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  1. Creation Ex Nihilo: André Malraux and the Concept of Artistic Creation.Derek Allan - manuscript
    One might naturally suppose that philosophers of art would take a strong interest in the idea of creation in the context of art. In fact, this has often not been the case. In analytic aesthetics, the issue tends to dwell on the sidelines and in continental aesthetics a shadow has sometimes been cast over the topic by the notion of the “death of the author” and by the claim, as Roland Barthes put it, that the author is only ever able (...)
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  2. Why Art is Never Representation - Even When It Represents.Derek Allan - manuscript
    The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".
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  3. Art and the Unknown.Dan J. Bruiger - manuscript
    Abstract: The purpose of this essay is to explore the nature and role of art as a human phenomenon from a broadly cognitive perspective. Like science and religion, art serves to mediate the unknown, at once to embrace and to defend against the fundamental mystery of existence. Thus, it may challenge the status quo while generally serving to maintain it. Art tracks the individuation of subjectivity, serving the pleasure principle, yet is appropriated by the collective’s commitment to the reality principle. (...)
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  4. Letter to a Friend on Creative Thinking and Intuiiton (Art, Writing, Philosophy, Science).Ulrich de Balbian - manuscript
    -/- Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking and intuition (art, writing, philosophy, science, etc ) .
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  5. Stalling for Time.Gabriel Furmuzachi - manuscript
    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 (...)
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  6. The Silence: Non-Discursive Agency in Photography.Gavin Keeney - manuscript
    An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.
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  7. Mad Square.Gavin Keeney - manuscript
    Review of “The Mad Square: Modernity in German Art 1910-37”, National Gallery of Victoria, Melbourne, Australia, November 25, 2011-March 4, 2012. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 153-57.
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  8. Notes on the Artistic Ego.Gavin Keeney - manuscript
    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.
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  9. Dossier Gaialight 2007-2011.Gavin Keeney - manuscript
    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) (...)
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  10. Pure Visuality: Notes on Intellection & Form in Art & Architecture.Gavin Keeney - manuscript
    Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...)
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  11. Entre o natural e o artificial: visualização e representação no século XVI.Fumikazu Saito - manuscript
    Recentes estudos em história da ciência têm apresentado indícios de que é impossível estabelecer uma clara distinção entre estudos de óptica e de perspectiva linear quando nos referimos aos séculos XVI e XVII. Embora a perspectiva linear lidasse com a representação geométrica do espaço numa superfície bidimensional, estava, entretanto, estreitamente ligada a questões relativas à natureza da visão humana. Devemos considerar que, naquela época, o termo perspectiva era a tradução latina da palavra grega optikè, denotando a visão direta e distinta (...)
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  12. Le film Solaris, réalisé par Andrei Tarkovski.Nicolae Sfetcu - manuscript
    Le film est un drame psychologique se déroulant à bord d'une station spatiale en orbite autour de la planète Solaris. Les trois membres de l'équipage ont des problèmes psychologiques. Le psychologue Kris Kelvin est envoyé là pour évaluer la situation, mais il fait face aux mêmes phénomènes mystérieux que les autres. Pour Tarkovsky, le conflit existentiel exposé par Lem n'était que le point de départ du développement de la vie intérieure des personnages. DOI: 10.13140/RG.2.2.11405.49129.
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  13. Stanislaw Lem Vs. Andrei Tarkovsky.Nicolae Sfetcu - manuscript
    Tarkovsky recognizes these differences, saying that there is a contradiction with Lem's initial idea, because he was interested in the problems of inner life, spiritual problems, so to speak, and Lem was interested in the collision between man and Cosmos. In an ontological sense of the word, in the sense of the problem of knowing and the limits of this knowledge - it is about that. Lem even said that mankind was in danger, that there was a crisis of knowledge (...)
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  14. Visual Trope and the Portland Vase Frieze: A New Reading and Exegesis.Randall L. Skalsky - Winter 1992 - Arion 2 (1).
    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 (...)
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  15. Hiding in Plain Sight, Yet Again: An Unseen Attribute, An Unseen Plan, and A New Analysis of the Portland Vase Frieze.Randall Skalsky - Spr/Summer 2010 - Arion 18 (1):1-26.
    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 (...)
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  16. History of Computer Art, Second Edition.Thomas Dreher - 2020 - Morrisville, USA: Lulu Press.
    The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. (...)
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  17. Review of Art and Form: From Roger Fry to Global Modernism by Sam Rose. [REVIEW]Michalle Gal - 2020 - Estetica European Journal of Aesthetics 57:183-188.
    In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...)
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  18. Dim Nodes: A Dark Side of Information.Melle Nieling - 2020 - Dissertation, Royal College of Art
    This dissertation addresses issues with regard to veracity in situations where dynamic environments are observed with the intention to make static documentation. An increasingly internet-driven society may give more weight to Derrida's attestation in Archive fever that, regardless of our drive to trace everything back to its inception, you cannot find the root of all roots. I will argue that this inability may inhibit the attainment of a status of veracity for a slice of information, and use examples of my (...)
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  19. What is Reality? Walter Benjamin, Roland Barthes, Jacques Derrida, Judith Butler, and the Artist Karin Kneffel on the Deconstruction of the Familiar as Liberation From Determination.Martina Sauer - 2020 - Art Style, Art and Culture International Magazine, Special Issue_6, On the Postmodern Age, Ed. By Martina Sauer 6 (6):101-120.
    What is reality? It is postmodern or poststructuralist philosophers like Roland Barthes, who realized that it only seems that the media present reality in the form of facts, because they actually spread myths. Accordingly, Jacques Derrida made it clear that communication via media is not based on logic, but is characterized by a significant “différance” between a “marque” (trace) of the past and the expectations of the future. Both agreed, that the initial misunderstanding of the concept of reality must be (...)
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  20. A Physicalist Theory for Managing Impediments to Democracy and Peace Building in the Balkans.Rory J. Conces - 2019 - Eidos - Časopis Za Filozofiju I Društveno - Humanistička Istraživanja 3 (3):107-36.
    The post-conflict societies of Bosnia and Kosovo continue to be plagued by the deleterious effects of ethno-nationalism and ethnic enclaves. Unfortunately, this mix impedes both democracy and peace building within these Balkan countries. One way to promote such building is for these enclaves to collapse, thereby allowing multiethnic societies to develop. This essay proposes that enclaves be dealt with physically by ridding them of those evocative objects that help to create and maintain enclaves. By getting physical in this way, however, (...)
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  21. From Central Europe to the Baltics Before and After 1989: The State of Contemporary Art Canons.Karolina Rybačiauskaitė & Marcel Tomášek - 2019 - Acta Academiae Artium Vilnensis 94:60-82.
    Three concrete instances of modern and contemporary art development in the former Soviet bloc are addressed in the study. Comparing three particular cases of post-socialist countries (Czechoslovakia, Poland and Lithuania), three distinctive situations are identified in order to establish a link between modern and contemporary art and the emergence of canonized stories of their development. Although these concrete cases turned out to represent a certain range of situations-models that have taken place, the study indicates a variety of omissions and unrecognized (...)
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  22. ´The Better Form´ - Josef Albers´s Idealistic Concept of Art Reveals its Socio-Cultural Function.Martina Sauer - 2019 - Art Style: Art and Culture International Magazine 2 (2):30-55.
    With the aim of teaching and practicing art for the good or moreover the better, Josef Albers proves to be an idealist. At the same time, he confirms with this conviction that art can also arouse the opposite. This conviction is already evident in the grammatical form of the term, which proves that art is functional or a technique for socio-cultural applications, whether good or bad. In the presentation of the political and philosophical background of this idea as well as (...)
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  23. An Eco-Poetic Approach to Architecture Across Boundaries.Claudia Westermann - 2019 - In Teresa Hoskyns (ed.), International Conference: Architecture Across Boundaries. Dubai, UAE: pp. 281–291.
    As highlighted by the post-Cartesian discourse across philosophical schools, Western thought had been struggling for a long time with conceiving interconnectedness. The problematic of Western dualism is most apparent with the so-called mind-body problem, but the issue does not only relate to the separation of body and mind but also the separation of living beings from their environments. Asian philosophy, on the other hand, has had a long history of thinking relations. The paper argues that an architectural philosophy that is (...)
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  24. HBO's 'The Price of Everything' (2018): A Documentary by Nathaniel Kahn.Jakob Zaaiman - 2019
    Detailed review of the 2018 film. This article is concerned to define contemporary art such that the machinations of the current art market - as portrayed in the film - make sense. The central idea is that the best of contemporary art is narrative rather than merely aesthetic; and a failure to understand this leads to the confusion that currently characterizes judgements about modern artworks.
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  25. Про музеологічну освіту та деякі особливості викладання музеологічних дисциплін.Oksana Bondarets - 2018 - NaUKMA Research Papers. History and Theory of Culture 1:69-75.
    У рамках підвищення кваліфікації (стажування) автор ознайомилась зі специфікою викладання музеологічних дисциплін у низці закладів вищої освіти України та наголошує як на важливості музеологічної освіти для наукових працівників музею, так і на необхідності удосконалення змісту, форм і методів цієї освіти. Розробка методики викладання музеологічних дисциплін є на сьогодні вкрай необхідною.
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  26. Empathy, Engagement, Entrainment: The Interaction Dynamics of Aesthetic Experience.Ingar Brinck - 2018 - Cognitive Processing 2 (19):201-213.
    A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of (...)
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  27. Philosophers and the Politics of Neighborhoods: Park East and Bosniak Mahala (2).Rory J. Conces - 2018 - Serbia Daily (483):9-10.
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  28. 视觉的历史.Bence Nanay - 2018 - Zhongguo Meixue Yanjiu 10:311-331.
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  29. Ambivalation of the Author’s role in a photographic image.Yuliia Petruk - 2018 - Наукові Записки Наукма. Філософія Та Релігієзнавство 2:17-25.
    This article questions the role of the author in the photographical image. Undoubtedly, the invention of photography has changed our attitude towards ourselves, towards the world. The impact of photography on one’s life is growing with the development of technology, mainly the photo-technology. One cannot but trust technological tools more than oneself, because any technological device nowadays is considered to be smarter, faster, and more precise than any human being. The technology plays a special role in photography, and that is (...)
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  30. Білий куб: формування галерейного простору.Boris Sorokin - 2018 - NaUKMA Research Papers. History and Theory of Culture 1:24-28.
    У статті розглянуто концепцію «білого куба», специфічного галерейного та музейного простору для демонстрації і споглядання мистецтва. Проаналізовано, як тривалі експерименти з формою демонстрації робіт у музейних приміщеннях були зумовлені потребою створити особливий простір, де кожний експонат був би максимально ізольованим і самодостатнім. Так виник «білий куб», який фактично був легітимізований Альфредом Барром, першим директором музею сучасного мистецтва в Нью-Йорку. Починаючи з Брайана О’Догерті, дослідники вказують, що галерейний простір, яке нібито є максимально нейтральним, насправді є глибоко ідеологізованим. Уваго було приділено і (...)
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  31. Azul pintado de azul. Leyendas de artistas sin obras.Filippo Fimiani - 2017 - Boletín de Arte (38):35-44.
    En el verano de 1947, Yves Klein, Claude Pascal, Armand Fernández, sentados en la playa de Niza: contemplan el mar y el cielo azul, no hacen nada, y hacen declaraciones sobre el arte que llegará, sobre el Arte y el Gran Estilo del Futuro. A partir de ese momento, y de esas palabras, cada una de sus vidas cambia radicalmente: se convertirá en una vida nueva, una vida de artista sin obras, hecha solo de palabras, narraciones, gestos. En ese episodio, (...)
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  32. Ludonarrative Dissonance and Dominant Narratives.Leslie A. Howe - 2017 - Journal of the Philosophy of Sport 44 (1):44-54.
    This paper explores ludonarrative dissonance as it occurs in sport, primarily as the conflict experienced by participants between dominant narratives and self-generated interpretations of embodied experience. Taking self-narrative as a social rather than isolated production, the interaction with three basic categories of dominant narrative is explored: transformative, representing a spectrum from revelatory to distorting, bullying and colonising. These forms of dominant narrative prescribe interpretations of the player’s experience of play and of self that displace their own, with the end result (...)
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  33. Cultural Revolution: Mykhail Semenko, Ukrainian Futurism and the “National” Category.Oleh S. Ilnytzkyj - 2017 - Kyiv-Mohyla Humanities Journal 4:45-52.
    This paper examines Mykhail Semenko’s Futurist manifestos that developed an opposition between “national” and “international” art, and specifically called “national” art provincial and retrograde. In promoting the international European avant-garde, Semenko’s essays demonstrate how consistently he championed a contemporary and modern Ukrainian culture in the face of home-grown conservatism.
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  34. The Space of Reception: Framing Autonomy and Collaboration.Jennifer A. McMahon & Carol A. Gilchrist - 2017 - In Brad Buckley & John Conomos (eds.), Who Runs the Artworld: Money, Power and Ethics. Faringdon, UK: Libri Publishing. pp. 201-212.
    In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (...)
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  35. Структура музеєзнавства: актуальні проблеми розвитку науки.Bondarets Oksana - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:72-78.
    У статті автор досліджує сучасні проблеми музеології (музеєзнавства) як науки, зокрема структуру. Якщо включення до загальної музеології таких підрозділів, як історична музеологія, теоретична музеологія, прикладна музеологія, та деякі інші положення сьогодні не викликають дискусій серед значного кола науковців, то щодо місця в структурі, зокрема, музейного джерелознавства, музейної педагогіки, музейної інформатики, музейної соціології, музейної психології висловлюють різні думки. Зміна ролі музею в сучасному світі призводить до трансформації функцій музею, що, своєю чергою, визначає появу нових напрямів музейної діяльності та розвиток науки.
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  36. Аналіз композиції «світове дерево» на рушнику: як статистично визначити зміст зображення.Samara Oksana - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:63-67.
    У статті обговорено принципи кількісного дослідження в культурології, а саме можливості статистики та структурно-семіотичного методу в аналізі явищ традиційної культури. Метод застосовано до композиції українського рушника. Структурно-семіотичний аналіз композиції на рушнику може допомогти відрізнити обов’язкові елементи зображення від декоративних і встановити зв’язок між частинами. Нині вважають, що всі контури композиції мають однакову семантику. Але проведений аналіз показав, що однакову семантику мають орнаментальна смуга і рослинний орнамент. Інші елементи потрібні для того, щоб відділити їх від верхнього поля зображення і світового дерева. (...)
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  37. A Change of Face: Using Graffiti to Re-Imagine Spaces.Luba Pirgova-Morgan - 2017 - Mabini Review 6:38-54.
    In much of the literature graffiti is connected to notions of defacing, devaluing, vandalising, participating in an illegal activity or exhibiting ‘anti-social behaviour.’ The aim of this paper is to show the change of perceptions toward graffiti as less of an act of vandalism or a criminal activity and more of a solution to many social and political concerns. The paper offers a way to reframe graffiti as the solution rather then the problem based on a study of graffiti crews (...)
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  38. Phasmagraphy: A Potential Future for Artistic Imaging.Elke Reinhuber - 2017 - Technoetic Arts 15 (3):261-273.
    In recent years, a rising interest in scientific imaging has become apparent, in art production and in thematic exhibitions, as well as in popular media and advertising. Images captured by, and supposedly read through, machines open up a new era – not only for an as-yet-undefined aesthetic journey, but also to reveal insight into a normally invisible layer of reality. A wide range of techniques is already well established – not only in science, but also in an artistic context. Based (...)
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  39. Un manifesto dell'inumano. Carmelo Bene a quindici anni dalla morte.Fabio Vergine - 2017 - Kasparhauser 1.
    Articolo in occasione del quindicesimo anniversario della morte di Carmelo Bene.
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  40. An Artist's View of the History of Art From the Perspective of 'Analogic Representation'.Michael Joseph Winkler - 2017 - Published Online in Relation to the Henge Lab Component of the Artist's Starlight Ridge Project.
    This article is basically an artist's statement published in connection with a major interdisciplinary art project currently in development (completion date estimated to be 2020).
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  41. Depiction, Pictorial Experience, and Vision Science.Robert Briscoe - 2016 - Philosophical Topics 44 (2):43-81.
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show that an empirically informed (...)
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  42. Christopher Marlowe's Edward The Second-A Critical Evaluation, The Way I Do.Rituparna Ray Chaudhuri - 2016 - @Article{Chaudhuri2016christopher, Title={Christopher Marlowe's Edward The Second-A Critical Evaluation, The Way I Do.}, Author={Chaudhuri, Rituparna Ray}, Year={2016}.
    “Marlowe wrote Edward The Second in 1590. He found a suitable tragic theme in the Holinshed’s account of Edward II’s reign though it was not a promising dramatic material from the chronological point of view as the events were disjointed and uninspiring disastrous. Improper coordinates of the sources has left its mark on Marlowe’s play, nevertheless, this is his most finished and satisfactory of plays…Edward The Second can surely be regarded as Marlowe’s finest technical achievement.” (Edited, Dr. S. Sen…)[http://philpapers.org/profile/112741].
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  43. Jakob Leupold’s Imaginary Automatic Anamorphic Devices of 1713.Bennett Gilbert - 2016 - Media History 25 (2):1-18.
    In 1713 the scientific instrument-maker Jakob Leupold published designs for three machines were the first attempt to design machinery with internal moving parts that replaced human agency in creating original images. This paper first analyzes his text and engravings in order to explain how he proposed to do this, given contemporary materials and command of physical forces. Next, it characterizes the devices as a transition from concepts of incision to concepts of mirroring, taken as models of the history of mechanical (...)
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  44. A Question of Listening: Nancean Resonance, Return and Relation in Charlie Chaplin.Carrie Giunta - 2016 - In Carrie Giunta & Adrienne Janus (eds.), Nancy and Visual Culture. Edinburgh University Press.
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  45. Does the New Classicism Need Evolutionary Theory?Ray Scott Percival - 2016 - In Elizabeth Millán (ed.), After the Avant-Gardes: Reflections on the Future of the Fine Arts. Chicago: Open Court Publishers. pp. 109-126.
    In what way might the new classicism gain support from evolutionary theory? My rough answer is that evolutionary theory can help defend a return to more classical artistic standards and also explain why classical standards are not simply imposed by social conditioning or by powerful elites, but arise naturally from something more fundamental in the human constitution. Classical standards and themes are an expression of our evolutionary history. The mind can be seen as a biological organ or function, produced by (...)
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  46. A estética política do ativismo através de novas mídias.Meg Stalcup - 2016 - In Marinyze Prates de Oliveira & Jonathan Warren (eds.), Miradas sobre o Brasil: cultura, arte e poder. Editora da Universidade Federal da Bahia. pp. 13-33.
    Neste capítulo, analisa-se a documentação visual dos protestos de 2013, contrastando a cobertura da grande mídia em São Paulo e Rio de Janeiro com a de ativistas usando as tecnologias de nova mídia. Os temas centrais são a forma como o exercício do poder político é mediado através de novas tecnologias de mídia e a racionalidade política que anima os ativistas. Dito de outro modo, pergunta-se: por que os atores criaram imagens da forma que o fizeram e que objetivos políticos (...)
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  47. La apariencia ( Schein ) en las Lecciones sobre la estética de G. W. F. Hegel.Carlos Vanegas - 2016 - Revista Estudios de Filosofía:33-55.
    Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, (...)
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  48. This Talk is the Exhibition.Allen Alain Viguier (ed.) - 2016
    "Catalogue" of the exhibition This talk is the exhibition held at Articulate Upstairs in Sydney, 12-20 March 2016. Print on paper 14 x 14 cm. Published by Spec&Editions Collection of the Artist. The exhibition reproduces the catalogue in a suite of larger prints pasted on the walls, with a few additions to it.
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  49. Reflexivity Imagined as Art Practise.Donald Brierley - 2015 - Dissertation, Usyd
    A consideration of the relationship between conscious self-aware systems and art. I introduce my art practice and demonstrate the connections language has to self-conscious reflexivity. The document of research can be considered part of a creative practice that also uses language as a material. The specialist use and subversive manipulation of information in science and art as practiced in the service of culture are discussed to show how this informed the creation of Access Restricted-Operational Reasons as a response to my (...)
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  50. Neuroartes: artes para la salud.Luc Delannoy - 2015 - Revista Del Hospital de Vina Del Mar 2015 (71 (3)):111-117.
    We introduce Neuroartes as a biological humanism that concentrates on the development of social interventions. We review several connections between art and the human body, mainly the brain. We suggest art, painting in the present case, as a tool to work with the elderly with cognitive and/or motor impairment for the purpose of helping them with their subjectivity and autonomy.
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