Video Art

Gli anni Ottanta sono generalmente identificati nella storia dell’arte come il decennio del ritorno alla pittura, alla manualità e all’oggetto artistico tradizionalmente inteso. In pieno clima postmoderno, a un simile sguardo retrospettivo – che recupera stili e forme del passato – si accompagna la sperimentazione con le tecnologie elettroniche: due tendenze solo apparentemente distanti, ma che si incontrano nel comune territorio delle immagini.
Sullo sfondo di un contesto che vede da una parte l’affermarsi dell’informatica personale e dall’altra un sistema dell’arte dominato dai linguaggi più tradizionali, il volume esplora pratiche e teorie di quella che ancora negli anni Ottanta era detta “computer art”: la sperimentazione artistica con le emergenti tecnologie digitali. Insieme alla specificità del contesto italiano, dove un certo vuoto istituzionale sembra favorire una scena artistica che nasce dal basso, sono analizzati alcuni parallelismi con il più ampio quadro internazionale, come la distinzione tra artisti programmatori e non programmatori e il rapporto tra ricerca artistica indipendente e industria. Quello che emerge, anche grazie a documenti d’archivio e testimonianze dirette, è una scena vitale, anche se ancora poco nota, nella quale è già possibile rintracciare le radici del dibattito nato negli anni Novanta attorno alla virtualità e alla centralità delle reti.

Exposição Arquitexturas.; Galeria Conviv' Art, Núcleo de Arte e Cultura. UFRN. Lançamento da ACALMA (Aliança China América Latina de Música e Artes, agosto / 2025

A exposição Arquitexturas, fruto de uma residência artística em Shanghai, investiga o entrelaçamento entre tradição e modernidade na paisagem urbana chinesa. Tomando como ponto de partida símbolos como a água e a rocha — centrais na cultura e na filosofia chinesa —, o trabalho propõe um diálogo entre passado e presente, matéria e pensamento, explorando de que modo esses elementos persistem e se transformam em um contexto hipertecnológico e em permanente mutação.

The exhibition Arquitextures, the outcome of an artistic residency in Shanghai, explores the intertwining of tradition and modernity within the Chinese urban landscape. Drawing on symbols such as water and rock—central to Chinese culture and philosophy—the work proposes a dialogue between past and present, matter and thought, investigating how these elements persist and transform within a hyper-technological and constantly shifting context.

The article discusses the organization of cosmonaut training on centrifuges in the 1960s and the issue of purchasing their own centrifuges for the Cosmonaut Training Center. The main attention is paid to solving the issue of building a large centrifuge CF-18, which still has no analogues in the world. The main sources in the study were the documents of the Russian State Archive of Scientifi c and Technical Documentation (RGANTD) and published normative legal acts. Prior to the appearance in the Cosmonaut Training Center of the fi rst own small centrifuge CF-7, cosmonauts' training took place on the basis of other enterprises that had such simulators. The inconsistency of plans for the use of centrifuges, the very fact of separation from the production of doctors of the Cosmonaut Training Center and the violation of the schedule of astronauts caused additional diffi culties, but in the 1960s there were no other training options on these units. The construction of a large centrifuge to maintain prestige was planned by the USSR, but by 1967 they decided to order its construction in Sweden, which cost 10 times cheaper. The problem of centrifuges in the Cosmonaut Training Center is directly related to the diffi culties of Soviet space during the fi rst fl ights.

The paper aims to investigate the relationship that certain cine-visual practitioners established with audiovisual media around the mid-1960s. The analysis focuses on the reasons that led these artists to adopt alternative expressive modes capable of more effectively conveying the perception of movement inherent in their works, eventually even recognizing film as the medium most suited to their research. While some engaged with the moving image only occasionally, others made it into a true operative language, entering into dialogue with contemporary experimental film practices in Italy.

This article takes a closer look at a selection of body-oriented art practices by two artists-Mona Hatoum and Amal Kenawy-to unearth how women artists render female corporeality as a topographical map. Interdisciplinary in nature, these artists' earlier practices explore corporeality to underscore how their gender, far from being a static phenomenon, is in fact a series of processes that are co-constituted via a multitude of material, sociopolitical or geographical contexts. Drawing upon Elizabeth Grosz's theory of corporeal feminism, along with her reiterations of Deleuze and Guattari's 'Body without Organs', I argue that these two artists delineate their own and other women's bodies as corporeal topographies that encapsulate the fluid carnality or porous surfaces of the female body. Moving beyond representational paradigms that approach female bodies as fixed constructs, this article foregrounds the ontologically fluid and non-representational nature of corporeal feminism to understand how these women conceptualize the female body as an open-ended composition that always remains in ceaseless flux.

there." The impact of search/media on knowledge, however, goes beyond search engines. Increasingly, disciplines-from sociology to economics, from the arts to literature-are in search of media as a way to revitalize their methods and objects of study. Our current media situation therefore seems to imply a new term, understood as temporal shifts of mediatic conditioning. Most broadly, then, this series asks: What are the terms or conditions of knowledge itself? To answer this question, each book features interventions by two (or more) authors, whose approach to a term-to begin with: communication, pattern discrimination, markets, remain, machine, archives, organize, action at a distance, undoing networks-diverge and converge in surprising ways. By pairing up scholars from North America and Europe, this series also advances media theory by obviating the proverbial "ten year gap" that exists across language barriers due to the vagaries of translation and local academic customs and in order to provoke new descriptions, prescriptions, and hypotheses-to rethink and reimagine what media can and must do.

En art contemporain, l’installation parvient à modéliser un nouveau monde
caractérisé par une pluralité d’espaces matériels et imaginaires qui
fonctionnent comme un ensemble cohérent incorporant le·la spectateur·trice
en son sein. En tant que monde à explorer physiquement, l’oeuvre fonctionne
comme un activateur sensoriel et affectif. En mettant l’accent sur les
recherches plastiques de Bruce Nauman et plus particulièrement sur sa série
Corridors (1969-1974), le présent article explore la manière dont ses
réalisations, qui prennent la forme de dispositifs immersifs, interrogent le
rapport du·de la spectateur·trice à l’oeuvre tout en instaurant de nouvelles
possibilités de réception.

O artigo propõe uma reflexão teórico-metodológica sobre os processos de
concepção e montagem do filme Memórias da desindustrialização (HD vídeo, 20’, cor, 2025). O filme, um ensaio sobre lugares da desindustrialização, centrado na indústria têxtil em São Paulo (Brasil) e Santiago (Chile), é uma reflexão a respeito da obsolescência do trabalho manual e a destruição dos saberes no mundo do trabalho. Partindo de alguns referentes da arte engajada do século XX, discuto as ideias de ensaio audiovisual e o conceito de abstração, explorando as principais reflexões teóricas que embasaram a produção do filme. Nesta direção, proponho a forma ensaio como método de investigação artística para pensar as relações sociais no capitalismo.

Rolf Lauter: Bill Viola - A 25 Year Survey Exhibition - Werke aus 25 Jahren, Opening Speech, Museum für Moderne Kunst, Frankfurt 1999

If one attempts to retrospectively examine Viola's entire oeuvre from 1972 to 2000, it is striking that most of the works the artist created up to 1991 were videotapes—over forty in total—while the period from 1991 to the present has been almost exclusively video-sound installations.

From the beginning of his artistic career, Viola's particular interest was in questions of human perception and its visual correspondence through video transmission. Based on narrative, everyday actions and their technical processing using various tools, he examined people and their senses. In this context, the processing of real-time action sequences under a wide variety of spatial and temporal coordinates was an important means of expression for simultaneously expressing the intertwined realms of subjective and objective perception of the world. In his early videotapes and video installations from approximately 1972 to 1976, the artist initially used the camera as an "observation camera." He used it to observe people, the "other," in order to gather experience through their actions, behaviors, or reactions and to convey his insights to us. He understood the video camera as an "object" whose function was to capture the human being's optical perception of the external world.

Since around the mid-1970s, parallel to the observation of the external world, the perceptual processes of the human being's inner self increasingly emerged, decisively influencing the conception of visible reality. Since then, Viola has increasingly used the video camera as a "representative" of the artist's "inner" eye, with which he seeks to make his subjective perception of the world, i.e., processes of the conscious and subconscious, and thus his thoughts, experiences, feelings, memories, or dreams, tangible. This resulted in a complex spatio-temporal network of relationships, composed of inner and outer world experiences, which is expressed in various forms in the image sequences and temporal structures of his works. Viola's works are composed, on the one hand, of a private cosmology, and, on the other, of a series of everyday scenes, symbolic events, and symbols, which he often condenses into visionary, concentrically related "narratives." In these video works, he repeatedly paraphrases the cyclical cycle of birth, life, death, a possible afterlife, and rebirth.

Viola often appeared simultaneously as actor and cameraman, but sometimes also as the perceiving subject itself, depicting its existence in the form of spatio-temporal real situations. These real situations were then transformed by him in various stages into multi-layered, "timeless" audio-visual units of action. Viola achieved this transcendent quality through, among other things, varying videotape speeds, gradually accelerating or decelerating sequences of images to extreme slow motion, temporarily incorporating still images taken from another context, or cinematically sequencing, blending, or superimposing scenes and events, which can be understood as a reflection of different levels of consciousness. The creative results, in the form of delayed or accelerated, progressive or regressive video projections, sharpen the viewer's awareness by suspending natural temporality. Contemplating these visual worlds, which unfold according to their own laws, human beings recognize their dependence on the eternal and unstoppable flow of cosmic time, but also become aware that they are merely a microcosmic component of a greater whole, which they cannot influence. His works can therefore be understood as attempts to transfer the complexity of human experience of the world into a concentrically structured visual medium. Viola consistently makes time tangible as a subjective category of experience, in which the present is portrayed as a multi-layered temporality encompassing past, present, and future. The past is concretized as the actualization of memories in the present, while the future is immanent in the present as an imaginary world of ideas. Memories and future projections can thus be thought of as simultaneously anchored in the present.

Philosophical starting points that are fundamental to Viola's artistic thinking can be found not only in ancient Greek philosophy, Chinese Taoism, Tibetan Buddhism, and Judeo-Christian mysticism, but above all in Japanese Zen Buddhism, which attributes a spiritual and physical presence to every object and every living being in nature and thus an equal significance in the context of the world. The holistic structure (macrocosm) can be experienced through each of its individual structural elements (microcosm), a concept that William Blake, for example, paraphrased in his poems.

In order to gain a closer understanding of the structure of the world, Viola, from the very beginning of his work, searched for the mythical origins and archetypal concepts of humanity in the world. This is where his interest in various prehistoric or ancient cultures begins, each of which constitutes a building block in the fabric of human culture as a whole. Viola's worldview is thus based on the concept of a structuralist-anthropological whole, in which man represents, on the one hand, the center of subjective knowledge, and, on the other hand, the objectifiable reflection of the worldview she grasps.

Rolf Lauter, Bill Viola - A 25 Year Survey Exhibition - Werke aus 25 Jahren, Eroeffnungsrede, Museum für Moderne Kunst, Frankfurt 1999

Versucht man, Violas Gesamtwerk von 1972 bis 2000 retrospektiv zu betrachten, fällt auf, dass die meisten Werke, die der Künstler bis zum Jahr 1991 geschaffen hat, Videotapes waren, und zwar über vierzig an der Zahl, während in der Phase von 1991 bis heute fast ausschließlich Video-Klang-Installationen folgten.

Das besondere Interesse Violas galt von Beginn seiner künstlerischen Tätigkeit an Fragen der menschlichen Wahrnehmung und ihrer bildlichen Entsprechung mit den Mitteln der Videoübertragung. Anhand von narrativen, alltäglichen Handlungen sowie deren technischer Bearbeitung mit unterschiedlichen Hilfsmitteln untersuchte er den Menschen und seine Sinne. Hierbei war die Bearbeitung realzeitlicher Handlungsabläufe unter verschiedensten räumlichen und zeitlichen Koordinaten ein wichtiges Ausdrucksmittel, um die ineinander verflochtenen Bereiche der subjektiven und objektiven Weltwahrnehmung parallel ausdrücken zu können. In seinen frühen Videotapes und Video-Installationen von etwa 1972-1976 setzte der Künstler die Kamera zunächst stets als ’Beobachtungskamera’ ein. Mit ihr beobachtete er den Menschen gegenüber, den ’Anderen’, um über seine Handlungen, Verhaltensweisen oder Reaktionen Erfahrungen zu sammeln und uns seine Erkenntnisse zu vermitteln. Die Videokamera wurde von ihm hierbei als ein ’Objekt’ verstanden, dessen Funktion in der Fixierung der optischen Wahrnehmung des Menschen von seiner Außenwelt steht.

Seit etwa Mitte der siebziger Jahre traten dann parallel zur Beobachtung der äußeren Welt immer stärker die Wahrnehmungsvorgänge vom Innern des Menschen hinzu, die die Vorstellung von der sichtbaren Wirklichkeit entscheidend beeinflussen. Viola setzte die Videokamera seither verstärkt als ’Stellvertreter’ für das ’innere’ Auge des Künstlers ein, mit dem er seine subjektive Weltwahrnehmung, d.h. Vorgänge des Bewusstseins und Unterbewusstseins und damit seine Gedanken, Erfahrungen, Gefühle, Erinnerungen oder Träume erfahrbar machen möchte. Dadurch entstand ein komplexes raum-zeitliches Beziehungsgeflecht aus innerer und äußerer Welterfahrung, das in den Bildsequenzen und Zeitstrukturen seiner Werke in unterschiedlicher Form zum Ausdruck kommt. Violas Werke setzen sich zum einen aus einer privaten Kosmologie, zum anderen aus einer Reihe von Alltagsszenen, symbolhaften Ereignissen und Symbolen zusammen, die er oft zu visionären, konzentrisch aufeinander bezogenen ’Erzählungen’ verdichtet. In diesen Videoarbeiten paraphrasiert er immer wieder den zyklischen Kreislauf von Geburt, Leben, Tod, ein mögliches Leben nach dem Tod und Wiedergeburt.
Oft trat Viola gleichzeitig als Akteur und Kameramann auf, manchmal aber auch als das wahrnehmende Subjekt an sich, das sein Dasein in Form von raum-zeitlichen Realsituationen schildert. Diese Realsituationen wurden von ihm dann in verschiedenen Arbeitsschritten zu vielschichtigen 'überzeitlichen' audio-visuellen Handlungseinheiten transformiert. Diese Überzeitlichkeit erreichte Viola unter anderem durch unterschiedliche Laufgeschwindigkeiten der Videobänder, durch die graduelle Beschleunigung oder Verlangsamung von Bildfolgen bis zur extremen Zeitlupe, durch die temporäre Einbeziehung von aus einem anderen Zusammenhang genommenen Standbildern oder durch die filmische Aneinanderreihung, Überblendung oder Überlagerung von Szenen und Ereignissen, die als Spiegelung verschiedener Bewusstseinsebenen zu verstehen sind. Die gestalterischen Ergebnisse in Form von zeitlich verzögerten oder beschleunigten, progressiven oder regressiven Videoprojektionen schärfen das Bewusstsein des Betrachters durch die Aufhebung der natürlichen Zeitlichkeit. Der Mensch, der die nach ihren eigenen Gesetzmäßigkeiten ablaufenden Bildwelten betrachtet, erkennt durch sie seine Abhängigkeit vom ewigen und unaufhaltsamen Fluss der kosmischen Zeit, wird sich aber auch klar darüber, dass er nur mikrokosmischer Bestandteil eines großen Ganzen ist, welches er nicht beeinflussen kann. Seine Werke verstehen sich demnach als Versuche, die Komplexität der Welterfahrung des Menschen in ein konzentrisch strukturiertes bildnerisches Medium zu übertragen. Zeit wird von Viola dabei stets als eine subjektive Erlebniskategorie spürbar gemacht, in der die Gegenwart als eine vielschichtige Gesamtzeitlichkeit aus Vergangenheit, Gegenwart und Zukunft geschildert wird. Vergangenheit konkretisiert sich als die Aktualisierung von Eri...

Ann Veronica Janssens s'efforce d'échapper à ce qu'elle appelle la tyrannie des objets. Elle emploie ainsi des formes très simples, non pérennes, de préférence performatives, c'est-àdire en mouvement constant, animées par des phénomènes naturels comme la lumière ou artificiels comme le brouillard. « Vertigo. Phénomènes naturels et visuels dans l'abstraction depuis 1950 », nous offre l'occasion de revenir sur certains aspects de sa pratique artistique. Il me semble que dans votre travail s'entremêlent architecture, sculpture et peinture. Pour procéder dans l'ordre, au-delà d'une question biographique (votre père est architecte), votre première installation de fumée colorée (Blue, Red and Yellow, 2001) était exposée sur l'esplanade de la Neue Nationalgalerie de Berlin, dans une confrontation directe avec l'architecture de Mies Van der Rohe. D'où vient ce besoin initial et constant de se confronter à l'architecture ? 1.

Lo studio dedicato è alle trasformazioni avvenute nel gioco del calcio nell’era televisiva. Tali trasformazioni hanno prodotto modificazioni significative tanto nell’atleta, nel suo corpo e nei suoi gesti, nella sua espressività, che nella fruizione stessa di questo spettacolo, secondo un processo di incessante contaminazione del linguaggio e della gestica, nonché di risemantizzazione continua nel dissolvimento catodico della presenza del corpo fisico dell’atleta.

O discurso predominante sobre o fazer historiografico reside em estudar o passado para compreender o presente. Contudo, as observacoes das fontes historicas sao atuais, visto que o passado nao existe, e uma construcao feita a partir do presente, cuja cientificidade nao depende de sua aproximacao com a realidade historica ou ficcional, mas de seu marco teorico-metodologico. O objetivo deste ensaio, em um primeiro momento, e apresentar uma proposta metodologica, com base na linguistica saussuriana, para a analise historiografica que ajude a estudar as continuidades entre passado e presente. Fato historico sera visto como um sistema de simbolos, ao qual se aplicara diferentes teoremas da comunicacao e da linguistica estructural. E, em um segundo momento, exemplificar essa proposta atraves de um estudo de caso: a danca para pedir chuva, realizada pelos pames (xi’iui) de Santa Maria Acapulco, grupo indigena que habita a Serra Gorda de Sao Luis Potosi, Mexico.

The film The Platform (El Hoyo) tells the story of a vertical prison with a food distribution system that creates social and moral conflict among the prisoners. The creation of this film raises social issues such as injustice, greed and the struggle for survival with a realism approach, which seeks to present life as it is without manipulation. The creation method is based on the ideas of André Bazin, utilizing long takes, deep focus, detailed set design, natural acting and dim lighting to create an authentic atmosphere. This approach produces an immersive cinematic experience, presenting relevant and realistic symbolism for the viewer.

Este relatório reúne informações apuradas a partir da pesquisa (janeiro de 2017 a maio de 2019) de pós-doutoramento pelo programa de Pós-Graduação Interunidades em Estética e História da Arte da Universidade de São Paulo – Museu de Arte Contemporânea de São Paulo (MAC-USP) sob a supervisão da Profa Cristina Feire.

O ponto de partida foi o acervo de filmes e vídeos de artistas do Museu de Arte Contemporânea de São Paulo (MAC-USP), mais especificamente o material ali depositado referente aos vídeos produzidos no Setor de Vídeo do MAC-USP em 1977 e 1978. A escolha em particular deste objeto de pesquisa se deu em função da constatação de que estes trabalhos, apesar de serem citados na bibliografia referente à produção de vídeo no
Brasil, não foram analisados a partir de suas matrizes originais, que ficaram desaparecidas por mais de 35 anos. Essa decorrência histórica implicou na necessidade de uma nova abordagem analítica sobre estes trabalhos ao constatar que, em suas versões gravadas nas fitas de vídeo originais, estas obras apresentam aspectos estéticos e modos de produção peculiares não analisados em publicações anteriores. Assim, esta pesquisa contribui para o esclarecimento de ambiguidades históricas que estavam difusas ou não esclarecidas e colabora para a correção dos processos de cadastramento e identificação da origem destas
obras e seu tombamento no acervo do MAC-USP.

Este texto recoge una investigación sobre la influencia ejercida por la fotografía científica en el imaginario visual de la creación fotográfica contemporánea, analizado desde una perspectiva epistemológica. Al mismo tiempo, se estudia como esta relación permite definir diferentes concepciones del propio medio a partir de la oposición entre la fotografía concebida como un complemento de la ciencia o como un arte, contraponiendo sus valores de uso prácticos y estéticos. Confrontando la aplicación que artistas y científicos hacen de estas técnicas, originalmente destinadas cumplir una función heurística, se busca mostrar una continuidad en la historia de la visión, en un proceso que va de la estetización de la ciencia a la cientifización del arte, que ha acabado imponiéndose como una nueva tendencia en la creación fotográfica contemporánea.

Conceived as a word/image essay, Reasons to Kill a Poet takes a critical look at how creativity and its derivatives are being mobilized as key concepts of neoliberalism, functioning to repress forms of oppositional creativity through structures of discursive, and embodied, policing and punishment. At the same time, counter-hegemonic “creativity” persists, and the essay foregrounds particular exemplary works by writers, including Chilean musician and poet Victor Jara, Estadio Chile (1973); US-based Black journalist, writer and activist Mumia Abu Jamal, Teetering on the Brink: Between Life and Death (1991); and Ugandan queer activist, researcher, and poet Stella Nyanzi, No Roses from My Mouth (2020) These writings are juxtaposed with visual images to create a third space between word and image, and elicit historical resonances on such questions as What is the relationship between social and artistic critique and experimentation? How are their creativities conceived, posited and enacted as anti-capitalist and anti-governmental formations? What threat does radical creative work pose to the common sense of any period, but particularly to the forms of authoritarian impunity that characterize the neo-liberal present?

On view October 4, 2025-February 8, 2026 at the Menil Drawing Institute, Houston, this exhibition highlights a period known as the "network era," from the 1950s to the 1980s, when television became more pervasive in society and reached its apex as a tool for cultural control, while also seeding acts of political dissent and artistic experimentation.

This display will feature more than fifty works on paper, video, mixed media sculpture, and an immersive installation, created by twenty-five artists from ten countries. he title of the exhibition—"Lines of Resolution"—refers to the amount of detail a television or video system can reproduce, while highlighting artists’ unwavering commitment to these emergent media. In the second half of the 20th century, electronic screens became a source of imagery, a surface for inscription, and a device that could be manipulated to generate entirely new kinds of drawing.

From the late 1950s to the 1980s, a period known as the network era, television reached its apex as a cultural force in the home, and portable video cameras became widely available. Examining how this new technology spurred artistic experimentation, this book considers the relationship between drawing and art made for the small screen of the domestic television set and early video cameras. These electronic screens entered artists’ studios for the first time and became a new source of imagery and a device that could be manipulated to generate entirely new kinds of drawing.

An essay by Anna Lovatt looks at the ways in which early television and video images—captured, transmitted, and displayed through raster lines—inspired new possibilities for abstraction and expressing concepts of self-reflection and surveillance, while Kelly Montana explores artworks made by women who used the immediacy and familiarity of drawing to disrupt objectifying media representations of their gender by recording themselves drawing, often on their own bodies.

This copiously illustrated volume features drawings, film stills, videos, and multimedia installations by more than twenty artists both well-known and heretofore obscure, and includes discussions of the televisual imagery that permeates works on paper by Walter de Maria, the ways artists such as Anna Bella Geiger and Dennis Oppenheim used video to capture performative acts of drawing, and how Nam June Paik and Howardena Pindell treated the screen as a site of inscription.

Rolf Lauter: Bill Viola - A 25 Year Survey Exhibition - Werke aus 25 Jahren, Booklet, Museum für Moderne Kunst, Frankfurt 1999

If one attempts to retrospectively examine Viola's entire oeuvre from 1972 to 2000, it is striking that most of the works the artist created up to 1991 were videotapes—over forty in total—while the period from 1991 to the present has been almost exclusively video-sound installations.

From the beginning of his artistic career, Viola's particular interest was in questions of human perception and its visual correspondence through video transmission. Based on narrative, everyday actions and their technical processing using various tools, he examined people and their senses. In this context, the processing of real-time action sequences under a wide variety of spatial and temporal coordinates was an important means of expression for simultaneously expressing the intertwined realms of subjective and objective perception of the world. In his early videotapes and video installations from approximately 1972 to 1976, the artist initially used the camera as an "observation camera." He used it to observe people, the "other," in order to gather experience through their actions, behaviors, or reactions and to convey his insights to us. He understood the video camera as an "object" whose function was to capture the human being's optical perception of the external world.

Since around the mid-1970s, parallel to the observation of the external world, the perceptual processes of the human being's inner self increasingly emerged, decisively influencing the conception of visible reality. Since then, Viola has increasingly used the video camera as a "representative" of the artist's "inner" eye, with which he seeks to make his subjective perception of the world, i.e., processes of the conscious and subconscious, and thus his thoughts, experiences, feelings, memories, or dreams, tangible. This resulted in a complex spatio-temporal network of relationships, composed of inner and outer world experiences, which is expressed in various forms in the image sequences and temporal structures of his works. Viola's works are composed, on the one hand, of a private cosmology, and, on the other, of a series of everyday scenes, symbolic events, and symbols, which he often condenses into visionary, concentrically related "narratives." In these video works, he repeatedly paraphrases the cyclical cycle of birth, life, death, a possible afterlife, and rebirth.

Viola often appeared simultaneously as actor and cameraman, but sometimes also as the perceiving subject itself, depicting its existence in the form of spatio-temporal real situations. These real situations were then transformed by him in various stages into multi-layered, "timeless" audio-visual units of action. Viola achieved this transcendent quality through, among other things, varying videotape speeds, gradually accelerating or decelerating sequences of images to extreme slow motion, temporarily incorporating still images taken from another context, or cinematically sequencing, blending, or superimposing scenes and events, which can be understood as a reflection of different levels of consciousness. The creative results, in the form of delayed or accelerated, progressive or regressive video projections, sharpen the viewer's awareness by suspending natural temporality. Contemplating these visual worlds, which unfold according to their own laws, human beings recognize their dependence on the eternal and unstoppable flow of cosmic time, but also become aware that they are merely a microcosmic component of a greater whole, which they cannot influence. His works can therefore be understood as attempts to transfer the complexity of human experience of the world into a concentrically structured visual medium. Viola consistently makes time tangible as a subjective category of experience, in which the present is portrayed as a multi-layered temporality encompassing past, present, and future. The past is concretized as the actualization of memories in the present, while the future is immanent in the present as an imaginary world of ideas. Memories and future projections can thus be thought of as simultaneously anchored in the present.

Philosophical starting points that are fundamental to Viola's artistic thinking can be found not only in ancient Greek philosophy, Chinese Taoism, Tibetan Buddhism, and Judeo-Christian mysticism, but above all in Japanese Zen Buddhism, which attributes a spiritual and physical presence to every object and every living being in nature and thus an equal significance in the context of the world. The holistic structure (macrocosm) can be experienced through each of its individual structural elements (microcosm), a concept that William Blake, for example, paraphrased in his poems.

In order to gain a closer understanding of the structure of the world, Viola, from the very beginning of his work, searched for the mythical origins and archetypal concepts of humanity in the world. This is where his interest in various prehistoric or ancient cultures begins, each of which constitutes a building block in the fabric of human culture as a whole. Viola's worldview is thus based on the concept of a structuralist-anthropological whole, in which man represents, on the one hand, the center of subjective knowledge, and, on the other hand, the objectifiable reflection of the worldview she grasps.

Rolf Lauter, Bill Viola - A 25 Year Survey Exhibition - Werke aus 25 Jahren, Booklet, Museum für Moderne Kunst, Frankfurt 1999

Versucht man, Violas Gesamtwerk von 1972 bis 2000 retrospektiv zu betrachten, fällt auf, dass die meisten Werke, die der Künstler bis zum Jahr 1991 geschaffen hat, Videotapes waren, und zwar über vierzig an der Zahl, während in der Phase von 1991 bis heute fast ausschließlich Video-Klang-Installationen folgten.

Das besondere Interesse Violas galt von Beginn seiner künstlerischen Tätigkeit an Fragen der menschlichen Wahrnehmung und ihrer bildlichen Entsprechung mit den Mitteln der Videoübertragung. Anhand von narrativen, alltäglichen Handlungen sowie deren technischer Bearbeitung mit unterschiedlichen Hilfsmitteln untersuchte er den Menschen und seine Sinne. Hierbei war die Bearbeitung realzeitlicher Handlungsabläufe unter verschiedensten räumlichen und zeitlichen Koordinaten ein wichtiges Ausdrucksmittel, um die ineinander verflochtenen Bereiche der subjektiven und objektiven Weltwahrnehmung parallel ausdrücken zu können. In seinen frühen Videotapes und Video-Installationen von etwa 1972-1976 setzte der Künstler die Kamera zunächst stets als ’Beobachtungskamera’ ein. Mit ihr beobachtete er den Menschen gegenüber, den ’Anderen’, um über seine Handlungen, Verhaltensweisen oder Reaktionen Erfahrungen zu sammeln und uns seine Erkenntnisse zu vermitteln. Die Videokamera wurde von ihm hierbei als ein ’Objekt’ verstanden, dessen Funktion in der Fixierung der optischen Wahrnehmung des Menschen von seiner Außenwelt steht.

Seit etwa Mitte der siebziger Jahre traten dann parallel zur Beobachtung der äußeren Welt immer stärker die Wahrnehmungsvorgänge vom Innern des Menschen hinzu, die die Vorstellung von der sichtbaren Wirklichkeit entscheidend beeinflussen. Viola setzte die Videokamera seither verstärkt als ’Stellvertreter’ für das ’innere’ Auge des Künstlers ein, mit dem er seine subjektive Weltwahrnehmung, d.h. Vorgänge des Bewusstseins und Unterbewusstseins und damit seine Gedanken, Erfahrungen, Gefühle, Erinnerungen oder Träume erfahrbar machen möchte. Dadurch entstand ein komplexes raum-zeitliches Beziehungsgeflecht aus innerer und äußerer Welterfahrung, das in den Bildsequenzen und Zeitstrukturen seiner Werke in unterschiedlicher Form zum Ausdruck kommt. Violas Werke setzen sich zum einen aus einer privaten Kosmologie, zum anderen aus einer Reihe von Alltagsszenen, symbolhaften Ereignissen und Symbolen zusammen, die er oft zu visionären, konzentrisch aufeinander bezogenen ’Erzählungen’ verdichtet. In diesen Videoarbeiten paraphrasiert er immer wieder den zyklischen Kreislauf von Geburt, Leben, Tod, ein mögliches Leben nach dem Tod und Wiedergeburt.

Oft trat Viola gleichzeitig als Akteur und Kameramann auf, manchmal aber auch als das wahrnehmende Subjekt an sich, das sein Dasein in Form von raum-zeitlichen Realsituationen schildert. Diese Realsituationen wurden von ihm dann in verschiedenen Arbeitsschritten zu vielschichtigen 'überzeitlichen' audio-visuellen Handlungseinheiten transformiert. Diese Überzeitlichkeit erreichte Viola unter anderem durch unterschiedliche Laufgeschwindigkeiten der Videobänder, durch die graduelle Beschleunigung oder Verlangsamung von Bildfolgen bis zur extremen Zeitlupe, durch die temporäre Einbeziehung von aus einem anderen Zusammenhang genommenen Standbildern oder durch die filmische Aneinanderreihung, Überblendung oder Überlagerung von Szenen und Ereignissen, die als Spiegelung verschiedener Bewusstseinsebenen zu verstehen sind. Die gestalterischen Ergebnisse in Form von zeitlich verzögerten oder beschleunigten, progressiven oder regressiven Videoprojektionen schärfen das Bewusstsein des Betrachters durch die Aufhebung der natürlichen Zeitlichkeit. Der Mensch, der die nach ihren eigenen Gesetzmäßigkeiten ablaufenden Bildwelten betrachtet, erkennt durch sie seine Abhängigkeit vom ewigen und unaufhaltsamen Fluss der kosmischen Zeit, wird sich aber auch klar darüber, dass er nur mikrokosmischer Bestandteil eines großen Ganzen ist, welches er nicht beeinflussen kann. Seine Werke verstehen sich demnach als Versuche, die Komplexität der Welterfahrung des Menschen in ein konzentrisch strukturiertes bildnerisches Medium zu übertragen. Zeit wird von Viola dabei stets als eine subjektive Erlebniskategorie spürbar gemacht, in der die Gegenwart als eine vielschichtige Gesamtzeitlichkeit aus Vergangenheit, Gegenwart und Zukunft geschildert wird. Vergangenheit konkretisiert sich als die Aktualisierung von Erinnerungen in d...

Filmler başlıkları içerisinde incelenen bu çalışmada toplamda 6 film ve 2 Video Art çalışması içinden seçilen fotoğraf kareleri temel alınarak Kurgu ve Çekim Teknikleri açısından inceleme ve çözümleme yapılmıştır. Araştırma sonunda video sanatı açısından kurgu tekniklerinin kullanımının sinema da seyirciyi etkilediği ve filmlerde verilen mesajın anlaşılmasını sağladığı söylenebilir.

constituindo-se importante objeto de investigações na área. Em número bem menor são as investigações, no Brasil, sobre como ampliar a educação do público em geral para a dança. No exterior podemos encontrar um número pouco maior de trabalhos com esse enfoque (e.g., . Embora esses esforços investigativos sejam muito recentes e ainda incipientes do ponto de vista epistemológico, indiciam a pertinência e a importância desses estudos. Este trabalho soma-se a tais esforços, focalizando a investigação sobre a educação do público para a apreciação consciente da dança. Tal educação é inclusiva, pois permite ao cidadão estar usufruindo e fruindo cultura e arte que são tanto "reflexos dos 1 Este artigo apresenta resultados de uma pesquisa por mim coordenada, e que foi financiada pela FAPEMIG e pelo CNPq intitulada "Educação para as Artes: O impacto de projetos de pesquisa em interface com a extensão que focam na sensibilização estética ou apreciação em dança pelo público". Participaram deste projeto as professoras Evanize Romarco, Carla Ávila, Solange Caldeira, Maristela Lima além de vários bolsistas e estudantes voluntários de diversos cursos da UFV. Agradecimento especial à Kátia Marcos (Bolsista PIBIC/FAPEMIG), pelo enorme auxílio.

l lugar que ocupa Joseph L eo Manki ewi cz e ntre los padres de l c ine mod ern o , a la lu z d e las más radicales teorías cahieristas , se conso lida al analizarse detenidamente su parti cular trata miento del cine de género. Mankiew icz, g uionista más o menos brillante, dramaturgo frustrado e intelectua l dilettante, elabora su obra fílm ica, paradóji camente, en direcc ión contrari a a l ci ne. La estética de sus películas se doblega ante el trabajo de los actores, apun tala la agudeza de los d iálogos y subraya e l astuto desarrollo del argumento. El auto r de Eva al d esnudo

Este estudo examina a questão da autenticidade a partir do pensamento do filósofo japonês Nishitani Keiji (1900-1990), destacando sua relevância no contexto do século XX. A noção de autenticidade está intrinsecamente associada à ideia de um "eu verdadeiro", uma identidade que se distingue e pode ser diferenciada de uma existência falsa ou inautêntica. Na filosofia europeia, a autenticidade frequentemente se apoia em uma estrutura essencialista, que pressupõe a existência de um núcleo imutável e absoluto como fundamento do "eu". Contudo, Nishitani, inspirado pela tradição budista, propõe uma abordagem que busca transcender os limites da metafísica tradicional, repensando as bases da realidade e enfatizando a interdependência entre todos os elementos que a constituem. Por esse motivo, defende-se que a perspectiva de Nishitani pode ser caracterizada como transontológica, pois ultrapassa as categorias ontológicas convencionais.

This paper explores the transformation of the intellectual figure in the digital age and the impact of visibility pressures on the production of thought. In an era where the value of ideas is often measured through likes, shares, and view counts, the question arises: what determines the fate of thinking—depth of content or the relentless dance of algorithms? The article stages a fictional email exchange between Marx, Engels, and Gramsci to investigate the possibilities and limits of the digital intellectual. Revisiting Gramsci’s concept of the “organic intellectual,” the text examines how algorithms frame public discourse, how slowness and silence become strategies of resistance, and how the intellectual is increasingly a builder of communities as well as ideas.

Following a prominent 18th and 19th century tradition, some contemporary philosophers have appealed to the notion of the sublime as a promising avenue for exploring the aesthetic experience of ancient ruins. Nevertheless, existing accounts have typically focused solely upon the great magnitudes of ruins-specifically the magnitude of time-and have therefore operated exclusively within the bounds of the 'mathematically sublime'. However, this paper defends a less well-represented view in contemporary literature, that ancient ruins ought to also be appreciated in terms of the 'dynamically sublime': being confronted with great powers and forces of nature relative to our own. Drawing upon hitherto under-utilised conceptual resources, especially those offered by Schiller, the paper explores the necessary and sufficient conditions for conceiving of the sublime experience of ancient ruins in terms of their ability to express human vulnerability, and what the philosophically significant implications of this view may be.

실과 기억 사이, 클라라 호스네들로바의 포스트 메모리 미학

"1990년생인 호스네들로바는 체코의 사회주의 공화국 시기를 직접 겪지 않았지만, 그 시대의 기억과 공명하는 물성과 노동의 흔적, 그리고 신체적인 제스처를 현재에 복원한다. 구체적으로 작가는 천장에서 길게 드리워진 9m 높이의 태피스트리를 자신의 고향인 보헤미아(Bohemia)와 모라비아(Moravia)에서 직접 재배한 아마와 대마 섬유로 제작했다. 체코와 독일의 여러 공방에서 약 1년의 시간을 들여 완성된 이 거대한 작업은 수십 명의 현지 여성 장인의 손끝에서 탄생했다. 직접 식물을 우려내고, 실로 꼬아내고, 손끝으로 엮어낸 직물에는 수 세기에 걸쳐 축적된 여성 노동의 역사가 담겨 있으며, 태피스트리 표면에서 은은하게 배어 나오는 식물의 향은 그 기억을 후각으로도 오롯이 전달한다(…)”

- 월간미술 2025. 9. 1. 발행

Become such as you are, having learned what that is." Pindar (522/518-443/438 BC) Sverre Raffnsøe Released in 2003 by internationally renowned Danish directors Lars von Trier and Jørgen Leth, The Five Obstructions is a short film, 88 minutes long. As will be evident, however, this 'minor' work is also a unique, dense, multi-layered, and intriguing piece of art, with a wide range of implications. A film-experiment that permits us to follow its own genesis in the making, The Five Obstructions presents itself both as a documentary and a feature production, as it renders the construction of a previously inexistent fictitious work. Being the result of a contest between two auteurs, the work permits us to follow a power game in detail as it develops. In addition, the film may be viewed as a collaborative cinematic experiment, concerning, experimenting with and challenging, not only received rules of film making, but also our conception of rules and creativity in a broader sense.

Artykuł przedstawia koncepcję Nowego Paradygmatu ucieleśnionej świadomości, w którym nauka i duchowość nie są rozdzielnymi porządkami, lecz wzajemnie się dopełniają. Punktem wyjścia jest zestawienie dwóch filarów fizyki XX wieku -teorii względności i mechaniki kwantowej -jako metafory dwóch wymiarów świadomości: relatywistycznego odbicia (okokora mózgowa) oraz kwantowej oscylacji (ucho-móżdżek). Artykuł rozwija hipotezę, że serce pełni funkcję oscylatora i integratora, który spaja oba porządki poprzez własny układ nerwowy i pole elektromagnetyczne. Wprowadzone zostaje pojęcie Śródpiersiowego Skrzyżowania Życia, rozumianego jako centrum pola świadomości i "serce duchowe", w którym krzyżują się dwa tryby poznania: obecność kwantowa i odbicie relatywistyczne. Analiza obejmuje neurokardiologię, badania nad koherencją serca oraz teorie spinowe świadomości, wskazując, że człowiek jest istotą krzyża -żyjącą jednocześnie w świecie obrazów i rezonansów, odbić i obecności. Słowa kluczowe: serce, móżdżek, ucho, świadomość ucieleśniona, koherencja, teoria względności, mechanika kwantowa This article introduces the concept of a New Paradigm of embodied consciousness, in which science and spirituality are not separate domains but complementary dimensions of the same reality. The framework juxtaposes the two pillars of 20th-century physics -relativity theory and quantum mechanics -as metaphors for two aspects of consciousness: relativistic reflection (eye-cerebral cortex) and quantum oscillation (ear-cerebellum). The article advances the hypothesis that the heart functions as an oscillator and integrator, uniting these domains through its intrinsic nervous system and electromagnetic field. It introduces the concept of the Mediastinal Crossing of Life, understood as the center of the consciousness field and the "spiritual heart," where two modes of knowing intersect: quantum presence and relativistic reflection. Drawing on neurocardiology, research on cardiac coherence, and spin-based models of consciousness, the analysis suggests that the human being is a figure of the cross -living simultaneously in worlds of images and resonances, reflections and presence.

The textile and apparel industry is facing increasing challenges regarding material efficiency, cost reduction, and sustainable production. Conventional textile manufacturing often leads to substantial material waste, as fabrics are produced in standardized widths and later cut into garment patterns. This mismatch causes offcuts, higher production costs, and environmental burdens. This study proposes an innovative approach: producing woven textiles directly in the dimensions of garment patterns. By linking design and textile production, the project aims to reduce waste, conserve resources, and open new opportunities for eco-friendly large-scale manufacturing.

Hauntology is a term coined by Jacques Derrida which refers to cultural elements of past haunting the present. Its association with dystopian fiction seems more organic. However, this paper argues that utopian and optimistic themes of solar-punk fiction often hint at a connection to the past. This paper attempts a hauntological reading of Bucky Chamber’s A Psalm for the Wild-Built. It juxtaposes the theoretical term referring to a cultural concept into a work of fiction. It also analyses how such juxtaposition can be a fulfilling way of reading a solar-punk text.

Screening Exercises V-VIII è un ciclo di proiezioni, incontri e seminari che si concentrano sulla proiezione cinematografica come centro della ricerca artistica di alcuni artisti contemporanei e come elemento specifico e strutturale del cinema rivelando la connotazione performativa che può avere l’atto della proeizione.

Screning Exercises V-VIII ha visto tre giorni di proiezioni e incontri con gli artisti Claudio Caldini, Gaëlle Rouard e Andrea Saggiomo; e vedrà un seminario conclusivo con il ricercatore e assistente curatore della Collezione film del Centre Pompidou Enrico Camporesi.

Da Mister Fantasy a Immagina. Arte elettronica in tv PAOLA LAGONIGRO L'arte elettronica, nella sua immaterialità, trova nella televisione un ideale luogo di collocazione e fruizione. Questa l'idea che si evince in numerosi interventi di artisti e critici negli anni Ottanta, accompagnata però da una denuncia al sistema televisivo italiano, scarsamente interessato alla sperimentazione artistica legata alle nuove tecnologie . Sono diversi gli esempi virtuosi all'estero, anche volendosi limitare ai soli confini europei: dalla trasmissione belga Videographie (1975)(1976)(1977)(1978)(1979)(1980)(1981)(1982)(1983)(1984)(1985) che si occupa di videoarte, a Choses vues (1985), opera in cinquanta episodi nata dalla collaborazione di Jean-Paul Fargier con Michel Piccoli e trasmessa quotidianamente dal canale francese TF1, fino al britannico Channel Four, massimo esempio in Europa di emittente aperta alla produzione videoartistica . Nel panorama italiano degli anni Ottanta, apparentemente privo di situazioni degne di nota, si possono individuare alcune trasmissioni andate in onda su Rai Uno 1 e nate attorno al culto del video e delle nuove tecnologie. Nei programmi presi in esame 2 , l'arte elettronica entra a vario titolo: videoinstallazioni come scenografie, opere di videoarte e computer art, clip musicali, senza dimenticare la videografica computerizzata che proprio in questi anni cambia il volto dell'immagine televisiva. Nel presente saggio saranno trattati tutti questi esempi, dando particolare attenzione agli autori italiani ed evidenziando i felici casi in cui la televi-1 Fino all'ottobre 1983 denominata Rete Uno. 2 Per la stesura di questo saggio devo molto alla collaborazione di Paolo Giaccio, Carlo Massarini e Fabrizio Plessi che, nell'estate 2018, quando sono state compiute le ricerche, mi hanno generosamente fornito materiali e informazioni.

We'd like to have permanent contact with you, Bogdanka and Dejan Poznanović from Novi Sad wrote on 17. 10. 1973, replying to a letter with a postbox project from Jiří Valoch in Brno. Please send us regular materials about your work for our documentary, informational and operational centre Atelje DT/Favit 00010! 1 Since 1972 Bogdanka and Dejan had been collecting prints and documentary items for publication in the journal Uj symposion, which appeared in Novi Sad in Serbo-Croat, Hungarian and English. In the early 1970s Bogdanka Poznanović had accomplished several significant actions, making her one of the acknowledged pioneers of the "new artistic practice" in Yugoslavia. Some of her actions which had "rivers" in their titles, Cubes-Rivers (1971) and Rivers-Transmissions (1972), were performed on the bank of the Danube and were dedicated to the idea of communication: the flow of a river that unites. Subsequently she conducted the participative action Feedback Letterbox-Information-Decision-Action (1973-1974), which made her one of the leading representatives of mail art. Thirty eight artists from a variety of countries took part in her action, sending her a description of their own mailbox. The outcome was a photo collage printed as a poster, with a selection of the contributions submitted. The concept and medium of postal communication was a new meta-medium for presentation of intersubjective relations on an international level. 2 Contact achieved between the sender and receiver of a signal became a form of art work. Jiří Valoch was one of the artists who responded to the call. In this paper I will be concerned with two levels of communication between artists in Czechoslovakia and Yugoslavia: visual poetry and conceptual photography. Both of these planes of artistic communication, thanks to their undemanding and dematerialised nature, enabled direct or indirect exchanges of performance-orientated, ephemeral and marginalised forms of art.

This paper revisits Susan Sontag’s work, “Illness as Metaphor; and, AIDS and Its Metaphors” (1990), to examine how disease metaphors intersect with gendered narratives in the context of the increasing global climate crisis and health crises. Sontag’s criticism of disease as a socially constructed metaphor serves to ground an inquiry into how framings around pandemics often reproduce gendered and racialised inequity. It is essential to clarify precisely how women are constituted as the primary caregivers, healers, and victims within these crises, thereby further solidifying existing power structures. Based on Sontag’s work, this analysis will examine the feminisation of care labour, the symbolic contagion of marginalised bodies, and the erasure of women’s experiences within dominant crisis narratives.
The paper goes deeper into this analysis using Albert Camus’s “The Plague”, Katherine Anne Porter’s “Pale Horse, Pale Rider”, and Orhan Pamuk’s “Nights of Plague”. Camus provides an allegorical description of a quarantined town, facilitating a deeper understanding of the universality of suffering and the ethical dilemmas that arise in such collective crises. Nevertheless, the male-dominated narrative gaze diminishes the roles of women, reinforcing social patterns. Porter’s novella, set during the 1918 influenza pandemic, poignantly details illness’s personal and social costs, putting at its core the experiences of a female protagonist struggling with love, loss, and survival in the most devastating epidemic ever. Pamuk’s “Nights of Plague” further expands on this, as sociopolitical and cultural dimensions converge with a fictional plague outbreak, paying special attention to the crises women face when confronted with patriarchy in crisis.
These literary examples highlight feminist interventions that disrupt dominant crisis imaginaries by reframing care and interdependence as radical acts of resistance. It challenges the language of extra-activism, scarcity, and survivalism embedded in the structures and mindsets formed within capitalist modes of subsistence, yet traces ways in which feminist literature creates new paradigms of coexistence and resilience. This article draws on theoretical insights from Susan Sontag to put these texts to work, highlighting the transformative possibilities of feminist storytelling in tearing apart crisis-ridden rhetorics and evoking new visions of equal futures in the face of ecological and social collapse.

This year's Yearbook, From Arts College to University, the twelfth edition, begins with an examination of the academicisation that has taken place over the past decade or so and that still continues within artistic education and research This trend is clearly apparent in the opening article, an updated subject overview compiled by the Swedish Research Council's Committee for Artistic Research under the leadership of its chair Catharina Dyrssen . Over the course of 2014, subject overviews have been drawn up for all the subject areas within the Swedish Research Council as the basis for the Government's Research Bill 2016 . Academicisation is also touched upon in the following two articles, which are the speeches (or parts thereof) by the two keynote speakers, Esa Kirkkopelto, professor at the University of the Arts Helsinki, and Francisca Schroeder, musician and researcher at Queen's University in Belfast, at last year's Symposium on Artistic Research at the Swedish School of Textiles in Borås (Borås University) . The symposium had the same title as this year's Yearbook . We have thus followed up on our previously stated intention to have a clearer link between the Yearbook and the annual symposium . Next come reviews of two doctoral theses -one on literary composition, the first of its kind in Sweden, and one on photography: What is the Sound of the Poem? Att bli ved II by Fredrik Nyberg, poet, reviewed by Jesper Olsson, associate professor in comparative literature, and Performing History. Photography in Sweden 1970-2014 by Niclas Östlind, photographer and curator, reviewed by Christine Hansen, photographer and researcher . These are followed by four reports on artistic projects that have

Dressed in a tuxedo with a blue-painted face and nails, Cuban artist René Peña stages a religious reading in his photograph Solitario as a metaphor for survival and stereotypes of Blackness in 1990s Cuba. Shot in black and white, Peña sits before a table bearing multiple objects. The reading, symbolized by the eggshells and tarot cards, is exchanged for hard currency denoted by U.S. dollars. In post-soviet Cuba, such transactions became a part of la lucha in the urban landscape of Havana. Known as a “man of the streets” Peña would have likely observed these dynamics on his daily wanderings in the city. Perhaps the best way to understand Peña, as Odette Casamayor suggests, is “to walk with him following his rhythm.”

Heeding Casamayor’s recommendations, this paper “walks” with Peña through the streets of Havana to illuminate representations of Blackness in contemporary Cuban society. It takes the space of the city and the act of wandering as methodologies. By situating Solitario within the urban racial politics of post-revolutionary Cuba, I argue that Peña illustrates the everyday negotiations and performances of Blackness in Cuba. That is, how Afro-descendant Cubans work against and within stereotypes of race as a conscious act of “self-making” as anthropologist Jafari S. Allan suggests.

This paper draws from archival research, artist interviews, and forms part of the first chapter of my dissertation.

A VIII Jornada de Pesquisa em Artes Cênicas, evento promovido pelo Departamento
de Artes Cênicas da Universidade Federal da Paraíba realizou-se de 01 a 03 de novembro
de 2017. Nesta edição, propomos um convite à reflexão, ao compartilhamento e, ao mesmo tempo, uma provocação: Sobrevivências em Artes Cênicas – Articulação
de conhecimentos e práticas [im]possíveis. Sobreviver, verbo imperativo no campo das artes, indica o caminho de articulações entre conhecimentos e práticas. A VIII Jornada, apesar de todas as dificuldades, se tornou também um tempo-espaço de sobrevivências, de compartilhamentos e de afetos. Acreditamos que o intercâmbio de ideias e experiências, proporcionados por eventos como esta Jornada, permitem ampliar o olhar e o pensamento sobre teorias, metodologias e práticas. Este espaço de produção de pensamento-ação visa criar um espaço de incentivo à compreensão, reformulação e reinventação do próprio fazer artístico.
A realização da VIII Jornada de Pesquisa em Artes Cênicas é resultado de esforços
coletivos por parte do corpo docente do Departamento de Artes Cênicas que, ao mobilizar-se na organização deste evento também empreendem uma luta simbólica e concreta: uma luta pela sobrevivência da arte em um espaço acadêmico, pelo fomento da cultura e da implementação de ações estratégicas que ampliem o campo de atuação e permitam a expansão e experiências em artes.
Os anais da VIII Jornada de Pesquisa em Artes Cênicas, aqui publicados, foram organizados em duas sessões que contemplam os resumos submetidos ao evento e a
publicação dos artigos completos pelos autores, organizados sob os eixos temáticos propostos no evento.
Desejamos a todxs uma boa leitura!
Comissão Organizadora da VIII Jornada de Pesquisa em Artes Cênicas

Despite the crucial rôle attributed to Primitivism in Italian Futurism, the study of Primitivist elements in Marinetti's literary work is often limited to a focus on barbarism. This essay considers Futurist Primitivism from the broader perspective of temporality. It argues that Marinetti used Primitivism strategically and in three distinct ways to create a multi-temporality necessary for his Futurist poetics, both within and beyond the written text. Firstly, the essay analyses how the protagonists of Fondazione e manifesto del futurismo (1909), Mafarka il futurista (1909/ 10) and Il tamburo di fuoco (1922) step outside of rational, linear time by way of demiurgic and shamanic mythicization, focussing on the ways in which they become creators of new arts and shamans of sacrificial rituals, much like Marinetti in the serate futuriste. Secondly, the essay shows how the modern invention of radio was used as a medium for transmitting occult spirituality. The Futurist concept of the radio produces a simultaneity of different time dimensions rather than a sense of endless progress into the future. Thirdly, the act of eating and the metaphor of anthropophagy were used to establish simultaneity between memories, old régimes, traditions, present experiences and future projects, as can be seen in 8 anime in una bomba (1919), Il club dei simpatici (1931) and Il fascino dell'Egitto (1933). Beyond the literary sphere, the act of Futurist dining was combined with the primordial artistic act. The synaesthetic experience of the aerobanchetti is exploited to establish simultaneity through different media in La cucina futurista.

Este artigo discute as politicas de genero em torno do feminino ao colocar em tensao o campo do pornografico a partir da reflexao sobre o pos-porno no contexto da America Latina. Nesse sentido, focaremos no conceito de excesso como um elemento estetico articulador do discurso politico e critico do universo pos-porno latino-americano, privilegiando as reflexoes a analise dos videos da artista colombiana Nadia Granados, que interpreta a personagem La fulminante. palavras-chave: excesso; pos-pornografia; America Latina.

Special Collections. In the History of Art department, I am so thankful for student services coordinator Debbie Fitch-throughout the years she has averted several minicrises, answered countless emails and phone calls, and offered encouragement, always with a beautiful smile. I have benefited personally and professionally from the incredible collective intellects and experience of the faculty and students at the University of Michigan. I was fortunate enough to take courses with

This article will explore the organizational dynamics of knowledge and scientific truths in a digital age and the hauntological implications inherent in such processes. It will consider the concept of haunted data and its methodological and performative force in relation to the question of what accrues power, status and authority within the context of changing conditions of truth-claims within digital archives. The article will focus on a scientific controversy related to priming, which largely took shape within the context of post-publication-peer-review. Post-publication-peer-review (PPPR) is a distributed form of commentary made possible by social and digital media. Different publics can now add their own commentary to published academic journal articles as they circulate across websites, blogs and weblogs, twitter, Google+ posts, in Reddit communities, in comments attached to Wikipedia, online science journalism articles, newspaper articles and so on. For some scientists, the di...

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This paper, drawing on the theoretical insights of Barbara Creed and others, argues that the female characters in Emily Carroll's graphic novel, When I Arrived at the Castle (2019), manifest the monstrous-feminine through their grotesque physicality and metaphorical monstrosity. The paper posits that the image of the monstrous-feminine is created through the depiction of the characters' grotesque physicality and their metaphorical monstrosity. In addition to analyzing the facets of the monstrous-feminine, the research categorizes these into grotesque physicality and metaphorical monstrosity. By analyzing the graphic novel, this paper offers a new perspective on the representation of women in media and provides a new reading of Carroll's work.