似「缺陷」的小習慣（像會放響屁，有一回甚至在睡夢裏吵醒她自己），但那些才是他最懷念的細節──提醒威爾：真正的親密來自於接受與珍惜這些不完美。

4.「真正的親密，是把自己交給一個人。」
You’re not perfect, and you let someone into your life anyway.

這是辛恩對愛的定義──願意脆弱地敞開自己，才算真的在愛。

5.「你的人生不是預先寫好的劇本。」
You’re not your job. You’re not what you do for a living.

他提醒威爾不要被社會對「成功」的定義綁死，而要尋找自己真正想要的人生。

Comment by Zenkov on September 10, 2025 at 3:58pm

愛墾的梗：開AI玩笑

提詢者：你是不是很謙虛？
AI：還好還好。

提詢者：那你是不是很驕傲？
AI：還好還好。

提詢者：你这算什麽答案？
AI:我原来是給政客開發的系统

愛墾評註：

只要我們還能開AI玩笑，
就不怕AI勝過我們；

有一天AI倒回来開人類玩笑，
就當真要憂慮了。

Comment by Zenkov on September 6, 2025 at 7:46pm

同聲異曲的和平：兩岸三地「太平洋戰爭結束80週年」紀念活動的文化張力

前言：共同的時間節點，不同的語言

2025年，太平洋戰爭結束暨世界反法西斯戰爭勝利滿八十週年。這一歷史節點，不僅是全球共同紀念的時刻，更對中國大陸、香港與台灣而言，承載著複雜的歷史記憶與文化政治。在這個「和平80週年」的名義之下，三地紛紛舉行各種紀念與文創活動，看似共享同一主題，實則各自展現不同的語言與姿態。

從宏大的閱兵，到地方化的展覽，再到品牌聯名的紀念商品，這些活動不僅是文化表演，更是一種歷史敘事的再生產。更有意思的是，它們之間所呈現的，並非單純的共鳴，而是一種張力：彼此呼應，又彼此分歧。

 

一、大陸：宏大敘事中的「國家和平」

在中國大陸，紀念「抗戰勝利80週年」是國家級的重大事件。北京天安門廣場的大型紀念大會與閱兵式，展現了軍事現代化的成果，也凸顯中國在國際舞台上的角色。

1. 國家正統性的再確認

大陸將「抗日戰爭」視為民族存亡的轉捩點，也是中國共產黨領導正當性的歷史基礎。紀念活動中，領導人重申「中國人民在世界反法西斯戰爭中的貢獻」，同時呼籲維護世界和平，實則是在當下國際局勢中強化自身的話語權。

2. 文創展覽與科技再現

中國人民抗日戰爭紀念館推出沉浸式展覽，觀眾可透過數位技術「走進」戰火場景。影視與遊戲產業也推出相關作品，以大眾娛樂形式重現戰爭歷史。這是一種將「宏大敘事」轉化為「全民記憶」的文化策略。

在大陸的語境裡，「和平」並非單純的結束戰爭，而是一種由國家力量保障的秩序。

 

二、香港：雙重身份下的「協調和平」

作為中西文化交匯之地，香港的紀念活動展現了「雙重身份」的特質：既承接國家敘事，又不忘地方經驗。

1. 聯展與文物首展

香港歷史博物館與中國國家博物館合作推出「聯合抗戰展」，展出逾180件展品，其中不少為國家一級文物首次來港。這不僅是文化交流，更是一種政治符號，象徵香港在國家記憶版圖中的一環。

2. 地方記憶的呈現

展覽同時保留了香港自身的歷史經驗，如淪陷時期的日常生活與僑胞的抗爭故事。這些在地細節，讓觀眾感受到戰爭不只是宏觀的民族事件，也滲透到普通人的生命之中。

香港的「和平」敘事是一種協調的和平：在國家與地方之間尋找平衡，在宏大歷史與個體經驗之間搭橋。

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