Theory and Practice of Visual Arts

Das Falten von Papier gilt zumindest seit der Verbreitung des Papiers in der westlichen Welt als eine der grundlegenden manuellen Tätigkeiten des Menschen. Da das Papierfalten automatisch eine Linie erzeugt, kann es als Grundlage für die ebene Geometrie dienen. Tatsächlich wurde Anfang des 20. Jahrhunderts entdeckt, dass die auf dem Papierfaltverfahren basierende Geometrie mächtiger ist als die auf Kompass und Lineal basierende – wenn man in Betrachtet zieht, welche Konstruktionen durchgeführt werden können. In Bezug auf die Durchführung dieser materiellen Geometrie kam es Ende des 20. Jahrhunderts zu einer grundlegenden Wende. Mit der Implementierung von in Computerprogrammen umgesetzten Algorithmen wurden neue mathematische und algorithmische Phänomene entdeckt, die nicht mit Hilfe rein manueller Verfahren hätten gefunden werden können: mathematische nicht-manuelle Konstruktionen, effiziente Faltmuster, an die vorher niemand gedacht hatte, oder das Phänomen, dass bestimmte Faltprobleme NP-schwer sind. Diese Forschungsergebnisse führten nicht nur zu einer fundamentalen Veränderung des Status der Materialität, sondern auch zu einer neuen Rolle des mit diesem Material arbeitenden Menschen.

[attached the first page of the paper; published In: Hashagen, U., Seising, R. (eds) Algorithmische Wissenskulturen. Die blaue Stunde der Informatik, p. 275-299]

Consciente de como la nueva realidad política precisaba de una nueva identidad o, le que es lo mismo, de una nueva Capital, Rubio -basándose en el logro hipotético de una organización genuinamente Federal de la República-entendía que la cabeza del Estado no podía asentarse en ninguna de las poblaciones existentes. Contrario a la idea de una ciudad con carácter propio (esto es, con una historia y tradición definida, industria asentada, comercio estable o monumentos que la caracterizasen) optaba por la ¡dea de la ciudad-gerencia, ciudad centro administrativo valorada tan sólo como sede político-burocrática, apta para funciones de gobierno y carente por tanto de las múltiples funciones que toda urbe capital entraña. Insistiendo en como la «ciudad-capital» debía contar con sólo funciones estatales y representativas de las actividades federativas que los órganos políticos requisiesen, en el texto que adjuntaba a su proyecto sugería los ejemplos de Washintong, Camberra o Nueva Delhi. Resulta extraño -desde la referencia urbana-que Rubio plantease, en 1930, la idea de una nueva ciudad: superada ya la crítica a la Metrópolis que había aparecido en el pensamiento alemán de comienzos de siglo, su propuesta coincidía con un momento en el que el concepto de «nueva población» se identificaba no sólo con los supuestos de Le Corbusier sobre la nueva ciudad moderna sino, y al mismo tiempo, con los proyectos para colonización interior donde la opción ciudad jardín se manejara tanto '

В статье рассматривается ряд произведений художника‑передвижника В.Е. Маковского в контексте театральной проблематики. Картины художника анализируются в следующих аспектах: 1) театральный образ и его воплощение; 2) соответствие содержания театрально‑драматическим сюжетам; 3) сценическое пространство. Автор приходит к выводу о том, что на стилистику многих произведений В.Е. Маковского существенное влияние оказали пьесы М.С. Щепкина, А.Н. Островского, А.А. Потехина, К.С. Станиславского и др.

Since its beginnings, the history of AI has been accompanied by two rival paradigms, cybernetics and Gestalt theory, which dominate the discourse of machine learning to this day. The author first reconstructs these two perspectives on AI, but does not choose one over the other. Instead, he asks whether the two poles of the debate still do justice to the real possibilities of AI. Perhaps AI hallucinations are the decisive impetus for thinking about the relationship between machines and human perception. The analogy between what the "hallucinating machines" do and what the Surrealists did opens up a new perspective on AI. In moments of rational breakdown, the Surrealists discovered paths of unexpected creativity. Hallucinations, errors, and confusion enabled them to transcend logic and convention...

Focusing, in part, on the influence of Jurassic-era seas on the philosophical beliefs of the Hopi and Zuni cultures of the American Southwest, the article investigates the fluid cognitive processes of the human mind and methodically investigates the presence of historical content in works from oracy-based peoples. Formal analyses of the embedded data encoded in historical oral narratives are provided and are based on Barber and Barber’s mytho-linguistic framework. The application of Roger C. Echo-Hawk’s methodology for the assessment of narrative works that can contribute to cultural affiliation in consultations relating to the Native American Graves Protection Repatriation Act is considered as a possible model for similar change in the areas of assessing the relevance of material culture. The necessity of creating a similar critical framework for evaluations of the visual arts of ancient pre-historic era in the United States in keeping with the trend in narrative studies is discussed in support of the development of ‘period eye’ perspectives on which future objective studies may be based. The valid contexts an approximated period eye perspective can provide for more authentic replications of complex metaphorical relationships and cosmographies on the visual plane is demonstrated in the article’s final drawings.

Attack on Titan, a popular manga by Hajime Isayama, was successfully adapted into an animated series-a transformation from print to an audiovisual medium that significantly expanded its global reach and cultural impact. Utilizing a qualitative descriptive method, this study analyzes how the adaptation created a new experience by leveraging motion, camera angles, color grading, music, sound effects, and voice acting to build tension and emotion. Drawing on data from observation, literature reviews, and studio interviews, the research examines the creative process of the production team, with a particular focus on the animation team's role in transforming the comic's story into animation. The findings indicate that this adaptation successfully made the Attack on Titan story and its characters more vibrant, powerful, and emotional.

AUS DEN AUGEN EINER INDONESISCHEN VERHÜLLUNG  —

Einmal wieder erregt eine Frau aus Larantuka großes Aufsehen! Nein, diesmal handelt es sich nicht um eine legendäre Pippi Langstrumpf, sondern um, wie Steven Alpert  beschreibt, „das vielleicht kultischste Stück in der indonesischen Sammlung (der National Gallery of Australia) und (ist) für sein Thema und sein Alter von besonderer historischer Relevanz……..“!  Die Rede ist von Mama Wulu, die rätselhafte Bronzefigur einer Frau, die an einem Rückengurt-Webstuhl arbeitet; mit einem Säugling, der zugleich an ihren Busen zehrt! Keine revolutionäre Angelegenheit möge man meinen, doch die vielbeschäftigte Dame beweist tatsächlich aufsehenerregendes Potential zum aktuellen Zeitgeschehen! Mit ihrem Hüftwebstuhl kann sie vielleicht nicht wie manch Freigeist Pferde stemmen, noch Berge versetzen, doch unsere Form annehmende Vorstellung allmählich erschüttern und flexibel gestalten! So ergießt sich allein durch Betrachtung ihrer äußeren Erscheinung alle Deutung unerwartet aus ihren Augen und ergreift unseren Sinn: War hier der frühe Vogel des Expressionismus am Werk? ….doch der Vogel scheint ausgeflogen!

Das erweiterte Skript hat einen umfangreichen Nachtrag zum Hintergrundgeschehen und Vorgeschichte erhalten.

: Skulptur, Bronzefigur, Lendenwebstuhl, Fußwebstuhl, Larantuka, Taka-Tuka-Land, Flores, Indonesien.

The Journal of Maharishi Vedic Research Institute (JMVRI) is a peer-reviewed, international journal dedicated to exploring the contribution of Maharishi Vedic Science to science, education, health, the arts and architecture, and to all disciplines and applied fields of knowledge, to enhance the value and effectiveness of knowledge in every area of life.
Issue no. 27 focuses on the Maharishi Effect. It features two research studies: “Evaluating a Field Theory of Consciousness and Social Change: Group Practice of Transcendental Meditation and Homicide Trends”, by Kenneth L. Cavanaugh, Michael C. Dillbeck and David W. Orme-Johnson (pp. 11–68); and “A Proposed New Formula to Create the Maharishi Effect: The Perúvian Example”, by Lee Fergusson, Anna Bonshek and Javier Ortiz Cabrejos (pp. 69–110).
The first study in this Issue no. 27 by Ken Cavanaugh, Michael Dillbeck and David Orme-Johnson outlines and empirically tests a field-theoretic view of consciousness and social change based on the ancient Vedic tradition of knowledge as brought to light by Maharishi. In contrast to most contemporary theories of mind and consciousness originating in the West, Maharishi Vedic Science posits the existence of an interpersonal dimension of consciousness—a unified field of consciousness—that underlies both individual consciousness and the collective consciousness of society.
The study reviews previous empirical tests in Cambodia, India, the Philippines and other countries of hypotheses derived from this field-theoretic view of consciousness. It then presents empirical results, which together with prior research, provide compelling evidence for inter-personal consciousness.
Segmented-trend regression analysis of data from a prospective, 15-year national social experiment found support for the hypothesis that the field effects of consciousness created by group practice of Maharishi’s Transcendental Meditation and TM-Sidhi program by a theoretically-predicted number of participants contributed to a reduction in social stress in national consciousness as indicated by improved monthly homicide trends during the study’s experimental period.
The results are consistent with reductions in crime and violence associated with group practice of Maharishi’s Transcendental Meditation and TM-Sidhi program reported in previous peer-reviewed research. Of interest is the finding that these reductions were followed by a subsequent increase in homicide trends after group numbers fell below the required threshold.
The second study discusses the formulas and ratios used to explain and predict the Maharishi Effect. The purpose of the discussion paper by Lee Fergusson, Anna Bonshek and Javier Ortiz Cabrejos, part of a six-year pre-, peri- and post-pandemic research program conducted in Perú, is to consider these various formulas and ratios and to propose a new formula which predicts the Maharishi Effect when groups of meditators come together for social benefit. Data, evidence and experience from Perú serve as the context for this discussion.
JMVRI, published on an occasional basis, is available for free download from the National Library of Australia in Canberra (http://nla.gov.au/nla.obj-392285182). Separate articles from back issues of JMVRI can also be freely downloaded from the following websites:

www.MaharishiVedicResearch.org

https://editorialboardjournalofmaharishivedicresearchinstitute.academia.edu

Η ταχεία διείσδυση της Τεχνητής Νοημοσύνης (ΑΙ) στον χώρο της ποινικής δικαιοσύνης δημιουργεί σύνθετα ρυθμιστικά και φιλοσοφικά διλήμματα. Το άρθρο αναλύει τις κυριότερες ηθικές θεωρίες (ωφελιμισμός, δεοντολογία, αρεταϊκή ηθική, δικαιοσύνη ως ισότητα), εξετάζει θεμελιώδεις νομικές αρχές (νομιμότητα, αναλογικότητα, τεκμήριο αθωότητας, δικονομικές εγγυήσεις), και μελετά το ευρωπαϊκό κανονιστικό πλαίσιο (AI Act, GDPR, Οδηγία 2016/680). Παράλληλα, αξιολογούνται εμπειρικά δεδομένα από αλγοριθμικά εργαλεία πρόβλεψης υποτροπής και predictive policing, με έμφαση σε ζητήματα μεροληψίας και ισότητας. Τέλος, προτείνονται θεσμικές και τεχνικές εγγυήσεις—όπως διαφάνεια, επεξηγησιμότητα, ανεξάρτητοι έλεγχοι και ουσιαστική ανθρώπινη εποπτεία—με σκοπό τον συντονισμό καινοτομίας και κράτους δικαίου.

The rapid expansion of Artificial Intelligence (AI) in the field of criminal justice raises complex regulatory and philosophical challenges. This article explores major ethical frameworks (utilitarianism, deontology, virtue ethics, justice as fairness), examines fundamental legal principles (legality, proportionality, presumption of innocence, procedural safeguards), and analyzes the European regulatory environment (AI Act, GDPR, Directive 2016/680). It further assesses empirical evidence from algorithmic tools for recidivism prediction and predictive policing, highlighting issues of bias and equality. Finally, it proposes a package of institutional and technical safeguards—such as transparency, explainability, independent audits, and meaningful human oversight—in order to align technological innovation with the rule of law.

Este es un artículo de acceso abierto distribuido bajo los términos de la licencia Creative Commons Reconocimiento -NoComercial -SinObraDerivada (by-nc-nd) Spain 3.0. r ev i s i o n e s # SEIS 1 RESUMEN: A inicios de 2015 Fuimos invitados por Gitanjali Dang y Christopher Schenker para participar en el proyecto Draft, una iniciativa para explorar arte contemporáneo que produce, contribuye o provoca debate público. El proyecto estaba conformado por nueve equipos alrededor del mundo que durante doce meses trabajaron en sus contextos locales: Beijín, Ciudad del Cabo,

What happens when the message no longer belongs to the maker?

In this defining treatise, Dorian Vale introduces Message Transfer Theory (MTT) — a foundational pillar of the Post-Interpretive Movement that reorients our understanding of the art object as a conduit, not a container. Rather than treating artworks as stable vessels of artist intent, MTT proposes that meaning is displaced, reversed, or even transferred entirely — not during creation, but at the moment of reception.

Here, the object becomes a threshold. It does not hold meaning — it reroutes it. The artist initiates a signal, but the work lives on in the shifts, slippages, and interruptions that occur in its wake. This theory explains how art can haunt, harm, heal, or transform in ways the artist never imagined — and how the critic’s attempt to reassert original intent is often an act of aesthetic erasure.

Drawing from theories of semiotics, trauma transmission, media studies, and sacred encounter, this treatise reframes the artwork as a relational event. It introduces new terms into the Post-Interpretive Lexicon — including Conduit Object, Transfer Shock, Residue Receiver, and Reversal Gaze — each articulating a more fluid, ethical understanding of art’s unpredictable passage between maker, medium, and witness.

If the artist is the sender, and the viewer the receiver, then Message Transfer Theory is the study of what the artwork becomes when neither controls the signal anymore.

I. The Invocation There's a kind of art that doesn't simply speak. It alters. It doesn't perform. It possesses. It doesn't await applause. It leaves residue. This isn't the art of interpretation or mastery. It's The Theory of Aesthtic Displacment: a moment when the self before the work and the self after aren't the same. The change may be imperceptible, but it's irreversible. A shift in breathing. A delay in departure. A sentence you can no longer finish.

What if language didn’t just describe art — but scarred it?

In this piercing treatise, Dorian Vale introduces Hauntmark Theory, a philosophical framework that confronts the violence embedded in language when used to name, contain, or explain a work of art. The theory proposes that every word leaves a residue, a trace that either preserves presence or disfigures it — and that careless interpretation is not neutral, but haunting.

Drawing on post-linguistic philosophy, trauma theory, and Post-Interpretive Criticism (PIC), this work reframes criticism as a moral event, where each act of description leaves behind a mark: some delicate, some damaging, all irreversible. It introduces key concepts such as Hauntmarks, Linguistic Overreach, Descriptive Violence, and the Silent Custodian, arguing that the deepest form of reverence lies not in what we say about art — but in what we choose not to say.

Where previous treatises in the Post-Interpretive Movement reimagined the role of the viewer and the critic, Hauntmark Theory addresses the unspoken aftermath of critique: how words linger in the air around the work, often louder than the work itself.

This is not a call for silence. It is a call for sacred restraint — for a new vocabulary of witness, where words do not eclipse the art, but kneel beside it.

What happens to a work of art after it disappears — and why does it linger?

In this seminal treatise, Dorian Vale unveils the full theoretical scaffolding of Absential Aesthetics, a core pillar of the Post-Interpretive Movement. This framework reconceives absence not as a void to be filled, but as a residue that haunts, instructs, and remains.

Drawing from metaphysical inquiry, trauma studies, and post-structural aesthetics, Vale argues that absence is not the opposite of presence — it is a continuation of it. From lost artifacts and sealed objects to erased histories and unspeakable memories, this theory reframes absence as aesthetic substance. The missing becomes legible through its consequences, not its form.

Across three theoretical movements — Erasure, Afterlife, and Hauntmark — Vale introduces critical constructs such as The Aesthetic Ghost, Negative Presence, and Lingering Witness. These ideas challenge visual primacy, proposing that what art does after it vanishes may be more ethically potent than what it does when it is seen.

Absential Aesthetics Theory is not a speculative musing — it is a structured philosophy of art’s most elusive force: what remains after it is no longer there. A vital contribution to contemporary art theory, this treatise opens a door for curators, critics, and philosophers who seek to engage art not just through its objecthood, but through its departure.

Stillmark Theory
A Treatise on Presence, Vanishing, and the Discipline of the Fleeting
By Dorian Vale

Can something fleeting leave a mark deeper than permanence?

In this paradigm-shifting treatise, Dorian Vale presents Stillmark Theory, a foundational pillar in the Post-Interpretive Movement and a radical aesthetic philosophy that places presence above permanence, and vanishing above possession.

Stillmark is the name given to a mark that does not remain physically, but remains ethically — a residue of presence that lives on not through its duration, but through the way it demanded your attention. Like a footprint in water, or a pause in ritual, it is a mark felt rather than seen. And it asks not: what did you see? but were you there when it passed?

This treatise explores how the fleeting — the ephemeral artwork, the disappearing gesture, the unsaved voice — disciplines the viewer into reverent attention. Through philosophical engagement with ritual, silence, and the aesthetics of loss, Vale outlines how fleeting experiences, if witnessed properly, can alter perception more profoundly than enduring monuments.

Stillmark Theory is not about minimalism or aesthetic reduction. It is about ethical witnessing: the ability to stay present before something that will not wait for you to interpret it. It urges a return to encounter, to stillness, to restraint — and proposes a new mode of value: not what lasts, but what requires moral presence while it lives.

This is a crucial contribution to Post-Interpretive Criticism, and a necessary framework for curators, critics, artists, and institutions seeking to engage works of art that resist documentation, defy collection, and demand presence without possession.

Stillmark Theory, Dorian Vale, Post-Interpretive Criticism, presence in art, vanishing aesthetics, ephemeral art theory, discipline of the fleeting, witnessing the temporary, aesthetic philosophy of presence, art and impermanence, sacred vanishing, fleeting art criticism, minimal art ethics, ritual in art, memory and disappearance, absence in aesthetics, presence-based value, art of witnessing, non-permanent art theory, anti-collectible aesthetics, slow attention, temporality in art

Theory of Misplacement is a foundational treatise in the Post-Interpretive canon developed by Dorian Vale. It identifies a crucial but often ignored aesthetic violence: the misplacement of art through curatorial overreach, critical projection, or institutional dislocation. Unlike theories that focus solely on interpretation, this theory addresses what happens when a work is placed—physically, linguistically, or contextually—into a space that distorts its moral, cultural, or spiritual gravity.

Vale argues that not all aesthetic violence is enacted through misreading. Some is enacted through mis-siting—when works are exhibited without regard for their ontological weight, placed in institutional frames that suffocate their resonance, or paired with language that collapses their dignity.

This treatise outlines the differences between interpretation, erasure, and misplacement, showing how the latter often masquerades as reverence while enacting dilution.

Through philosophical analysis, metaphysical framing, and case-based reflection, Theory of Misplacement refines the post-interpretive imperative:

Not only must the critic resist speaking on behalf of the work — they must also ensure the work is not spoken over by its surroundings.

This theory complements Absential Aesthetics and Stillmark Theory in establishing a new custodial vocabulary for protecting the sanctity of placement, presence, and poetic truth in contemporary aesthetics.

Post-Interpretive Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art Writing
Author: Dorian Vale

This doctrinal essay codifies the foundational ethics and philosophy of Post-Interpretive Criticism—a radical departure from traditional art writing that prioritizes interpretation, explanation, and performative analysis.



In its place, Dorian Vale introduces a critical framework rooted in restraint, witness, and moral proximity. Rather than dissecting or decoding art, this doctrine teaches the critic to hold space, remain present, and write with reverence. Art, especially that which emerges from grief, trauma, displacement, or sacred silence, is not a puzzle to be solved—but a presence to be honored.



This doctrine offers a structured alternative to the dominant critical paradigms. It affirms that the most ethical art writing does not always speak—it listens. It does not clarify—it shelters. It does not interpret—it witnesses.



Blending philosophy, aesthetic ethics, and literary rigor, this foundational text establishes Post-Interpretive Criticism as both a movement and a method. It calls for nothing less than a revolution in the way we engage with meaning, silence, and the unseen.



Post-Interpretive Criticism, art criticism ethics, Dorian Vale, doctrine of restraint, moral proximity in art, witness-based art writing, contemporary art theory, post-critical aesthetics, slow art, minimal criticism, sacred witnessing, aesthetic responsibility, trauma in art, ethical language in criticism, writing without harm, non-interpretive criticism, viewer as evidence, presence in art, philosophical criticism, art and reverence

Mit der Bestimmung der Form im Digitalen und der spezifischen Eigenschaften digitaler Formerzeugung sucht der neue Band der "Bildwelten des Wissens" ein Konkretum der Analyse digitaler Bildlichkeit. Die Form ist als Relationsbegriff wesentlich durch ihr Verhältnis zu Materie und Stoff, zum Inhalt und im Vergleich zu anderen Formen zu begreifen. Diesem Wechselspiel widmet sich der vorliegenden Band. Dabei zeigt sich die gegenseitige Bedingung von Digitalem und Analogem in den Formprozessen früher digitaler Bildtechnik, die etwa den Erkenntnisprozess in der fraktalen Mathematik erst ermöglichte, ebenso wie in der Einschreibung tradierter zeichnerischer Verfahren in die Software der Computergrafik. Bis heute durchdringt das Materielle in der Form des Digitalen, etwa in der CAD-Architektur, die immer wieder den Rekurs zum Modell sucht, oder in digitalen Verwaltungsprozessen, die ohne materielle Artefakte nicht auszukommen scheinen. Das Analoge behauptet sich in der Form des Digitalen.

TN QUEST! ANNI di rinnovato dibattito sull' use Idel corpo nelle anti visive ci 6 venuta voglia di andare a vedere da vicino i corpi femminili che popolano la storia della performance. Il "corpo" nell'arte 6 stato soprattutto femminile, dal Rinascimento a oggi la fisicita ha avuto pin che altro forme di donna. II corpo femminile 6 stato, ed 6 tuttora, oggetto di consumo artistico. Una storia dell'arte riletta come storia di corpi di donna sarebbe interessante, ma in questo momento non fa parte dei nostri intenti, cosi accenneremo brevemente all' use che ne fecero alcuni movimenti artistici di questo secolo, per cui ancora una volta il corpo di donna fu materia di sperimentazioni. Basti pensare ai surrealisti che questo corpo lo smembrarono, lo trasformarono in abitazione o in strumento musicale, rendendolo a volte bellissimo a volte orrorifico. Yves Klein nelle sue Antropometrie (1960) utilizzo le modelle come fossero una tecnica pittorica, permelli umani come lui stesso dichiaro. Negli stessi anni (1961) Piero Manzoni a Milano firmava corpi, facendoli diventare Sculture viventi per cui forniva certificate di autenticita. Manzoni firmo anche molti suoi amici maschi, tra cui Marcel Broodthaers e Mario Schifano, ma a not 6 arrivata l' irnmagine di Piero Manzoni mentre firma il corpo di una bella ragazza in posa plastica, e in questa nostra storia, si sa, le immagini contano. Verso la meta degli anni Sessanta molte donne iniziano a lavorare nel campo della performance, reclamando una propria soggettivita. Non 6 facile riappropriarsi di un corpo che per secoli 6 stato dipinto, scolpito, fotografato, manipolato da altri. Questa riapproppriazione fu dolorosa e poiche stiamo parlando di corpi, implico soprattutto molto dolore fisico. Le donne riprendono possesso dei loro corpi, sia sul piano politico del femminismo che su quello simbolico dell'arte, dopo esseme state espropriate per secoli da una cultura patriarcale. Il lavoro di alcune delle artiste qui analizzato sottolinea questa presa di possesso, ma anche il fatto che questa sia spesso resa possibile solo dalla sofferenza fisica: il dominio su se stesse diventa un dominio masochistico. II trionfo sul mondo 6 un trionfo al negativo che nei casi piir estremi si conclude anche nella vita reale con una morte cercata o simbolica. Gina

Straipsnyje tiriama vidujybės kontekstualizacija, įvykusi XX a. filosofijoje. Doktrina, įgalinusi šį procesą, vadinama kontekstualizmu. Skiriama vidujybės kontekstualizacija silpnajame ir stipriajame kontekstualizmuose. Siplnasis kontekstualizmas tiria įvairius kontekstiškos vidujybės atvejus, o stiprusis kontekstualizmas siekia formuluoti bendruosius metodologinius principus apie kontekstiškos vidujybės ir kalbos prigimtį. Kaip alternatyva kontekstualizmui teigiama filosofinio klasicizmo pozicija, kuri į filosofinį mąstymą grąžina tiesą ir asmens tapatybę. Pasak pastarosios filosofinės pozicijos šalininkų, filosofo tapatybė yra jo tiesa. Nors grąžinamos klasikinės filosofijos problemos, tačiau filosofinis klasicizmas vengia naiviojo realizmo ir siekia išmokti kantišką-vitgenšteinišką-deridišką pamoką.

I S S N : 2 1 7 3 -0 0 4 0 p a p e r NOTA: La entrevista ha sido realizada en castellano. Tras su edición y corrección lingüística, hemos decidido mantener algunos giros de la conversación, de manera que se mantenga el tono oral y la fuerza expresiva que Suely imprime siempre en sus palabras. Ella misma ha supervisado en todo momento la edición de esta conversación que, en un proceso* intenso y vivo, ha devenido un pequeño ensayo. *Muchísimas gracias a Carmen Chincoa, Carlos Curiá y Pablo Martínez que estuvieron en medio de la fantástica tormenta.

Where it Starts Aby Warburg was born affluent. Let's start there. A banker's son with a fetish for Botticelli and Babylon, he turned his back on the family business. He literally gave his inheritance away, on the condition that the family buy him any book he wanted, and then he went full iconomaniac. He wasn't poor, materially, but spiritually? That's another story. He swapped capital for cosmology [1], became less Renaissance man than visual necromancer. The kind of guy who talks to demons in the desert and diagrams their gestures with string and pins. His famous Mnemosyne Atlas-a grid of black panels littered with images torn from postcards, newspapers, Renaissance prints, depictions of pagan rituals, astrological diagrams-has been

Nel 1936, nei suoi "Documenti artistici urbinati", Georg Gronau includeva un'ampia sezione di carte d'archivio relative alle attività che Federico Zuccari svolse nei territori del ducato. La maggior parte dei documenti esaminati è oggi conservata nel fondo "Ducato di Urbino" all'Archivio di Stato di Firenze, e tra essi si contano varie lettere autografe del pittore. Tuttavia, tre di queste missive, indirizzate tra il 1594 e il 1606 a Francesco Maria II Della Rovere per raccomandare al duca il proprio agente e il primogenito Ottaviano, non furono pubblicate da Gronau, ma soltanto segnalate nell'appendice che chiude il capitolo dedicato all'artista vadese. Il presente contributo, dunque si propone di recuperare questi tre brevi testi, fornendone per la prima volta un'edizione.
***
In 1936, Georg Gronau's "Documenti artistici urbinati", devoted to the artistic commissions in the Duchy of Urbino during the 16th and 17th centuries, featured an extensive section on documents relating to Federico Zuccaro's activities in the Duchy. Most of the documents examined by Gronau are now preserved in the "Ducato di Urbino" collection of the State Archives in Florence, including several autograph letters from the painter himself. However, three of these letters, written between 1594 and 1606 and addressed to Francesco Maria II Della Rovere to recommend Zuccaro's agent and his son Ottaviano, were not published by Gronau, but only concisely summarized. Therefore, this article provides, for the first time, an edition of these three short texts.

The measure of wonder It's a travel journal. The register of a process of a "sensitive cartography", carried out at the Tassarout association, located in the heart of the old medina of Rabat, Morocco, in the Fondouk Ben Aicha, a former Caravanserai. For ten days I spent time with the artisans who have been working with leather, raffia, wood and metal for generations. The diary is a collection of notes, images, photographs, objects, maps, writings, routes and drawings that make up this experience, that of daily life lived under the tension of the unexpected, the difference, the noncoincidental, the foreign. The annotation takes place from the first contact with the materiality of the place, in the field, as well as in the artist's sensations and questions about her process. An experience fragmented into procedures, spaces, time and records, which do not necessarily culminate in a synthesis. The work as complexity, whose occurrence is fully realized through the emergence of its parts.

Introduction: The urban landscape, which includes a view with physical, functional, and cultural-semantic characteristics, provides a suitable ground for the representation of urban art and plays an important function in revitalizing Persian miniature painting. This article aims to answer the question, «What is the relationship between the cultural capital of citizens and the function of revitalizing traditional miniature paintings in the urban landscape from their perspective?» Research Method: The research method is descriptive-analytical, and data collection was conducted using electronic surveys and an online questionnaire. The SPSS 27 software was used for data analysis at a significance level 0.05. Findings: The examination of the correlation between citizens' cultural capital variables and the function of revitalizing Persian miniature painting in the urban landscape shows that there is a significant relationship between citizens' fields of study and their interest in art. Conclusion: The analysis of the findings indicates that, in line with Bourdieu's theories, citizens who had a greater interest and awareness of art, and thus a higher cultural competence, believed that the city's landscape was a suitable platform for the revival and recreation of Persian miniature painting. Particularly in the perception of the urban landscape, whether in terms of physical and functional characteristics or cultural-semantic attributes and from the perspective of contemporary citizens, the city's landscape can have a new function in preserving national identity and traditional arts of the community. In fact, increasing contemporary audiences' awareness by enhancing the physical, functional, and cultural-semantic characteristics of the urban landscape is an important strategy for preserving and reviving traditional miniature painting.

Micahel Ann Holly’s understanding of “the melancholy art” can be expanded. It isn’t primarily a lack of plenitude in past or current art that engenders the melancholy of ecocritical art history or that quality in environmentally inflected artworks. What triggers melancholy in these contexts is primarily the perception of loss, more the loss of the planetary fabric than the inevitable incompleteness of representation itself. Today’s ecoart is a form that seeks to bring our attention to planetary climate issues and sometimes to change our behavior toward our shared home.
ISBN: 9780300282276

Bix Beiderbecke symbolized the "Jazz Age" in America. His life and legend, based upon anecdotal evidence, oral history and memory, emphasizes his short life , his great musical inventiveness, and his substance abuse. However, the influence of ethnicity has never been examined in-depth as a major source of his American musical importance. Fifty years ago, James Burnett, argued that "without his background and upbringing his talent would probably have matured along different lines."' This essay analyzes his background as a way of understanding how he became a jazzer, and how German-Americans played an important role in American musical history. Bix was the first influential white jazzman in popular American culture. W hat made Bix stand out among so many jazz musicians in the 1920s was "the curious elusive quality ofwistftilness one finds so constantly in Bix's jazz."^ In the midst of a "hot" jazz band, with its members playing their lungs out, the musical clouds parted and his own lyrical melancholy shines through."^ With an obvious German-American surname, his musical reputation in the aftermath of World War I, and the anti-German hysteria of 1917-18, may have been diminished at times; today his global reputation remains secure. The European context for Bix's international jazz reputation is connected to jazz music as a symbol of America. Support for this appears in the memories of Jacques Bureau, famous French co-founder of the Hot Glub in Paris in 1932. While languishing in the Fresnes prison, near Paris, imprisoned as an enemy of the Reich during World War II, he retained "his sanity and dreamt of better times while surrounded by brick wall and barbed wire," by singing to himself "the solos from his favorite Bix Beiderbecke recordings. He knew Bix's cornet improvisations by heart, . . . , allowing him to create a fantasy world that he could travel to in his own mind, far from the Nazi jail cell."' * Since Bix's death in 1931, the unique aspects of Bix's music have been overly emphasized, with historical antecedents overlooked, obscuring the powerful cultural and social forces which influenced the development of Bix Beiderbecke's music.

Bix Beiderbecke symbolized the "Jazz Age" in America. His life and legend, based upon anecdotal evidence, oral history and memory, emphasizes his short life , his great musical inventiveness, and his substance abuse. However, the influence of ethnicity has never been examined in-depth as a major source of his American musical importance. Fifty years ago, James Burnett, argued that "without his background and upbringing his talent would probably have matured along different lines."' This essay analyzes his background as a way of understanding how he became a jazzer, and how German-Americans played an important role in American musical history. Bix was the first influential white jazzman in popular American culture. W hat made Bix stand out among so many jazz musicians in the 1920s was "the curious elusive quality ofwistftilness one finds so constantly in Bix's jazz."^ In the midst of a "hot" jazz band, with its members playing their lungs out, the musical clouds parted and his own lyrical melancholy shines through."^ With an obvious German-American surname, his musical reputation in the aftermath of World War I, and the anti-German hysteria of 1917-18, may have been diminished at times; today his global reputation remains secure. The European context for Bix's international jazz reputation is connected to jazz music as a symbol of America. Support for this appears in the memories of Jacques Bureau, famous French co-founder of the Hot Glub in Paris in 1932. While languishing in the Fresnes prison, near Paris, imprisoned as an enemy of the Reich during World War II, he retained "his sanity and dreamt of better times while surrounded by brick wall and barbed wire," by singing to himself "the solos from his favorite Bix Beiderbecke recordings. He knew Bix's cornet improvisations by heart, . . . , allowing him to create a fantasy world that he could travel to in his own mind, far from the Nazi jail cell."' * Since Bix's death in 1931, the unique aspects of Bix's music have been overly emphasized, with historical antecedents overlooked, obscuring the powerful cultural and social forces which influenced the development of Bix Beiderbecke's music.

Maria Anto, Dieter Asmus, Banksy, Willi Baumeister (2 Texte), Cecil Beaton, Sir Peter Blake, Umberto Boccioni, Carlo Carra, Ithell Colquhoun, Giulio D’Anna, Salvador Dali, Raoul De Keyser, Robert Delaunay, Gerardo Dottori, Ludvig Frederik Find, Hubert Andrew Freeth, Fritz Genkinger, Harald Giersing, John Heartfield, Bernhard Heisig, Irene Hoffmann, Alfred Hrdlicka, Friedensreich Hundertwasser, Ilja Kabakow, Martin Kippenberger, Ernst Ludwig Kirchner, Paul Klee, Pyke Koch, Iwan Semjonowitsch Kulikow, Bart van der Leck, Eliezer »El« Lissitzky, Rene Magritte, Jarmo Mäkilä, Kasimir Malewitsch, František Xaver Naske, Rainer Neumeier, Felix Nussbaum, Claes Oldenburg, Henry Marriott Paget, Alfred Heinrich Pellegrini, Wolfgang Petrick, Pablo Picasso, Sigmar Polke, Nicolas de Staël, Warwara Fjodorowna Stepanowa, Lawrence Toynbee, Thomas Webster, Rik Wouters

Sound-shape associations, a subset of cross-modal associations between the auditory and visual domain, have been studied mainly in the context of matching a set of purposefully crafted shapes to sounds. Recent studies have explored how humans represent sound through free-form sketching and how a graphical sketch input could be used for sound production. In this paper, the potential of communicating sound characteristics through these free-form sketches is investigated in a gamified study that was conducted with eighty-two participants at two online exhibition events. The results show that participants managed to recognise sounds at a higher rate than the random baseline would suggest, however it appeared difficult to visually encode nuanced timbral differences.

Ce mémoire analyse la conception de l’image selon le philosophe Walter Benjamin, à travers une perspective critique inspirée de l’École de Francfort. Il s'agit d'examiner l'impact de la reproductibilité technique sur la nature de l'image et d'étudier ses implications pour la modernité. En interrogeant les transformations politiques et sociales engendrées par cette mutation technique, l'analyse propose une critique immanente de la culture moderne. C’est dans cette critique que se déploie l’esthétique de Benjamin. Sa volonté de s'ancrer dans la modernité et d'y créer des images est manifeste. Cette méthode trouve une résonance particulière au cinéma, notamment chez Jean-Luc Godard que nous étudierons.

Natural and Digital Landscapes in the Actions of Kollektivnye Dejstvija. The present article examines the aesthetic evolution of liminal spaces in the actions of the Moscow Conceptualist group Kollektivnye Dejstvija (Collective Actions), analysing them as material semiotic borders between different communicative domains. The initial Soviet phase of the group began in 1976, while in 1989 the collective broke up. In 1995, some of its members reunited under the name [KD], and they have remained active since then. The aim of the group is to understand the nature of art beyond any socio-political conditioning. Each of the actions involves the staging of a minimalist performance, attended by a group of selected spectators-participants; most of these events are enacted outdoors, with the Kievogorskoe pole-an untilled field on the outskirts of Moscow bordered by woodsrepresenting the main setting in the Soviet phase. Since 1980, the group's actions have been archived through the samizdat project Poezdki za gorod (Trips out of Town), of which fifteen volumes have been produced to date. Marginal spaces prove to be particularly significant in the aesthetics of Kollektivnye Dejstvija, as their transcendence allows the artists and spectators-participants to access new theoretical and perceptual conceptualizations of reality. At the same time, semiotic borders appear as material sites where meaning is interpreted and creatively produced through sensorial dialogues with the artistic environment. While in the group's initial phase the liminal zone is often represented by the woods separating the field of action from the ideologized urban area, since the late Eighties several digital devices have been used to amplify human possibilities of transcending conventional perception modes in the field of art. In my study, the material significance of semiotic borders in Kollektivnye Dejstvija's actions is investigated through the theoretical frameworks of Timo Maran's ecosemiotics and Giuliana Bruno's research on projection in digital art.

Rooted in Sally Potter’s multimedia practices, film emerges throughout
her artistic oeuvre at the crossroads of arts, and it is nourished by artistic
impulses beyond its boundaries. The overflowing presence of the other arts has resulted in overtly intermedial and reflexive works, which attest to the symbiotic communion of arts. Rethinking the conclusions of earlier studies focused on the intermediality of The Tango Lesson (1997) (Pieldner 2019) as well as the intersensuality of The Roads Not Taken (2020) (Pieldner 2023), this paper aims to enlarge the frame of analysis by looking at a selection of films also including Sally Potter’s Yes (2004). In these films, intermediality and intersensuality appear as a performative space whereby the presence of the other arts is substantially linked to the theme of otherness. Intersubjectivity is among the central themes of Sally Potter’s films. This paper looks at how the issue of the Other is approached through intermedial crossroads among film and literature, painting, dance, theatre, and sculpture.

Dr Christine Checinska's creative practice as an artist/writer/curator examines the relationship between cloth, culture, and race. The cultural exchanges that occur as a result of movement and migration, creating creolized cultural forms, are her recurring themes.

il y a plus d’un siècle que le jeune Rainer Maria Rilke rencontra le sculpteur Auguste Rodin pour lui demander l’autorisation d’étudier son œuvre et d’en faire une monographie. Ce texte décrit une initiation paradoxale, où un jeune poète cherche un maître dans un monde moderne où le rapport traditionnel de maître à disciple était déjà en voie de disparition.
This  is the written version of a talk originally given in 2001 for the Rilke festival in Sierres, Switzerland where the poet lived. More recently a Spanish version was published by the review Escaner Cultural.

Audiovisual Healing and Reparation gathers a collection of scholarly and creative voices that explore how audiovisual media can serve as a catalyst for healing, reparation, resilience, care, and hope. The contributors critically engage with the audiovisual mediations of harsh histories and experiences of violence, discrimination, racism, sexism, colonialism, displacement, illness, and death, all situated within diverse historical, geographical, social, and political contexts. Through a reparative approach to films, documentaries, digital and social media, and art, they examine how audiovisuality intervenes in and transforms trauma, rupture, loss, and silence. This book examines audiovisual media as a rich aesthetic, social, and political site for acknowledging wounds, seeking healing, and reparatively reimagining a broken world during troubling times. It argues for the recuperative affect of audiovisuality, which can unlock silenced or suppressed (personal) histories by integrating them into the fabric of mundane daily life. It analyses two major questions: What kind of recuperative potentials can emerge from audiovisual mediations of troubling times? How can we (re)imagine audiovisual mediums, narratives, aesthetics, and practices as reparative possibilities? This book will be of interest to scholars working in film and media studies, cultural studies, memory studies, performance studies, and affect studies, and will also inspire practitioners of audiovisual media. Özgür Çiçek is a film scholar, researcher, and lecturer in the Media and Culture Department at the University of Amsterdam, the Netherlands. Her research interests lie at the intersection of national and transnational cinemas, minor cinemas, audiovisual heritage and media memory studies, documentary film and archive studies, film philosophy and aesthetics. Her forthcoming monograph is provisionally titled Kurdish Cinema in Turkey: Imprisonment, Memory, and the Archive. Özlem Savaş is a media studies scholar, researcher, and lecturer at the Department of Comparative Cultural and Social Anthropology at European University Viadrina, Germany. Her interdisciplinary work bridges media studies, migration studies, and cultural studies, with a particular emphasis on affect and emotions, aesthetic and cultural production, and everyday life. Her forthcoming monograph, The Sigh of Displacement: Affective Practices of Mediating Migration and Belong ing, is under contract with Routledge.

Progettare il Caos manifesta la volontà progettuale utopistica di mettere ordine nel disordine per eccellenza: il Caos. Come in uno spettacolo di tragicommedia, l'ilarità è immediatamente smorzata dalla portata tragica dei soggetti e, viceversa, la serietà è miserabilmente compromessa per mezzo dell'ironia della quale sono intrisi. Non di rado, è lo stesso Levini a celarsi all'interno delle opere, attuando un meccanismo di camuffamento tipico dei maestri del Rinascimento, capace di far entrare l'artista nelle pieghe della storia per ri-raccontarla attraverso nuove chiavi di lettura. Uno sconfinamento che arriva fino alla terza dimensione, come nel caso del letto presente in Vittoria, opera esposta già alla Biennale di Venezia del 1988. Confusi dal Caos della terra non ci si salva neanche alzando gli occhi al cielo: fra parà che diventano angeli, navi da battaglia e animali, satiri e ballerine, navigatori e cantanti, ci si può rendere conto, forse, che abbiamo perso da un pezzo le redini di ciò che siamo.