Arts and Humanities, Misc

The article presents the chess composition as a logical art, with concrete examples. It began with Arabic mansuba, and later evolved to new-strategy designed by Italian Alberto Mari. The redefinition of mate (e.g. mate with a free field) or a theme to quasi-pseudo theme, opens the new space for combinations, and enables to connect it with other fields like computer science. The article was exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013.

Carel Fabritius left behind few but important works of art. We are concerned here with the View in Delft, and attempt to make two points about it. The first is that this small painting manages to break away from the classical perception of perspective, an endeavor informed mostly by new findings in the field of optics of the time. The second point, theoretically related to the first, stresses compositional elements that would bring View in Delft closer to a meditation on (...) the fleetingness of life, making it a "town-scape" vanitas. (shrink)

Essay on the modern artistic ego as sponsored by the exhibition, "Gustav Courbet," February 27-May 18, 2008, Metropolitan Museum of Art, New York, New York, USA. A version of this essay appeared in Gavin Keeney, "Else-where": Essays on Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 191-98.

Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (2011) (...) - First Cause (2011) - Met Ladies (2011) - When Cam Girls Met Ladies (2011) / OUTTAKES (2007): 15 Questions About Editioned Art Photography (2007) - A Few Awkward Questions for Francesca Woodman (2007) - October Revolution (2007) . (shrink)

A draft White Paper associated with Fulbright Specialist Program lectures at the University of Ljubljana, Ljubljana, Slovenia, in March-April 2015, concerning neo-liberal capitalist exploitation of academic research and publications.

Essays and documents surveying the post-communist architectural scene in the Czech Republic. - 1/ “Wild & Wilder” (1997) – A brief travelogue with comments on Kew Gardens, London, and Mies van der Rohe’s Villa Tugendhat (1930), Brno. 2/ “Angel City” (1999) – A short report on Jean Nouvel’s Golden Angel office tower in Smíchov, Prague. 3/ “Read & Weep: Scandal in Bohemia” (1999) – Essay on post-communist machinations within the architectural scene in the Czech Republic, including reports on: Jean Nouvel’s (...) Angel City and its critics; charges of “lite (postmodern) neo-functionalism” here and there; a cooked “open” competition for a proposed Kupka museum in an old mill on the island of Kampa (in the Vltava); a tourist-dodging transit through Josip Plečnik’s gardens at Prague Castle; and stories and legends regarding the Star Pavilion and oak wood at White Mountain. 4/ “The Body of the City” (2001) – Critique of Richard Meier and Partners’ proposed ECM Radio Plaza, a series of towers meant to complete an unfinished, communist-era “Rockefeller Center” in the Pankrác district of Prague. 5/ “Gnomic Works: The Sculptural Works of Kurt Gebauer” (2002) – Essay on the sculpture of Czech artist Kurt Gebauer with images from his exhibition in Zlín in 2001. 6/ “House of the Wind: May Day” (2004) – Prose poem written on May Day 2004 regarding wandering around Olšanské hřbitovy, a mostly 19th-century cemetery in the Žižkov district of Prague. 7/ “Architectural Eyewash” (2004) – An essay surveying: various complaints within the Czech architectural community regarding an outbreak of “architectural eyewash” in the 2004 Chamber of Architects’ Grand Prix competition; rumors and innuendo regarding a proposed Kupka museum on Kampa; complaints about Daniel Libeskind’s proposed Dalí House, Prague; etc. 8/ “Moravian Shadows” (2004) – Essay on “cultural shadows” in the context of Czech architecture, with a nod to Nietzsche's The Birth of Tragedy. 9/ The Near & The Far: Moravian Garden (2006) – Notes and discursuses on a very small, yet “immense” South Moravian country garden in Skryje, Czech Republic. (shrink)

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book on (...) Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

This paper integrates symbolic thought and experimental research. We hypothesized that symbolic narratives provide homeostasis for the complex adaptive system that is personality. Our interpretation of a dream was based, in part, on this hypothesis. We found that the dream retold the myth of Saturn. When, by direct experiment, we tried to falsify our interpretation, our results supported our interpretation and thereby supported our hypothesis. Previously, evidence for this hypothesis had been only anecdotal. __________________________________________ For an audio-record of entire class: (...) link is given on 1st page of the text you download from this page. (shrink)

One of the most widely read books in the world, considered a metaphor for the human condition, and suitable for a variety of interpretations, The Adventures of Pinocchio has had a major impact on world culture. The book responds to a prerogative that belongs only to masterpieces: that of being out of time. The book focuses on the psychological investigation of his central character Pinocchio, while trying to discover a humanity lost in the vacuum of technology and science. The myth (...) of Pinocchio is used to condemn the culture of violence and consumerism. Collodi successfully uses metaphorical interactions, bipolarities, and ambiguous miracles. Pinocchio's identity is often played to the limit, imagined by himself and everyone he meets along the way. Pinocchio is the name of life that is simultaneously inorganic, human and animal. The Adventures of Pinocchio explore how experiences gained in heterotopic space give the individual the ability to change panoramic vision, and how these experiences can ultimately show us how we can recover or restore our existence as individual subjects. -/- CONTENTS: -/- Abstract Carlo Collodi The Adventures of Pinocchio Pinocchio The Myth The Psychology The Duality The Heterotopy The Identity Artificial Intelligence The Humanism The Becoming The Demiurge The Education Bibliography -/- DOI: 10.13140/RG.2.2.20541.38887. (shrink)

While generative AI has been embraced as a powerful tool for research, its integration into academic workflows has paradoxically undermined productivity in several ways. This essay explores four key challenges: secondary source of anxiety, where overreliance on AI-generated summaries fosters doubt about source credibility and scholarly rigor; operational inefficiency, as AI often generates redundant or misleading outputs that necessitate extensive verification; the hidden labor of AI integration, requiring researchers to develop new skills and oversight mechanisms to manage AI-driven processes; and (...) ethical ambiguity, as evolving AI capabilities blur the boundaries of authenticity, originality, and responsible scholarship. These issues are further compounded by diverging institutional and cultural perspectives on what constitutes legitimate intellectual contribution. As AI continues to evolve, so too must the research communities’ strategies for its responsible use—ensuring it functions as a tool for discovery rather than a bottleneck of informational chaos that stifles innovation. (shrink)

Mathematics has a long track record of refining the concepts by which we make sense of the world. For example, mathematics allows one to speak about different senses of "sameness", depending on the larger context. Phenomenology is the name of a philosophical discipline that tries to systematically investigate the first-personal perspective on reality and how it is constituted. Together, mathematics and phenomenology seem to be a good fit to derive statements about our experience that are, at the same time, well-defined, (...) precise, and significant to our inner lives. However, there are difficulties stemming from the fact that phenomenology deals with inherently subjective things. Phenomenological investigations seem to lose their appeal when trying to approach them in the clear-cut way afforded by mathematics. How to overcome this obstacle? We argue that the Arts play a special role in mediating between the precise statements of mathematics and the sometimes fuzzy nature of our experience. Mathematics and art are complementary ways to come to a comprehensive understanding of reality. (shrink)

for a better literature, to understand literary tradition in Portugal.

is happyness productive? See book by Roger Scruton, "On Pessimism".

the journal of everyday life, between success and resiliation, shine and shadow, clarity and sadness.

Rodney Needham bipolarity in a small context.

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

All interpretations of the Portland Vase frieze to date have failed to see, much less explain, a crucial figural attribute in the frieze, one that proves to be both explicit and explicatory, and whose location and appearance secures the identification of not one but, indeed, three figures. Furthermore, the attribute lies at the heart of a distinct schema of figural grouping and arrangement which has also gone unheeded in previous treatments of the Portland Vase frieze. By dint of this previously (...) unknown attribute, one can straightforwardly read the opening scene of the frieze using the attributes therein provided, but the opening scene only. To complete the task, a second methodology–that which I laid out in Arion in 1992–is a categorical sine qua non. One can, as I have already shown, successfully navigate the entire frieze using the second methodology alone but, as so many others have shown, not contrariwise. These new findings–the attribute and figural plan–are clear proof that the artistic vision of the Portland Vase was purposefully executed in a two-part program. (shrink)

This paper’s aim is to establish an explanation for the separation of Northern minds, by examining the influence of a variety of factors on the shaping of people’s sense of identity at the time. Near the end of the 16th century the Groningers had proven to be a people with a mind of their own—impetuous, unruly and, in the end, unwilling to join the Republic in its efforts to liberate itself from its oppressive Spanish overlord. One by one the Dutch (...) cities had joined the revolution, but the city of Groningen refused. The ‘Ommelanden’—the city’s surrounding territory—however, did not—laying bare a critical disagreement between two ‘classes’: the Saxon city elite and the predominantly Frisian countryside nobles (Dutch plural: landjonkers/jonkheren). (shrink)

It is no accident that white privilege designed to be both be invisible and weightless to white people. Alison Bailey’s “On White Privilege and Anesthesia: Why Does Peggy McIntosh’s Knapsack Feel Weightless?” extends a weighty invitation white readers to complete the unpacking task McIntosh (1988) began when she compared white privilege to an “invisible and weightless knapsack.” McIntosh focuses primarily making white privilege visible to white people. Bailey’s project continues the conversation by extending a ‘weighty invitation’ to white readers to (...) explore why the metaphorical knapsack, despite the weight of its contents, feels weightless. Here’s the short answer. The knapsack only feels weightless because white people have become anesthetized us to our own brokenness. We are more comfortable considering what white privilege does for us than what it does to us. People of color feel the weight of whiteness every day. The weighty invitation invites white readers to become sensitive to our own insensitivity. To do this Bailey (1) explores white resistance to unpacking the weight; (2) people of color’s testimonies to the daily impact of the weight on their bodies; and (3) how the anesthesia of white privilege distorts our humanity. The article concludes with a McIntosh style list of that the anesthesia of privilege distorts white people’s humanity. (shrink)

The paper argues that the digitalization enterprise revives, beyond the post-modern period of interpretive anarchism, the XIXth century ideal of philological probity.

En el presente trabajo, analizamos el cuento El Inmortal de Borges prestándole principal atención a las situaciones donde se entrelazan, o se tratan sin diferenciar demasiado, cuestiones vinculadas con la animalidad y la divinidad. Sostenemos que esta especie de confusión o falta de precisión al tratar cuestiones que se alejan tanto de la identidad personal y del Yo, como la inmortalidad, no es un elemento casual ni sin fundamento, sino que puede ser analizado filosóficamente adentrándonos la otredad animal. El Inmortal (...) nos manifiesta que la filosofía podría no haber sido lo suficientemente precisa al tratar la otredad, permitiendo que animalidad y divinidad, o más bien ciertas propiedades características de cada una, puedan amalgamarse dentro de los lindes de este concepto. Que el cuento de Borges haga convivir de forma tan característica la inacción con la inmortalidad hace de esta obra un objeto de reflexión obligatorio para todos los interesados en el concepto de otredad. (shrink)

HIV and AIDS is still menace bedeviling society particularly in 3rd world countries such as Zimbabwe. The impacts of HIV/AIDS are gravely felt within workplaces as affected employees suffer from stigma and prejudice. Organizations also suffer as the pandemic leads to high absenteeism and a high rate of employee turnover. This writing therefore addresses the impact of HIV/AIDS in organizations and communities and how the Zimbabwean Government, NGOS, Trade Unions and Companies have been battling this pandemic and the achievements made (...) to date. (shrink)

We are considered to be highly evolved conscious beings, but if we look at ourselves, do we actually feel that we are there; wise men or Homo sapiens as we call ourselves? In today’s world, reward based conditioning forms our contemporary culture that deeply defines how we look at life and how we intuitively perceive our consciousness. Presently, acquisitions are our priority and we behave as narcissistic conditioned puppets and let governments and corporations rule our lives. We are hypocrites that (...) can see, but behave blind; blinded within the realms of our short-termed thrills, joys and beliefs. Augmenting logical questioning and logical conditioning is the only way we can come out of this state that cannot be done individually, it has to be a collective effort. This paper is an attempt to understand our very own evolved consciousness and its relation to the current world with the true meaning of our existence, where we seek to understand it from a logical sense. (shrink)

The problem with how we mythologise reality is arguably at the core of humanity’s ecological/existential crisis. While others have pointed to this, F. W. Schelling produced a philosophy of art which both confirms it and lays the foundations for how it can be addressed. This involves reversing the polarities of the ‘modern mythology’, related directly to Art-and-Humanity’s joint meaning crisis which Schelling claimed originates in our alienation from Nature and the rise of ‘revealed religion’. Despite his resurgence (inspiring Complexity Science), (...) the relevance of Schelling’s aesthetics to resolving humanity’s long-standing ethical problems has been neglected. In this paper, I begin by framing Schelling’s view on religion, contextualising his ontological, cosmological approach to art. I then argue why his ‘dialectical aesthetics’, grounded in ‘process metaphysics’, presents a radical advance on Kant’s and Hegel’s ‘reflective’ standpoint featured in our dominant theoretical aesthetic paradigm (causing art’s sharpest decline via the evolving ‘modern’ suppression of metaphoric thinking by ‘symbolic idealism’, at the heart of our ‘worlding’ problems). Then, showing how Schelling’s Principle of Art leads us archetypally back to the normative sciences, I argue redirecting the self-destructive modern mythology means reorienting ‘final cause’ in our narratology. And why this firstly requires distinguishing proper metaphor from the symbolic constructions common in ‘conceptual art’. (In a subsequent paper, Schelling’s Art ‘in the Particular’ will be revealed to offer the practical application of his Principle to any artforms/works ‘for all time’ in praxis, advancing my argument here for why his system offers a suitable framework for collectively re-worlding the world). -/- [Pre-print English version - author's copy; Spanish translation - in press]. (shrink)

The digital age has profoundly transformed Holocaust remembrance through the influence of digital archives, connectivity, and emerging technologies. This research investigates the transformation of personal memories into connective memory shaped by online social platforms, Internet search tools, and artificial intelligence. It employs an analysis of digital memory platforms and conducts interviews centered on a specific case study examining the memory patterns of a Holocaust survivor. The increasing reliance on algorithmic mediation raises concerns about the potential distortion and manipulation of historical (...) narratives. This study highlights the need for human agency in memory construction and the challenges of technologically mediated memory. It suggests that collaborative efforts involving scholars, survivors, and community members should continue to play a central role in developing technological tools for remembrance. The implications extend beyond Holocaust memory, informing discussions on the digitization, preservation, and ethical dissemination of technologically mediated historical knowledge in the twenty-first century. (shrink)

Thật là mừng khi thấy ngoài 80, cậu Biên vẫn mạnh khỏe, minh mẫn, hỏi những câu hỏi của sự kiện cũ mà tôi phải lục tìm trí nhớ mãi mới trả lời được.

This is where one will find a Martian giving a speech on education. The creature’s words are wholly based on those of the Portuguese philosopher Leonardo Coimbra (1883-1936), so we named the Martian after him. The idea of turning Leonardo Coimbra into a Martian comes from the critical remarks of Homem Cristo (1860-1943), who predicted that the language of the first would be found by humans once on Mars, as we find out in Leonardo Coimbra’s Obras Completas, vol. VIII (Lisboa: (...) Imprensa Nacional-Casa da Moeda, 2014), pp. 200-1. Although it is the result of an inquiry into Leonardo Coimbra, this publication is pointedly a creative (or Creationist, in the philosophical sense) interpretation of the author’s approach to education. All the same, we have been faithful to Leonardo’s philosophy of education, so whoever pays attention to the Martian will be exposed to some aspects of the Leonardian ethos. (shrink)

Preliminary research on the Edition of One (EO1) project, "W(h)ither the Avant-garde?" Includes a report on the art-world ca.2006-2010.

A selection of documents, texts, and archival records, with links, summarizing a sustained critical engagement with the art world and academia, through essays, reviews, etc., and inclusive of garden design, architecture, film, photography, fashion, performance art, music, and opera … They begin in New York, New York, in the early 2000s, and then become embedded in various aspects of PhD studies concerning visual agency, postdoctoral research projects concerned with a study of intellectual property rights, and, then, a second PhD focused (...) on works-based agency …. (shrink)

A review of Clive C. Nwonka & Anamik Saha (eds.), Black Film British Cinema II, London, Goldsmisths Press, 2021, by Frédéric Lefrançois.

La historia del arte en Colombia no es una disciplina consolidada, sino más bien un espacio en constante disputa, reconfiguración y cuestionamiento. La escritura del arte en el país se ha desarrollado a partir de múltiples esfuerzos, aunque con una marcada fragmentación que refleja las tensiones propias de su contexto social, cultural e intelectual. Este ensayo busca reflexionar críticamente sobre los problemas y las posibilidades que enfrentan las narrativas historiográficas del arte en Colombia, considerando tanto sus elementos teóricos y metodológicos (...) como su inserción en debates más amplios sobre la historia, la cultura y la política. La reflexión sobre estas ideas fue el objetivo del I Encuentro de Historia del Arte que se realizó en Cartagena los días 16, 17 y 18 de noviembre de 2022. El evento fue organizado por el Comité Colombiano de Historiadores del Arte y representa un momento significativo en el proceso de consolidación de la disciplina en Colombia, un campo que aún está en proceso de profesionalización y que enfrenta desafíos particulares debido a la complejidad histórica y cultural del país. (shrink)

Thepaperaimstoexplorethepotentialofresearchbydesigninarchi- tecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similar- ities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge through visual, associative, (...) and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university pro- grams in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the inten- tion to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared? (shrink)

“Adaptive Reuse. Theoretical Glossary and Design Labs” is an incoming book, featuring essays on the topic of “adaptive reuse” from worldwide academics and selected projects from Reuse The Ruin summer workshops (2021, 2022, 2023), to be published in 2024.

Cả một vạt hoa vối lúc tháng 5-6 chi chít khắp các cành nay đã rụng tơi tả sau nhiều cơn mưa lớn của tháng 7.

El 13 de julio de 2021 se realizó una entrevista a Adolfo Elizaincín, miembro de número de la Academia Nacional de Letras de Uruguay. El motivo de esta conversación fue que se resolviera la interrogante de saber cuál es la razón por la cual existen constantes modificaciones del habla y la escritura del idioma castellano. Frente a esta incógnita, se pudo reconocer que habrá variantes en cada país o región según el tiempo y el espacio en los que se usa (...) tal lengua. Eso originará creación de palabras, desaparición de estas o adaptaciones a formas inusitadas. A su vez, el intercambio de ideas que se efectuó con el académico sirvió para dilucidar la función que tiene todo hablante con respecto a su idioma. Entre los que mencionó, fueron la preservación del idioma y la promoción de actividades culturales que dejaran un rastro de la producción de cada quien, ya sea a través de proyectos de investigación o de la misma literatura. De igual manera, el entrevistado recalcó la diferenciación que emerge a partir de dos lenguas: la dominante y las regionales, puesto que habría una mayor predilección sobre la base del idioma según la mayor cantidad de hablantes en un solo país. (shrink)

Il presente volume ibrida in modo originale il libro d’arte e il libro d’artista. I testi, ispirati da alcune parole presentate in forma aggettivale e pertanto più poetica e connotativa, non costituiscono un commento alle immagini create da Laura Pitingaro, ma sono chiavi interpretative che esplorano la varietà ambientale da prospettive culturali eterogenee (filosofiche, scientifiche, artistiche). Queste stesse parole costituiscono al contempo l’elemento seminale da cui germoglia la creatività immaginifica dell’artista. Da questa coesistenza e varietà di forme interpretative ed espressive (...) deriva la natura biodiversa del libro che trasforma concetti astratti in esperienze sensoriali, visive e linguistiche. Pertanto, il libro nasce con il proposito sperimentale di creare un mosaico di parole e immagini per una più profonda comprensione della biodiversità in chiave multidisciplinare e transdisciplinare. Tuttavia, il suo scopo va al di là della mera divulgazione di informazioni. Tra- smettendo non solo la conoscenza razionale, ma soprattutto la consapevolezza sensibile (dal greco aisthesis = sensazione) della biodiversità, questo libro d’arte aspira a suscitare emozioni, trasportando il lettore in un viaggio sensoriale attraverso cui idee e concetti complessi sono veicolati in modo accessibile e coinvolgente. Dunque, perché un libro d’arte per riflettere sull’ambiente? Perché è un’opera bella e preziosa come il suo contenuto, la biodiversità. (shrink)

Dieser Text beinhaltet nichts Neues. Nur hinlänglich Bekanntes, Erinnerungen an Gelesenes und Reflektiertes, vor allem zur Philosophie der Kunst mit ihrer zentrale Frage, was Kunst ist. Und eng damit verknüpft die Frage, was ein Kunstwerk ist und was einen Künstler und eine Künstlerin auszeichnet. In diesem Essay wird es aber nicht um die Kunst im Allgemeinen gehen, sondern um die abstrakte Kunst und die abstrakte Malerei im Besonderen. Was zeichnet sie aus und was ist ihr Wesen? Ist es die Freiheit?

Due to its concept and methodology, Graingers book on Frontinus is more fact-based fiction than biography. The reader gains an insight into how Frontinus' life and career might have unfolded, taking into account our knowledge of the Roman Empire in his time and the information about him that is confirmed by our sources. The author's assumptions are always plausibly substantiated. However, when reading the book, one learns far more about the Roman Empire, its provinces, its rulers and the political and (...) military conditions in the 1st century AD than about Frontinus. In this respect, this book is very exciting and informative, and it is also pleasant to read. (shrink)

Over the last two years, the third wave of artificial intelligence (AI) has emerged powerful tools for both artistic expression and scientific research. In design, image generators display an equivalent disruption to text generators, while the medium of text creates the new scope of writing prompts. This contribution discusses the ambivalences between text and image generators via two main theses: first about the potential of prompting and generated images as a medium of discourse; second, it examines the reasoning behind their (...) tendency to be mystified. Prompts can be automated through text generators and used to generate images on a wider scale, making it a praxis in which precise wording becomes crucial for generating anything. Generated images practice a form of mimesis. With Generative Adversial Networks (GANs) producing non-referential images, the discourse of illustration is concerning the obsolescence of authorship. AI is observed to manifest a dual character, serving as both tool and author, even though AI does not own the classification of a person and is not an author in legal terms. The utilization of text and image generators is intertwined with a mythicized notion due to their non-verifiable mode of operation. The myth of AI is a product of its indeterminacy. (shrink)

Descartes’ first book, 1618’s Compendium of Music, focuses on biomechanical reactions in the human body but also claims that the purpose of art is to arouse emotions. By the end of the 1630s, however, he had given up on precisely predicting how that arousal may occur. This article contends, though, that Descartes’ abandonment of that project is a result of using an inappropriate psychological model for such predictions. An appropriate model is developed in his last book, 1649’s The Passions of (...) the Soul. Especially by attending to generosity and desire, the probability of predicting aesthetic judgments is at least increased. In increasing it, Descartes’ abandonment need not be total. (shrink)

The paper presents an analysis of David Cronenberg’s 2022 film Crimes of the Future, dedicated to the transformation of human nature amidst technological progress. Drawing inspiration from leading contemporary thinkers like Gilles Deleuze, Felix Guattari, Maurice Merleau Ponty, Michel Foucault, Donna Haraway, and Timothy Morton, the research extends to Cronenberg’s other films to provide a deeper comprehension of his creative vision. Central to the discussion are the humanitarian issues posed by these movies, namely the metamorphosis of human corporeality, the blurring (...) boundaries between the natural and artificial, and the ethical dilemmas arising from biotechnological interventions in human physiology. The key themes in Crimes of the Future are contextualized within modern frameworks of dark ecology and posthumanism and interpreted through the lens of Deleuze and Guattari’s body without organs, Merleau-Ponty’s phenomenology, and Foucault’s biopolitics. Crimes of the Future offers a multifaceted reflection on humanity’s future amidst profound transformations of both physiology and environment. Through an in-depth analysis of the film and Cronenberg’s oeuvre at large, new topics emerge for interdisciplinary research at the intersection of philosophy, bioethics, sociology, and psychology, exploring how human nature and identity evolve in an era of dynamic technological advancement. (shrink)

El artículo presenta los resultados de un análisis de la película de David Cronenberg “Crímenes del futuro” (2022), que aborda la transfor mación de la naturaleza humana bajo la influencia del progreso tecnológico. Este estudio se basa en ideas de pensadores contemporáneos destacados como Gilles Deleuze, Felix Guattari, Maurice Merleau-Ponty, Michel Foucault, Donna Haraway y Timothy Morton. La investigación también analiza otras películas de Cronenberg para proporcionar una comprensión más completa de su visión creativa. El autor identifica los principales temas (...) humanísticos que abordan estas películas, a saber, la transformación de la corporeidad humana, la difuminación de los límites entre lo natural y lo artificial, y los dilemas éticos que surgen de las modificaciones biotecnológicas del cuerpo humano. Las cuestiones clave en “Crímenes del futuro” también se exploran en el contexto de los conceptos modernos de “ecología oscura” y posthu manismo. El artículo analiza la interpretación de la corporeidad en la pelí cula a través del concepto de “Cuerpos sin Órganos” de Deleuze y Guattari, la fenomenología de Merleau-Ponty y la biopolítica de Foucault. “Crímenes del futuro” ofrece una reflexión multifacética sobre el futuro de la humanidad en medio de transformaciones radicales tanto del cuerpo como del entorno. El análisis de la película, y más ampliamente de toda la obra de Cronenberg, identifica nuevos temas prometedores para la investigación interdisciplinaria en la intersección de la filosofía, la bioética, la sociología y la psicología. Estos temas exploran cómo la naturaleza humana y la iden tidad se están transformando en una era de rápido avance tecnológico. (shrink)

Facing marginalization under the Awami League and historical stigma, the BNP’s recent outreach to India signals a pivotal shift. This commentary explores how the BNP seeks to establish legitimacy, distance itself from past associations, and connect with a younger electorate by advocating for democratic principles, social justice, and individual empowerment. It argues that a renewed commitment to ethical leadership and social justice will allow the BNP to bridge socio-economic divides and appeal to a disillusioned, younger electorate. This reorientation could shape (...) a more inclusive, equitable political landscape, offering a foundation for Bangladesh’s democratic future. (shrink)

This piece explores the recent diplomatic shift between the Bangladesh Nationalist Party (BNP) and India, following remarks by BNP Secretary General Mirza Fakhrul Islam Alamgir. I analyze the broader implications of this unexpected development and how it reflects deeper issues within Bangladesh’s political system, particularly the reemergence of Jamaat-e-Islami and the BNP’s strategic positioning against Awami League.

The article explores and discusses the doctoral research's creative, digital, and visual representation through the "RADICANT 003" virtual reality experience. Grounded in visual methods and the arts sciences, the article outlines its overall structure and contextualizes it within the broader research that in/forms it. It introduces Guma Joana, the Brazilian artist at the centre of this phase of the project. The article articulates theory and practice, ethnography and data presentation. And it is the experience we offer of the work of (...) the artist and of our own view of her that accounts for this dual operation. The paper details two digital mechanisms designed to engage users within the virtual reality environment: one mechanism deconstructs Instagram posts, while the other immerses the user in 360° videos. (shrink)

Psycholinguistics is a study which explains how a person acquires, produces, and perceives language both orally and in writing. Moreover, psycholinguistics is a branch of cognitive science and one of the issues that has become a trending topic in cognitive science is the mind and its role in language use and acquisition. By understanding psycholinguistics, at least we know what processes occur in the mind related to language acquisition, what problems are experienced by a person's mind in the process of (...) language acquisition. Of course, these types of information will provide many contributions for language teachers as well as curriculum and teaching material designers in streamlining the language teaching process, especially foreign languages. Contribution in this context refers to everything that psycholinguistics has provided and has been the cause of improvement or progress in the area of language pedagogy (learning and teaching). To find out what these contributions are, the author has conducted a literature review by reading a variety of published opinions from psycholinguistic experts. At least, two types of contributions can be identified, namely theoretical contributions and practical contributions. Corley, K. G., & Gioia, D. A. (2011) refer to these two types of contributions as ‘scientific utility’ and ‘practical utility’. (shrink)