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This ground-breaking collection explores the ways in which digital information technologies form and influence human perception and experience. Defying technological determinism, it takes on board discursive perspectives from humanities, bringing digital media, affect and body studies into conversation with one another.

The interview is a follow-up from Samantha Frost's article, 'The Attentive Body', in Body & Society 26(4). Tomoko Tamari invites Frost to explore her interest in 'biocultural creatures', with its focus on 'bodies' responsive self-transformation' in epigenetic processes, and unfolds Peirce's account of the index for understanding meaning-making in biological processes. Tamari also introduces Katherine Hayles's notion of 'cognitive nonconscious' to raise the question of the possible theoretical and mechanical similarities/discrepancies between epigenetic processes in organisms and the meaning-making process in computational systems. Drawing on Jacob von Uexkull's notion of 'umwelt' and introducing Yoshimi Kawade's remarks on a living being's subjective orientation in environments, a further question about 'intention' and 'subjectivity' enables Frost to further unpack her notion of 'the attentive self' and discuss its relation to 'intentionality' and 'referentiality' in epigenetic processes. Finally, Samantha Frost mentions her current projects on the connection between 'attention-as-responsive-self-transformation' and 'mode-of-living-as-form-of-life'.

Body & Society started in 1995. The journal has been continuously exploring and problematizing critical issues which have been opening up new horizons in the field of body studies. As an interdisciplinary journal, it has engaged with a wider range of innovative approaches to the body, which includes sociology, cultural studies, psychology, philosophy, anthropology, history, science and technology studies, sensory studies and media studies. To celebrate the 25th anniversary of Body & Society, managing editor Tomoko Tamari invited Professor Bryan S Turner, who was one of the journal's founders (with Mike Featherstone), to reflect on the academic and historical background of Body & Society along with his own academic trajectory over the last 40 years.

Olympic stadia are often regarded as political showcases stemming from a range of influences: the host nation's international politics, the interests of transnational capitalism, site‐specific meanings, and the power of iconic architecture. By examining the 2020 Tokyo Olympic main stadium as a case study, this article analyzes the controversial Zaha Hadid Tokyo stadium design in relation to the Japanese national branding initiative. The article argues that branding should be seen as part of an economic and cultural system that seems to enhance the global value of iconic architects and their buildings. Yet the power of brands can be understood as contingent. Their ambivalent nature entails a tension between exclusiveness and banality; additionally, branded architects may find it difficult to work across the different regimes of global and local politics, and they are of course also constrained by the logic of neoliberal transnational capitalism. By investigating a major global branded architect, Zaha Hadid, the article considers why a new image of Japan could not be adequately created by Hadid's aesthetics and narratives of the Olympic stadium, which could have been regarded as a national cultural legacy. The article then discusses the contested processes of image‐making and narrative creation in relation to the representation of Japan in contemporary Olympic culture. The article concludes with an examination of Kengo Kuma's architecture language in his 2020 Tokyo Olympics stadium design.

The success of the London 2012 Paralympic Games not only revealed new public possibilities for the disabled, but also thrust the debates on the relationship between elite Paralympians and advanced prosthetic technology into the spotlight. One of the Paralympic stars, Oscar Pistorius, in particular became celebrated as 'the Paralympian cyborg'. Also prominent has been Aimee Mullins, a former Paralympian, who became a globally successful fashion model by seeking to establish a new bodily aesthetic utilizing non-organic body parts. This article examines how the modern discourse of prostheses has shifted from the made-up and camouflaged body to the empowered and exhibited body to create a new cultural sensitivity in terms of body image – prosthetic aesthetics. Prosthetic aesthetics oscillates between two polarized sensitivities: attractiveness/'coolness', which derive from the image of a perfect human-machine synthetic body, and from abjection/the uncanny, which is evoked by the actual materiality of the lived body incorporating a lifeless human-made body part.

This piece focuses on the work of Juhani Pallasmaa who introduces phenomenological aspects of kinesthetic and multisensory perception of the human body into architecture theory. He argues that hand-drawing is a vital spatial and haptic exercise in facilitating architectural design. Through this process, architecture can emerge as the very 'material' existence of human embodied 'immaterial' emotion, feelings and wisdom. Hence, for Pallasmaa, architecture can be seen as an artistic practice, which entails multisensory and embodied thought in order to establish the sense of being in the world.

Abstract: This paper focuses on the ways in which the department store has become a key site for the constitution of Japanese modernity through the introduction of images and goods taken from the West, along with the emphasis on "Western design" and "Western taste". These new consumer spaces have become aestheticized in various ways so that we can speak of an "aestheticization" of everyday life. Yet this was also a modernizing learning process for Japanese consumers, hence a key problem was how these new experiences were to be classified and ordered into a relatively stable habitus. The rise of the department store has had an important mediating function here. Department stores not only provided new goods along with interpretations of how to use them, but also acted as theatres, as rehearsal spaces, with front and back stage areas where one can watch the performance, try out for oneself new roles. This is especially the case for women in the city, who were able to explore a new identity space with a new set of competence experiences and pleasures. In this process, the department store also provided a form of women's public sphere where they could enjoy shopping, entertainment and learning opportunities. Department stores encouraged not only a sense of luxury and theatrical settings, but also help to teach women how to assemble new tastes and styles into their lifestyle. In addition, it should be emphasized that in the Japanese case, department stores also played an important role not just as a new cultural initiative on the part of the businessmen and cultural intermediaries who invented consumer culture, but also as a political initiative on the part of the government who sought to link them to the reform of everyday life and the production of good Japanese citizens.

This is the Introduction to the special issue entitled "The Olympic Games in Japan and East Asia: Images and Legacies."