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data-work_id="44578681" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44578681/Paysages_th%C3%A9oriques_du_Land_Art">Paysages théoriques du Land Art</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Ce livre apporte des éléments de compréhension de l’art contemporain à partir d’une réflexion sur le land art américain, qui a bouleversé le rapport du spectateur aux œuvres d’art en l’invitant au voyage. Le land art est aujourd’hui très... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44578681" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ce livre apporte des éléments de compréhension de l’art contemporain à partir d’une réflexion sur le land art américain, qui a bouleversé le rapport du spectateur aux œuvres d’art en l’invitant au voyage.<br /><br />Le land art est aujourd’hui très étudié parce qu’il détermine un point à partir duquel on peut comprendre comment les paramètres de l’art ont changé. Or, l’articulation entre la démarche des artistes et l’environnement critique qui accompagne leur création forme des paysages théoriques, c’est-à-dire des moyens de percer les mécanismes sémiotiques et conceptuels qui ont contribué à la reconnaissance de cette mouvance. Parcourir ces paysages théoriques du land art nécessite donc de circuler dans les types de discours produits par ses principaux acteurs, qu’il s’agisse de celui de l’esthéticien ou du spectateur face aux œuvres, ou alors du critique d’art, ou encore de l’artiste.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44578681" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ae72fde076529e9589ae790df4fc062f" rel="nofollow" data-download="{"attachment_id":65035415,"asset_id":44578681,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65035415/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10178822" href="https://paris1.academia.edu/BenjaminRiado">Benjamin Riado</a><script data-card-contents-for-user="10178822" type="text/json">{"id":10178822,"first_name":"Benjamin","last_name":"Riado","domain_name":"paris1","page_name":"BenjaminRiado","display_name":"Benjamin Riado","profile_url":"https://paris1.academia.edu/BenjaminRiado?f_ri=3051","photo":"https://0.academia-photos.com/10178822/6218313/37775570/s65_benjamin.riado.jpg"}</script></span></span></li><li class="js-paper-rank-work_44578681 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44578681"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44578681, container: ".js-paper-rank-work_44578681", }); 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$(".js-view-count[data-work-id=44578681]").text(description); $(".js-view-count-work_44578681").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44578681").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44578681"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1386" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10503" rel="nofollow" href="https://www.academia.edu/Documents/in/Photography_Theory">Photography Theory</a>, <script data-card-contents-for-ri="10503" type="text/json">{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14082" rel="nofollow" href="https://www.academia.edu/Documents/in/American_art_Art_of_the_United_States">American art/ Art of the United States</a><script data-card-contents-for-ri="14082" type="text/json">{"id":14082,"name":"American art/ Art of the United States","url":"https://www.academia.edu/Documents/in/American_art_Art_of_the_United_States?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44578681]'), work: {"id":44578681,"title":"Paysages théoriques du Land Art","created_at":"2020-11-26T00:06:20.316-08:00","url":"https://www.academia.edu/44578681/Paysages_th%C3%A9oriques_du_Land_Art?f_ri=3051","dom_id":"work_44578681","summary":"Ce livre apporte des éléments de compréhension de l’art contemporain à partir d’une réflexion sur le land art américain, qui a bouleversé le rapport du spectateur aux œuvres d’art en l’invitant au voyage.\n\nLe land art est aujourd’hui très étudié parce qu’il détermine un point à partir duquel on peut comprendre comment les paramètres de l’art ont changé. Or, l’articulation entre la démarche des artistes et l’environnement critique qui accompagne leur création forme des paysages théoriques, c’est-à-dire des moyens de percer les mécanismes sémiotiques et conceptuels qui ont contribué à la reconnaissance de cette mouvance. Parcourir ces paysages théoriques du land art nécessite donc de circuler dans les types de discours produits par ses principaux acteurs, qu’il s’agisse de celui de l’esthéticien ou du spectateur face aux œuvres, ou alors du critique d’art, ou encore de l’artiste. ","downloadable_attachments":[{"id":65035415,"asset_id":44578681,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10178822,"first_name":"Benjamin","last_name":"Riado","domain_name":"paris1","page_name":"BenjaminRiado","display_name":"Benjamin Riado","profile_url":"https://paris1.academia.edu/BenjaminRiado?f_ri=3051","photo":"https://0.academia-photos.com/10178822/6218313/37775570/s65_benjamin.riado.jpg"}],"research_interests":[{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=3051","nofollow":true},{"id":14082,"name":"American art/ Art of the United States","url":"https://www.academia.edu/Documents/in/American_art_Art_of_the_United_States?f_ri=3051","nofollow":true},{"id":15296,"name":"Philosophy of Photography","url":"https://www.academia.edu/Documents/in/Philosophy_of_Photography?f_ri=3051"},{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art?f_ri=3051"},{"id":27665,"name":"Photography (Visual Studies)","url":"https://www.academia.edu/Documents/in/Photography_Visual_Studies_?f_ri=3051"},{"id":28415,"name":"Land Art","url":"https://www.academia.edu/Documents/in/Land_Art?f_ri=3051"},{"id":66999,"name":"Robert Smithson","url":"https://www.academia.edu/Documents/in/Robert_Smithson?f_ri=3051"},{"id":140534,"name":"Conceptual Framework","url":"https://www.academia.edu/Documents/in/Conceptual_Framework?f_ri=3051"},{"id":152388,"name":"Art Theory and Criticism","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Criticism?f_ri=3051"},{"id":208801,"name":"Michael heizer","url":"https://www.academia.edu/Documents/in/Michael_heizer?f_ri=3051"},{"id":538753,"name":"Robert Morris","url":"https://www.academia.edu/Documents/in/Robert_Morris?f_ri=3051"},{"id":766323,"name":"Dennis Oppenheim","url":"https://www.academia.edu/Documents/in/Dennis_Oppenheim?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_24438402" data-work_id="24438402" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/24438402/El_extra%C3%B1o_caso_de_Vivian_Maier">El extraño caso de Vivian Maier</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">. © Miroslav Tichý, Chicas en marco dibujado a mano, ca. 1959.</div></div><ul class="InlineList u-ph0x 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u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" rel="nofollow" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary 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Soto","profile_url":"https://universidadautnomadepueblau.academia.edu/EnriqueSoto?f_ri=3051","photo":"https://0.academia-photos.com/33140142/12310754/13706209/s65_enrique.soto.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44324982" data-work_id="44324982" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44324982/Bishan_Project_Efforts_to_Build_a_Utopian_Community_under_Authoritarian_Rule">Bishan Project: Efforts to Build a Utopian Community under Authoritarian Rule</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Ou Ning, "Bishan Project: Efforts to Build a Utopian Community under Authoritarian Rule", Janet Marstine and Svetlana Mintcheva ed., Curating Under Pressure: International Perspectives on Negotiating Conflict and Upholding Integrity... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44324982" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ou Ning, "Bishan Project: Efforts to Build a Utopian Community under Authoritarian Rule", Janet Marstine and Svetlana Mintcheva ed., Curating Under Pressure: International Perspectives on Negotiating Conflict and Upholding Integrity (London and New York: Routledge, 2020). <a href="https://www.routledge.com/Curating-Under-Pressure-International-Perspectives-on-Negotiating-Conflict/Marstine-Mintcheva/p/book/9780815396192" rel="nofollow">https://www.routledge.com/Curating-Under-Pressure-International-Perspectives-on-Negotiating-Conflict/Marstine-Mintcheva/p/book/9780815396192</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44324982" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5670b52652583e41d1af7e2e12251789" rel="nofollow" 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u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29825611/STORIES_OUT_OF_BURMA">STORIES OUT OF BURMA</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">An exhibition catalogue for the duo show by Chaw Ei Thein and Htein Lin at Thavibu Gallery, Bangkok</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29825611" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b1edf4c37f94b636866bc118e4c9682d" rel="nofollow" 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and Contemporary Art</a>, <script data-card-contents-for-ri="37490" type="text/json">{"id":37490,"name":"Modern and Contemporary Art","url":"https://www.academia.edu/Documents/in/Modern_and_Contemporary_Art-1?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="517293" rel="nofollow" href="https://www.academia.edu/Documents/in/Burmese_Art">Burmese Art</a><script data-card-contents-for-ri="517293" type="text/json">{"id":517293,"name":"Burmese Art","url":"https://www.academia.edu/Documents/in/Burmese_Art?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29825611]'), work: {"id":29825611,"title":"STORIES OUT OF BURMA","created_at":"2016-11-14T00:01:32.813-08:00","url":"https://www.academia.edu/29825611/STORIES_OUT_OF_BURMA?f_ri=3051","dom_id":"work_29825611","summary":"An exhibition catalogue for the duo show by Chaw Ei Thein and Htein Lin at Thavibu 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href="https://www.academia.edu/31008436/Art_of_Interaction_A_Theoretical_Examination_of_Carsten_H%C3%B6ller_s_Test_Site">Art of Interaction: A Theoretical Examination of Carsten Höller’s Test Site</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper looks at the interactivity of Carsten Höller’s Test Site 2006, using Alfred Gell’s Art and Agency (1998) and Nicolas Bourriaud’s Relational Aesthetics (1998). In the first part Gell is used to examine the interactive... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31008436" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper looks at the interactivity of Carsten Höller’s Test Site 2006, using Alfred Gell’s Art and Agency (1998) and Nicolas Bourriaud’s Relational Aesthetics (1998). In the first part Gell is used to examine the interactive relationships between artist and participants mediated by the slides, the aesthetic quality and political significance of which are then revealed in the second part with reference to Bourriaud.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31008436" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e41fcf265b2013813ee8c96f5c1ff7dd" rel="nofollow" data-download="{"attachment_id":63191845,"asset_id":31008436,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63191845/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4610006" href="https://uppsala.academia.edu/MarkWindsor">Mark Windsor</a><script data-card-contents-for-user="4610006" type="text/json">{"id":4610006,"first_name":"Mark","last_name":"Windsor","domain_name":"uppsala","page_name":"MarkWindsor","display_name":"Mark Windsor","profile_url":"https://uppsala.academia.edu/MarkWindsor?f_ri=3051","photo":"https://0.academia-photos.com/4610006/1924508/159159071/s65_mark.windsor.jpeg"}</script></span></span></li><li class="js-paper-rank-work_31008436 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31008436"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31008436, container: ".js-paper-rank-work_31008436", }); 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Published in "Lines of Control: Partition as a Productive Space". Edited by Iftikhar... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8629931" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">On ideas of geography, immigration, inhabitation, art as an undisciplined practice, exhibitions as field of study and the broader field of education. Published in "Lines of Control: Partition as a Productive Space". Edited by Iftikhar Dadi & Hammad Nasar. Published by Cornell University's Johnson Museum and Green Cardamom.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8629931" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ba953259621062d7915d7a28831c5bf8" rel="nofollow" data-download="{"attachment_id":34992351,"asset_id":8629931,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34992351/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13680736" href="https://paul-mellon-centre.academia.edu/HammadNasar">Hammad Nasar</a><script data-card-contents-for-user="13680736" type="text/json">{"id":13680736,"first_name":"Hammad","last_name":"Nasar","domain_name":"paul-mellon-centre","page_name":"HammadNasar","display_name":"Hammad Nasar","profile_url":"https://paul-mellon-centre.academia.edu/HammadNasar?f_ri=3051","photo":"https://0.academia-photos.com/13680736/47529545/36380198/s65_hammad.nasar.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-8629931">+1</span><div class="hidden js-additional-users-8629931"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://goldsmiths.academia.edu/IritRogoff">Irit Rogoff</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-8629931'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-8629931').html(); 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Published in \"Lines of Control: Partition as a Productive Space\". Edited by Iftikhar Dadi \u0026 Hammad Nasar. Published by Cornell University's Johnson Museum and Green Cardamom.","downloadable_attachments":[{"id":34992351,"asset_id":8629931,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13680736,"first_name":"Hammad","last_name":"Nasar","domain_name":"paul-mellon-centre","page_name":"HammadNasar","display_name":"Hammad Nasar","profile_url":"https://paul-mellon-centre.academia.edu/HammadNasar?f_ri=3051","photo":"https://0.academia-photos.com/13680736/47529545/36380198/s65_hammad.nasar.jpg"},{"id":71891,"first_name":"Irit","last_name":"Rogoff","domain_name":"goldsmiths","page_name":"IritRogoff","display_name":"Irit Rogoff","profile_url":"https://goldsmiths.academia.edu/IritRogoff?f_ri=3051","photo":"https://0.academia-photos.com/71891/1845720/2194579/s65_irit.rogoff.png"}],"research_interests":[{"id":261,"name":"Geography","url":"https://www.academia.edu/Documents/in/Geography?f_ri=3051","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":25969,"name":"Art Education","url":"https://www.academia.edu/Documents/in/Art_Education?f_ri=3051","nofollow":true},{"id":83745,"name":"Partition of India","url":"https://www.academia.edu/Documents/in/Partition_of_India?f_ri=3051"},{"id":416979,"name":"Global Art History","url":"https://www.academia.edu/Documents/in/Global_Art_History?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27699998 coauthored" data-work_id="27699998" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27699998/Crawling_Doubles_Colonial_Collecting_and_Affect_Ramper_D%C3%A9doubler_Collecte_coloniale_et_affect_Mathieu_K_Abonnenc_Lotte_Arndt_Catalina_Lozano_eds_Paris_B_42_2016">Crawling Doubles. Colonial Collecting and Affect/Ramper, Dédoubler. Collecte coloniale et affect, Mathieu K. Abonnenc, Lotte Arndt, Catalina Lozano (eds), Paris, B 42, 2016.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La collecte d’objets fut une pratique fréquente dans les territoires occupés par les États européens colonisateurs. À partir de la seconde moitié du XIXe siècle, les pouvoirs coloniaux encourageaient leurs citoyens implantés dans les... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27699998" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La collecte d’objets fut une pratique fréquente dans les territoires occupés par les États européens colonisateurs. À partir de la seconde moitié du XIXe siècle, les pouvoirs coloniaux encourageaient leurs citoyens implantés dans les colonies à rassembler des objets pour enrichir les collections ethnographiques de la métropole et pour documenter la culture matérielle des sociétés qui – sous l’emprise de la colonisation – se transformaient rapidement. Les objets rassemblés lors de ces collectes se trouvent désormais dans de nombreux musées européens ou entre les mains de collectionneurs privés. Leur présence dans ces collections pose des questions épistémologiques, muséographiques et éthiques qu’il est urgent de soulever.<br /><br />Ce livre, qui trouve son origine dans une série de tables rondes qui se déroulèrent dans le cadre de la 8e Biennale de Berlin pour l’art contemporain en 2014, engage donc ces problématiques grâce à des contributions de chercheuses et chercheurs, d’artistes ainsi que de commissaires d’expositions internationaux.<br /><br />Collecting objects was a frequent practice among European colonial states in their occupied territories. From the second half of the nineteenth century, colonial powers encouraged their citizens in the colonies to collect objects that would enrich the ethnographical collections of the mother country and document the material culture of societies that – under the influence of colonialization – were undergoing rapid change. The objects collected ended up in countless European museums or in the hands of private collectors. Their presence in these collections raises epistemological, museographical and ethical questions in urgent need of consideration.<br /><br />This publication, the fruit of a series of round tables held in 2014 during the 8th Berlin Biennale for Contemporary Art, raises these problematic issues with contributions from scholars, artists and international exhibition curators.<br /><br />Avec les contributions de/ with contributions by :<br /><br />Mathieu K. Abonnenc Lotte Arndt Julien Bondaz Candice Lin Françoise Vergès Sammy Baloji Phillip Van den Bossche Patricia Van Schuylenbergh Abraham Cruzvillegas Eduardo Abaroa Spyros Papapetros Catalina Lozano Hanne Loreck Pauline M’barek Ricardo Roque Pratchaya Phinthong Britta Lange<br /><br />ISBN 9782917855683, 328 p. engl/français, carton, € 24 (2016).<br /><br /><a href="http://editions-b42.com/books/ramper-dedoubler/" rel="nofollow">http://editions-b42.com/books/ramper-dedoubler/</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27699998" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="91c27f85ed2e91c5e568a18334382ad9" rel="nofollow" data-download="{"attachment_id":47967238,"asset_id":27699998,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47967238/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="20995016" href="https://univ-paris1.academia.edu/LotteArndt">Lotte Arndt</a><script data-card-contents-for-user="20995016" type="text/json">{"id":20995016,"first_name":"Lotte","last_name":"Arndt","domain_name":"univ-paris1","page_name":"LotteArndt","display_name":"Lotte Arndt","profile_url":"https://univ-paris1.academia.edu/LotteArndt?f_ri=3051","photo":"https://0.academia-photos.com/20995016/5803291/6594593/s65_lotte.arndt.jpg_oh_72a1d81b2f687e45c04bc846cc6864f8_oe_54e2074c___gda___1423533369_aeede49fc0a2846a0c68fb5327fb55e0"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-27699998">+2</span><div class="hidden js-additional-users-27699998"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/ArndtLotte">Lotte Arndt</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/CatalinaLozano">Catalina Lozano</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-27699998'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-27699998').html(); 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Colonial Collecting and Affect/Ramper, Dédoubler. Collecte coloniale et affect, Mathieu K. Abonnenc, Lotte Arndt, Catalina Lozano (eds), Paris, B 42, 2016.","created_at":"2016-08-11T02:05:19.909-07:00","url":"https://www.academia.edu/27699998/Crawling_Doubles_Colonial_Collecting_and_Affect_Ramper_D%C3%A9doubler_Collecte_coloniale_et_affect_Mathieu_K_Abonnenc_Lotte_Arndt_Catalina_Lozano_eds_Paris_B_42_2016?f_ri=3051","dom_id":"work_27699998","summary":"La collecte d’objets fut une pratique fréquente dans les territoires occupés par les États européens colonisateurs. À partir de la seconde moitié du XIXe siècle, les pouvoirs coloniaux encourageaient leurs citoyens implantés dans les colonies à rassembler des objets pour enrichir les collections ethnographiques de la métropole et pour documenter la culture matérielle des sociétés qui – sous l’emprise de la colonisation – se transformaient rapidement. Les objets rassemblés lors de ces collectes se trouvent désormais dans de nombreux musées européens ou entre les mains de collectionneurs privés. Leur présence dans ces collections pose des questions épistémologiques, muséographiques et éthiques qu’il est urgent de soulever.\n\nCe livre, qui trouve son origine dans une série de tables rondes qui se déroulèrent dans le cadre de la 8e Biennale de Berlin pour l’art contemporain en 2014, engage donc ces problématiques grâce à des contributions de chercheuses et chercheurs, d’artistes ainsi que de commissaires d’expositions internationaux.\n\nCollecting objects was a frequent practice among European colonial states in their occupied territories. From the second half of the nineteenth century, colonial powers encouraged their citizens in the colonies to collect objects that would enrich the ethnographical collections of the mother country and document the material culture of societies that – under the influence of colonialization – were undergoing rapid change. The objects collected ended up in countless European museums or in the hands of private collectors. Their presence in these collections raises epistemological, museographical and ethical questions in urgent need of consideration.\n\nThis publication, the fruit of a series of round tables held in 2014 during the 8th Berlin Biennale for Contemporary Art, raises these problematic issues with contributions from scholars, artists and international exhibition curators.\n\nAvec les contributions de/ with contributions by :\n\nMathieu K. Abonnenc Lotte Arndt Julien Bondaz Candice Lin Françoise Vergès Sammy Baloji Phillip Van den Bossche Patricia Van Schuylenbergh Abraham Cruzvillegas Eduardo Abaroa Spyros Papapetros Catalina Lozano Hanne Loreck Pauline M’barek Ricardo Roque Pratchaya Phinthong Britta Lange\n\nISBN 9782917855683, 328 p. engl/français, carton, € 24 (2016).\n\nhttp://editions-b42.com/books/ramper-dedoubler/","downloadable_attachments":[{"id":47967238,"asset_id":27699998,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":20995016,"first_name":"Lotte","last_name":"Arndt","domain_name":"univ-paris1","page_name":"LotteArndt","display_name":"Lotte Arndt","profile_url":"https://univ-paris1.academia.edu/LotteArndt?f_ri=3051","photo":"https://0.academia-photos.com/20995016/5803291/6594593/s65_lotte.arndt.jpg_oh_72a1d81b2f687e45c04bc846cc6864f8_oe_54e2074c___gda___1423533369_aeede49fc0a2846a0c68fb5327fb55e0"},{"id":63641381,"first_name":"Lotte","last_name":"Arndt","domain_name":"independent","page_name":"ArndtLotte","display_name":"Lotte Arndt","profile_url":"https://independent.academia.edu/ArndtLotte?f_ri=3051","photo":"https://0.academia-photos.com/63641381/31707344/28985645/s65_lotte.arndt.jpg"},{"id":1040308,"first_name":"Catalina","last_name":"Lozano","domain_name":"independent","page_name":"CatalinaLozano","display_name":"Catalina Lozano","profile_url":"https://independent.academia.edu/CatalinaLozano?f_ri=3051","photo":"https://0.academia-photos.com/1040308/44457123/34991513/s65_catalina.lozano.jpg"}],"research_interests":[{"id":178,"name":"Entomology","url":"https://www.academia.edu/Documents/in/Entomology?f_ri=3051","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true},{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=3051","nofollow":true},{"id":2170,"name":"Ethnography","url":"https://www.academia.edu/Documents/in/Ethnography?f_ri=3051","nofollow":true},{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies?f_ri=3051"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051"},{"id":4527,"name":"Africa","url":"https://www.academia.edu/Documents/in/Africa?f_ri=3051"},{"id":6556,"name":"Colonialism","url":"https://www.academia.edu/Documents/in/Colonialism?f_ri=3051"},{"id":12181,"name":"French colonialism","url":"https://www.academia.edu/Documents/in/French_colonialism?f_ri=3051"},{"id":13995,"name":"Postcolonial Theory","url":"https://www.academia.edu/Documents/in/Postcolonial_Theory?f_ri=3051"},{"id":344490,"name":"musée du Louvre","url":"https://www.academia.edu/Documents/in/musee_du_Louvre?f_ri=3051"},{"id":964785,"name":"Postcolonial and Anticolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_and_Anticolonial_Studies?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20694478" data-work_id="20694478" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20694478/Les_teories_del_realisme_materialisme_especulatiu_en_l%C3%A0mbit_de_lart_i_de_l_objecte_art%C3%ADstic_Aspectes_te%C3%B2rics_Manifestacions_art%C3%ADstiques_Incid%C3%A8ncia_en_treballs_te%C3%B2rics_i_art%C3%ADstics_a_Catalunya_Recursos_bibliogr%C3%A0fics">Les teories del realisme/materialisme especulatiu en l'àmbit de l'art i de l’objecte artístic. Aspectes teòrics. Manifestacions artístiques. Incidència en treballs teòrics i artístics a Catalunya. Recursos bibliogràfics</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><a href="http://www.murcritic.org" rel="nofollow">www.murcritic.org</a></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20694478" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b303bb2c02ff60c1eea148732080d2e4" rel="nofollow" data-download="{"attachment_id":41509691,"asset_id":20694478,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41509691/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4034069" href="https://baued.academia.edu/FedericaMatelli">Federica Matelli</a><script data-card-contents-for-user="4034069" type="text/json">{"id":4034069,"first_name":"Federica","last_name":"Matelli","domain_name":"baued","page_name":"FedericaMatelli","display_name":"Federica Matelli","profile_url":"https://baued.academia.edu/FedericaMatelli?f_ri=3051","photo":"https://0.academia-photos.com/4034069/1537185/4565405/s65_federica.matelli.jpg"}</script></span></span></li><li class="js-paper-rank-work_20694478 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20694478"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20694478, container: ".js-paper-rank-work_20694478", }); 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Contemporary Art in Vietnam 1993-1999, eds. Veronika Radulovic and Annette Bhagwati, Berlin: Kerber Verlag, 2021, pp. 23-30.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/61031839" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="082f89912f9d7d7d4469adcbaeb39c8e" rel="nofollow" data-download="{"attachment_id":74216009,"asset_id":61031839,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/74216009/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="599498" href="https://fuv.academia.edu/PamelaCorey">Pamela N Corey</a><script data-card-contents-for-user="599498" type="text/json">{"id":599498,"first_name":"Pamela","last_name":"Corey","domain_name":"fuv","page_name":"PamelaCorey","display_name":"Pamela N Corey","profile_url":"https://fuv.academia.edu/PamelaCorey?f_ri=3051","photo":"https://0.academia-photos.com/599498/210157/35733121/s65_pamela.corey.jpg"}</script></span></span></li><li class="js-paper-rank-work_61031839 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="61031839"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 61031839, container: ".js-paper-rank-work_61031839", }); 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data-work_id="7262492" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7262492/Motion_Pictures_Politics_of_Perception">Motion Pictures: Politics of Perception</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7262492" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9a18db7016633fbbbcd75b4fee0cf853" rel="nofollow" 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type="text/json">{"id":867,"name":"Perception","url":"https://www.academia.edu/Documents/in/Perception?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7262492]'), work: {"id":7262492,"title":"Motion Pictures: 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Press)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This book condenses and evaluates hundreds of current journal articles in psychology, neuroscience and cognitive science and makes their principles and results available to art historians, cultural theorists and philsophers in ways that... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_15915356" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book condenses and evaluates hundreds of current journal articles in psychology, neuroscience and cognitive science and makes their principles and results available to art historians, cultural theorists and philsophers in ways that are important for the humanities, and in ways that challenge the sciences to do better when they study art. While recent studies in neuroscience and psychology have shed light on our sensory and perceptual responses to art, they have yet to explain our responses to contemporary art which downplays perceptual responses and instead encourages conceptual thought. The Psychology of Contemporary Art brings together the most important developments in recent scientific research on visual perception and cognition and applies the results of empirical experiments to analyses of contemporary artworks not normally addressed by psychological studies. The author explains, in simple terms, how neuroaesthetics, embodiment, metaphor, conceptual blending, situated cognition and extended mind offer fresh perspectives on specific contemporary artworks - including those of Marina Abramović, Francis Alÿs, Tracey Emin, Felix Gonzales-Torres, Marcus Harvey, Mona Hatoum, Thomas Hirschhorn, Gabriel Orozco, Marc Quinn and Cindy Sherman. This book will appeal to psychologists, cognitive scientists, artists and art historians, as well as those interested in a deeper understanding of contemporary art</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/15915356" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ac00f9a6a663a58b0dbaf69f83d6daf4" rel="nofollow" data-download="{"attachment_id":38824905,"asset_id":15915356,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38824905/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="17840591" href="https://auckland.academia.edu/GregoryMinissale">greg minissale</a><script data-card-contents-for-user="17840591" type="text/json">{"id":17840591,"first_name":"greg","last_name":"minissale","domain_name":"auckland","page_name":"GregoryMinissale","display_name":"greg minissale","profile_url":"https://auckland.academia.edu/GregoryMinissale?f_ri=3051","photo":"https://0.academia-photos.com/17840591/23540656/22591691/s65_greg.minissale.jpg"}</script></span></span></li><li class="js-paper-rank-work_15915356 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15915356"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15915356, container: ".js-paper-rank-work_15915356", }); 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href="https://www.academia.edu/Documents/in/Performance_Studies">Performance Studies</a>, <script data-card-contents-for-ri="2337" type="text/json">{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11307564]'), work: {"id":11307564,"title":"Organising Chair: Sozita Goudouna | The Performer in the 21st Century ITI Conference","created_at":"2015-03-06T08:10:53.511-08:00","url":"https://www.academia.edu/11307564/Organising_Chair_Sozita_Goudouna_The_Performer_in_the_21st_Century_ITI_Conference?f_ri=3051","dom_id":"work_11307564","summary":null,"downloadable_attachments":[{"id":37151161,"asset_id":11307564,"asset_type":"Work","always_allow_download":false},{"id":44740976,"asset_id":11307564,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":92936,"first_name":"Sozita","last_name":"Goudouna","domain_name":"cuny","page_name":"DrSozitaGoudouna","display_name":"Sozita Goudouna","profile_url":"https://cuny.academia.edu/DrSozitaGoudouna?f_ri=3051","photo":"https://0.academia-photos.com/92936/25784/48932175/s65_sozita.goudouna.png"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20106066" data-work_id="20106066" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20106066/Whence_the_Future">Whence the Future?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A catalogue record for this book is available from the British Library.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20106066" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8fed72e39e9dafcb1ce1d1cd9a387ebd" rel="nofollow" data-download="{"attachment_id":41010740,"asset_id":20106066,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41010740/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9866375" href="https://independent.academia.edu/AlfredoCramerotti">Alfredo Cramerotti</a><script data-card-contents-for-user="9866375" type="text/json">{"id":9866375,"first_name":"Alfredo","last_name":"Cramerotti","domain_name":"independent","page_name":"AlfredoCramerotti","display_name":"Alfredo Cramerotti","profile_url":"https://independent.academia.edu/AlfredoCramerotti?f_ri=3051","photo":"https://gravatar.com/avatar/2f5dc7db68f83f79ffd6b1d17b245ea4?s=65"}</script></span></span></li><li class="js-paper-rank-work_20106066 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20106066"><i class="u-m1x fa fa-bar-chart"></i><strong 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href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14404" rel="nofollow" href="https://www.academia.edu/Documents/in/Knowledge_Systems">Knowledge Systems</a>, <script data-card-contents-for-ri="14404" type="text/json">{"id":14404,"name":"Knowledge Systems","url":"https://www.academia.edu/Documents/in/Knowledge_Systems?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14989" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Time">Philosophy of Time</a>, <script data-card-contents-for-ri="14989" type="text/json">{"id":14989,"name":"Philosophy of Time","url":"https://www.academia.edu/Documents/in/Philosophy_of_Time?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19161" rel="nofollow" href="https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice">Curatorial Studies and Practice</a><script data-card-contents-for-ri="19161" type="text/json">{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=20106066]'), work: {"id":20106066,"title":"Whence the Future?","created_at":"2016-01-08T09:15:36.141-08:00","url":"https://www.academia.edu/20106066/Whence_the_Future?f_ri=3051","dom_id":"work_20106066","summary":"A catalogue record for this book is available from the British Library.","downloadable_attachments":[{"id":41010740,"asset_id":20106066,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9866375,"first_name":"Alfredo","last_name":"Cramerotti","domain_name":"independent","page_name":"AlfredoCramerotti","display_name":"Alfredo Cramerotti","profile_url":"https://independent.academia.edu/AlfredoCramerotti?f_ri=3051","photo":"https://gravatar.com/avatar/2f5dc7db68f83f79ffd6b1d17b245ea4?s=65"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":14404,"name":"Knowledge Systems","url":"https://www.academia.edu/Documents/in/Knowledge_Systems?f_ri=3051","nofollow":true},{"id":14989,"name":"Philosophy of Time","url":"https://www.academia.edu/Documents/in/Philosophy_of_Time?f_ri=3051","nofollow":true},{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=3051","nofollow":true},{"id":21902,"name":"Time Perception","url":"https://www.academia.edu/Documents/in/Time_Perception?f_ri=3051"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=3051"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43858194 coauthored" data-work_id="43858194" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43858194/FUTUNOW_2020">FUTUNOW 2020</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43858194" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="63d8d5e4eabcb042e2ff9c32cfa5cdbd" rel="nofollow" data-download="{"attachment_id":64181438,"asset_id":43858194,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64181438/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12820401" href="https://tuke.academia.edu/PeterTajkov">Peter Tajkov</a><script data-card-contents-for-user="12820401" type="text/json">{"id":12820401,"first_name":"Peter","last_name":"Tajkov","domain_name":"tuke","page_name":"PeterTajkov","display_name":"Peter Tajkov","profile_url":"https://tuke.academia.edu/PeterTajkov?f_ri=3051","photo":"https://0.academia-photos.com/12820401/17660855/17706098/s65_peter.tajkov.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-43858194">+1</span><div class="hidden js-additional-users-43858194"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/MichalMacHcinik">Michal MacHciník</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-43858194'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-43858194').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_43858194 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43858194"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43858194, container: ".js-paper-rank-work_43858194", }); });</script></li><li class="js-percentile-work_43858194 InlineList-item InlineList-item--bordered hidden 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'View'); $(".js-view-count[data-work-id=43858194]").text(description); $(".js-view-count-work_43858194").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43858194").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43858194"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="26558" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Arts">Visual Arts</a><script data-card-contents-for-ri="26558" type="text/json">{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43858194]'), work: {"id":43858194,"title":"FUTUNOW 2020","created_at":"2020-08-14T08:24:39.769-07:00","url":"https://www.academia.edu/43858194/FUTUNOW_2020?f_ri=3051","dom_id":"work_43858194","summary":null,"downloadable_attachments":[{"id":64181438,"asset_id":43858194,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12820401,"first_name":"Peter","last_name":"Tajkov","domain_name":"tuke","page_name":"PeterTajkov","display_name":"Peter Tajkov","profile_url":"https://tuke.academia.edu/PeterTajkov?f_ri=3051","photo":"https://0.academia-photos.com/12820401/17660855/17706098/s65_peter.tajkov.png"},{"id":316936722,"first_name":"Michal","last_name":"MacHciník","domain_name":"independent","page_name":"MichalMacHcinik","display_name":"Michal MacHciník","profile_url":"https://independent.academia.edu/MichalMacHcinik?f_ri=3051","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=3051","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42186934" data-work_id="42186934" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42186934/L_image_transaction_What_You_See_Is_Not_What_You_Get">L’image-transaction What You See Is Not What You Get</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This article draws on the “transactional view” developed by John Dewey and Arthur Bentley in order to help us understand the images that circulate within our electronic networks beyond the representational figure appearing on the surface... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42186934" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article draws on the “transactional view” developed by John Dewey and Arthur Bentley in order to help us understand the images that circulate within our electronic networks beyond the representational figure appearing on the surface of our screens. To grasp their dynamics, one needs to take into account the multiple layers they are made of, from the materiality of electronic flows, through the strata of machine languages, the transfer protocols and the design of their interface. The image we identify and isolate in its representational features is a lure that obfuscates the multiple implications of the transactions that generate it. Taking stock of these transactions is a precondition to debunk some of the illusions carried by the images.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42186934" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="09f6c5e70d8ed6f926c7964dbe68f8bf" rel="nofollow" data-download="{"attachment_id":62440213,"asset_id":42186934,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62440213/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="305464" href="https://msfinance.academia.edu/IngridHoelzl">Ingrid Hoelzl</a><script data-card-contents-for-user="305464" type="text/json">{"id":305464,"first_name":"Ingrid","last_name":"Hoelzl","domain_name":"msfinance","page_name":"IngridHoelzl","display_name":"Ingrid Hoelzl","profile_url":"https://msfinance.academia.edu/IngridHoelzl?f_ri=3051","photo":"https://0.academia-photos.com/305464/150021/57423376/s65_ingrid.hoelzl.jpg"}</script></span></span></li><li class="js-paper-rank-work_42186934 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42186934"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42186934, container: ".js-paper-rank-work_42186934", }); });</script></li><li class="js-percentile-work_42186934 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42186934; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_42186934"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_42186934 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="42186934"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42186934; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42186934]").text(description); $(".js-view-count-work_42186934").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42186934").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42186934"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18149" rel="nofollow" href="https://www.academia.edu/Documents/in/Representationalism">Representationalism</a>, <script data-card-contents-for-ri="18149" type="text/json">{"id":18149,"name":"Representationalism","url":"https://www.academia.edu/Documents/in/Representationalism?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19118" rel="nofollow" href="https://www.academia.edu/Documents/in/Pragmatism_Philosophy_">Pragmatism (Philosophy)</a>, <script data-card-contents-for-ri="19118" type="text/json">{"id":19118,"name":"Pragmatism (Philosophy)","url":"https://www.academia.edu/Documents/in/Pragmatism_Philosophy_?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="58785" rel="nofollow" href="https://www.academia.edu/Documents/in/New_Media_Theory">New Media Theory</a><script data-card-contents-for-ri="58785" type="text/json">{"id":58785,"name":"New Media Theory","url":"https://www.academia.edu/Documents/in/New_Media_Theory?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42186934]'), work: {"id":42186934,"title":"L’image-transaction What You See Is Not What You Get","created_at":"2020-03-10T11:38:15.519-07:00","url":"https://www.academia.edu/42186934/L_image_transaction_What_You_See_Is_Not_What_You_Get?f_ri=3051","dom_id":"work_42186934","summary":"This article draws on the “transactional view” developed by John Dewey and Arthur Bentley in order to help us understand the images that circulate within our electronic networks beyond the representational figure appearing on the surface of our screens. To grasp their dynamics, one needs to take into account the multiple layers they are made of, from the materiality of electronic flows, through the strata of machine languages, the transfer protocols and the design of their interface. The image we identify and isolate in its representational features is a lure that obfuscates the multiple implications of the transactions that generate it. Taking stock of these transactions is a precondition to debunk some of the illusions carried by the images.","downloadable_attachments":[{"id":62440213,"asset_id":42186934,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":305464,"first_name":"Ingrid","last_name":"Hoelzl","domain_name":"msfinance","page_name":"IngridHoelzl","display_name":"Ingrid Hoelzl","profile_url":"https://msfinance.academia.edu/IngridHoelzl?f_ri=3051","photo":"https://0.academia-photos.com/305464/150021/57423376/s65_ingrid.hoelzl.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":18149,"name":"Representationalism","url":"https://www.academia.edu/Documents/in/Representationalism?f_ri=3051","nofollow":true},{"id":19118,"name":"Pragmatism (Philosophy)","url":"https://www.academia.edu/Documents/in/Pragmatism_Philosophy_?f_ri=3051","nofollow":true},{"id":58785,"name":"New Media Theory","url":"https://www.academia.edu/Documents/in/New_Media_Theory?f_ri=3051","nofollow":true},{"id":134820,"name":"Network Theory","url":"https://www.academia.edu/Documents/in/Network_Theory?f_ri=3051"},{"id":257296,"name":"Image theory","url":"https://www.academia.edu/Documents/in/Image_theory?f_ri=3051"},{"id":394436,"name":"Online Surveillance","url":"https://www.academia.edu/Documents/in/Online_Surveillance?f_ri=3051"},{"id":778108,"name":"Transactionalism","url":"https://www.academia.edu/Documents/in/Transactionalism?f_ri=3051"},{"id":2624867,"name":"Critical Software Studies","url":"https://www.academia.edu/Documents/in/Critical_Software_Studies?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12265830" data-work_id="12265830" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12265830/Arts_Culture_and_Quality_of_Life_in_Global_Cities">Arts, Culture and Quality of Life in Global Cities</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The presence of arts and cultural institutions and networks is vital to the health of any global city, old, and new. But it is less apparent how we measure their contributions to quality of life issues in the rapidly changing mega cities... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12265830" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The presence of arts and cultural institutions and networks is vital to the health of any global city, old, and new. But it is less apparent how we measure their contributions to quality of life issues in the rapidly changing mega cities of the global north or south.<br /><br />How do we develop quantitative and qualitative measurements to assess the impact of arts and culture on the quality of life in cities? How do we balance issues of social justice and creativity in cities where the super-rich and the ultra-poor of the world reside and often collide? What is the role of public and private sectors in creating a healthy cultural ecology in a global city? How do we measure value beyond the economic impact of the arts—numbers of tickets sold, number of tourists visiting the city, the gentrification of a neighborhood? What are the key ingredients for a healthy cultural ecology of the city, taking into account artists, large established institutions as well as smaller arts organizations?  What are the barriers to the successful implementation of cultural policy in global cities?<br /><br /><br />Columbia University’s Committee on Global Thought, in partnership with Ford Foundation and the New York City Department of Cultural Affairs (DCA), organized a one-day<br />program to bring together scholars, policy makers, private sector and non-profit leaders, and practitioners—artists, architects, planners, community activists—to discuss some of these urgent issues around developing a better understanding of the role arts and culture can play in the social health of global cities.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12265830" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c88368608c3d0066209cafe69734c0ea" rel="nofollow" data-download="{"attachment_id":37561581,"asset_id":12265830,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37561581/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5006070" href="https://columbia.academia.edu/ChrisLucas">Christopher E Lucas</a><script data-card-contents-for-user="5006070" type="text/json">{"id":5006070,"first_name":"Christopher","last_name":"Lucas","domain_name":"columbia","page_name":"ChrisLucas","display_name":"Christopher E Lucas","profile_url":"https://columbia.academia.edu/ChrisLucas?f_ri=3051","photo":"https://0.academia-photos.com/5006070/2172710/19046759/s65_christopher.lucas.jpg"}</script></span></span></li><li class="js-paper-rank-work_12265830 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12265830"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12265830, container: ".js-paper-rank-work_12265830", }); });</script></li><li class="js-percentile-work_12265830 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12265830; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_12265830"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_12265830 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="12265830"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12265830; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12265830]").text(description); $(".js-view-count-work_12265830").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12265830").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12265830"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="128" rel="nofollow" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="130" rel="nofollow" href="https://www.academia.edu/Documents/in/Ancient_History">Ancient History</a>, <script data-card-contents-for-ri="130" type="text/json">{"id":130,"name":"Ancient History","url":"https://www.academia.edu/Documents/in/Ancient_History?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="196" rel="nofollow" href="https://www.academia.edu/Documents/in/Future_Studies">Future Studies</a>, <script data-card-contents-for-ri="196" type="text/json">{"id":196,"name":"Future Studies","url":"https://www.academia.edu/Documents/in/Future_Studies?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a><script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12265830]'), work: {"id":12265830,"title":"Arts, Culture and Quality of Life in Global Cities","created_at":"2015-05-06T10:46:41.862-07:00","url":"https://www.academia.edu/12265830/Arts_Culture_and_Quality_of_Life_in_Global_Cities?f_ri=3051","dom_id":"work_12265830","summary":"The presence of arts and cultural institutions and networks is vital to the health of any global city, old, and new. But it is less apparent how we measure their contributions to quality of life issues in the rapidly changing mega cities of the global north or south.\n\nHow do we develop quantitative and qualitative measurements to assess the impact of arts and culture on the quality of life in cities? How do we balance issues of social justice and creativity in cities where the super-rich and the ultra-poor of the world reside and often collide? What is the role of public and private sectors in creating a healthy cultural ecology in a global city? How do we measure value beyond the economic impact of the arts—numbers of tickets sold, number of tourists visiting the city, the gentrification of a neighborhood? What are the key ingredients for a healthy cultural ecology of the city, taking into account artists, large established institutions as well as smaller arts organizations? What are the barriers to the successful implementation of cultural policy in global cities?\n\n\nColumbia University’s Committee on Global Thought, in partnership with Ford Foundation and the New York City Department of Cultural Affairs (DCA), organized a one-day\nprogram to bring together scholars, policy makers, private sector and non-profit leaders, and practitioners—artists, architects, planners, community activists—to discuss some of these urgent issues around developing a better understanding of the role arts and culture can play in the social health of global cities.\n","downloadable_attachments":[{"id":37561581,"asset_id":12265830,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5006070,"first_name":"Christopher","last_name":"Lucas","domain_name":"columbia","page_name":"ChrisLucas","display_name":"Christopher E Lucas","profile_url":"https://columbia.academia.edu/ChrisLucas?f_ri=3051","photo":"https://0.academia-photos.com/5006070/2172710/19046759/s65_christopher.lucas.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=3051","nofollow":true},{"id":130,"name":"Ancient History","url":"https://www.academia.edu/Documents/in/Ancient_History?f_ri=3051","nofollow":true},{"id":196,"name":"Future Studies","url":"https://www.academia.edu/Documents/in/Future_Studies?f_ri=3051","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051"},{"id":4974,"name":"Logistics","url":"https://www.academia.edu/Documents/in/Logistics?f_ri=3051"},{"id":7125,"name":"Culture","url":"https://www.academia.edu/Documents/in/Culture?f_ri=3051"},{"id":38420,"name":"Viking Age Scandinavia","url":"https://www.academia.edu/Documents/in/Viking_Age_Scandinavia?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35209438" data-work_id="35209438" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35209438/_Cin%C3%A9_Vitrail_et_Escalier_de_Penrose_Les_objets_passagers_de_Jessica_Warboys_par_Tristan_Garcia_and_Flora_Katz">"Ciné-Vitrail et Escalier de Penrose, Les objets passagers de Jessica Warboys" par Tristan Garcia & Flora Katz</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A dialog between Tristan Garcia and Flora Katz on the work of the artist Jessica Warboys. Written in the context of a residency at Parc Saint Leger with Martha Salimbeni, Hélène Bertin, Mathieu Arbez Hermoso and Christèle... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35209438" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A dialog between Tristan Garcia and Flora Katz on the work of the artist Jessica Warboys. <br /> <br />Written in the context of a residency at Parc Saint Leger with Martha Salimbeni, Hélène Bertin, Mathieu Arbez Hermoso and Christèle Selliez-Vandernotte. <br /> <br />Tristan Garcia and Flora Katz « Ciné-Vitrail et Escalier de Penrose, Les objets passagers de Jessica Warboys » in "La Gamme de Shepard", ed. Parc Saint Léger, 2014  (Fr)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35209438" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="54d1499222d7bda3dbf29348fd43daa2" rel="nofollow" data-download="{"attachment_id":55069451,"asset_id":35209438,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55069451/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3630814" href="https://univ-paris1.academia.edu/FloraKatz">Flora Katz</a><script data-card-contents-for-user="3630814" type="text/json">{"id":3630814,"first_name":"Flora","last_name":"Katz","domain_name":"univ-paris1","page_name":"FloraKatz","display_name":"Flora Katz","profile_url":"https://univ-paris1.academia.edu/FloraKatz?f_ri=3051","photo":"https://0.academia-photos.com/3630814/18126398/18117623/s65_flora.katz.png"}</script></span></span></li><li class="js-paper-rank-work_35209438 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35209438"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35209438, container: ".js-paper-rank-work_35209438", }); 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Parc Saint Léger, 2014 (Fr)","downloadable_attachments":[{"id":55069451,"asset_id":35209438,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3630814,"first_name":"Flora","last_name":"Katz","domain_name":"univ-paris1","page_name":"FloraKatz","display_name":"Flora Katz","profile_url":"https://univ-paris1.academia.edu/FloraKatz?f_ri=3051","photo":"https://0.academia-photos.com/3630814/18126398/18117623/s65_flora.katz.png"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":13792,"name":"Speculative Realism","url":"https://www.academia.edu/Documents/in/Speculative_Realism?f_ri=3051","nofollow":true},{"id":20094,"name":"Object Oriented Ontology","url":"https://www.academia.edu/Documents/in/Object_Oriented_Ontology?f_ri=3051","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_22053354" data-work_id="22053354" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/22053354/Exhibiting_outside_the_Academy_Salon_and_Biennial_1775_1999_Alternative_Venues_for_Display">Exhibiting outside the Academy, Salon and Biennial, 1775-1999: Alternative Venues for Display</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little to no sustained interest in the histories of alternative exhibitions (single... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_22053354" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little to no sustained interest in the histories of alternative exhibitions (single artwork, solo artist, artist-mounted, entrepreneurial, privately funded, ephemeral, etc.) with the notable exception of those publications that deal with situations involving major artists or those who would become so—for example J.L. David's exhibition of Intervention of the Sabine Women (1799) and The First Impressionist Exhibition of 1874—despite the fact that these sorts of exhibitions and critical scholarship about them have become commonplace (and no less important) in the contemporary art world. The present volume uses and contextualizes eleven case studies to advance some overarching themes and commonalities among alternative exhibitions in the long modern period from the late-eighteenth to the late-twentieth centuries and beyond. These include the issue of control in the interrelation and elision of the roles of artist and curator, and the relationship of such alternative exhibitions to the dominant modes, structures of display and cultural ideology.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/22053354" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="51e4a405ea6c88016cbfb0bd69d1f3e2" rel="nofollow" data-download="{"attachment_id":49213665,"asset_id":22053354,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49213665/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="34438981" href="https://independent.academia.edu/AndrewGraciano">Andrew Graciano</a><script data-card-contents-for-user="34438981" type="text/json">{"id":34438981,"first_name":"Andrew","last_name":"Graciano","domain_name":"independent","page_name":"AndrewGraciano","display_name":"Andrew Graciano","profile_url":"https://independent.academia.edu/AndrewGraciano?f_ri=3051","photo":"https://0.academia-photos.com/34438981/12537532/98807891/s65_andrew.graciano.jpeg"}</script></span></span></li><li class="js-paper-rank-work_22053354 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22053354"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22053354, container: ".js-paper-rank-work_22053354", }); 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There has been, however, little to no sustained interest in the histories of alternative exhibitions (single artwork, solo artist, artist-mounted, entrepreneurial, privately funded, ephemeral, etc.) with the notable exception of those publications that deal with situations involving major artists or those who would become so—for example J.L. David's exhibition of Intervention of the Sabine Women (1799) and The First Impressionist Exhibition of 1874—despite the fact that these sorts of exhibitions and critical scholarship about them have become commonplace (and no less important) in the contemporary art world. The present volume uses and contextualizes eleven case studies to advance some overarching themes and commonalities among alternative exhibitions in the long modern period from the late-eighteenth to the late-twentieth centuries and beyond. These include the issue of control in the interrelation and elision of the roles of artist and curator, and the relationship of such alternative exhibitions to the dominant modes, structures of display and cultural ideology.","downloadable_attachments":[{"id":49213665,"asset_id":22053354,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34438981,"first_name":"Andrew","last_name":"Graciano","domain_name":"independent","page_name":"AndrewGraciano","display_name":"Andrew Graciano","profile_url":"https://independent.academia.edu/AndrewGraciano?f_ri=3051","photo":"https://0.academia-photos.com/34438981/12537532/98807891/s65_andrew.graciano.jpeg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":9645,"name":"Nineteenth-century Art","url":"https://www.academia.edu/Documents/in/Nineteenth-century_Art?f_ri=3051","nofollow":true},{"id":13606,"name":"Museums and Exhibition Design","url":"https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design?f_ri=3051","nofollow":true},{"id":56406,"name":"Twentieth Century Art","url":"https://www.academia.edu/Documents/in/Twentieth_Century_Art?f_ri=3051"},{"id":56891,"name":"Art history, eighteenth-century studies","url":"https://www.academia.edu/Documents/in/Art_history_eighteenth-century_studies?f_ri=3051"},{"id":66034,"name":"Eighteenth-Century British Art","url":"https://www.academia.edu/Documents/in/Eighteenth-Century_British_Art?f_ri=3051"},{"id":226095,"name":"History of Exhibitions","url":"https://www.academia.edu/Documents/in/History_of_Exhibitions?f_ri=3051"},{"id":252023,"name":"History of Contemporary Art, History of Exhibitions, Museology","url":"https://www.academia.edu/Documents/in/History_of_Contemporary_Art_History_of_Exhibitions_Museology?f_ri=3051"},{"id":555889,"name":"History of Art Exhibitions","url":"https://www.academia.edu/Documents/in/History_of_Art_Exhibitions?f_ri=3051"},{"id":989195,"name":"Eighteenth Century Art","url":"https://www.academia.edu/Documents/in/Eighteenth_Century_Art?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4806941" data-work_id="4806941" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4806941/Exhibiting_Architecture_Show_dont_tell">Exhibiting Architecture: Show, don't tell</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4806941" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="77a5e6e725a9a440454c366e5a04a6f0" rel="nofollow" data-download="{"attachment_id":32104520,"asset_id":4806941,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32104520/download_file?st=MTczOTkxMjc2Nyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6102754" href="https://princeton.academia.edu/CarsonChan">Carson Chan</a><script data-card-contents-for-user="6102754" type="text/json">{"id":6102754,"first_name":"Carson","last_name":"Chan","domain_name":"princeton","page_name":"CarsonChan","display_name":"Carson Chan","profile_url":"https://princeton.academia.edu/CarsonChan?f_ri=3051","photo":"https://0.academia-photos.com/6102754/2568642/2982882/s65_carson.chan.jpg"}</script></span></span></li><li class="js-paper-rank-work_4806941 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4806941"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4806941, container: ".js-paper-rank-work_4806941", }); 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$(".js-view-count[data-work-id=4806941]").text(description); $(".js-view-count-work_4806941").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_4806941").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="4806941"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1372" rel="nofollow" href="https://www.academia.edu/Documents/in/Architecture">Architecture</a>, <script data-card-contents-for-ri="1372" type="text/json">{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11469" rel="nofollow" href="https://www.academia.edu/Documents/in/Curating">Curating</a><script data-card-contents-for-ri="11469" type="text/json">{"id":11469,"name":"Curating","url":"https://www.academia.edu/Documents/in/Curating?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4806941]'), work: {"id":4806941,"title":"Exhibiting Architecture: Show, don't tell","created_at":"2013-10-17T22:40:27.768-07:00","url":"https://www.academia.edu/4806941/Exhibiting_Architecture_Show_dont_tell?f_ri=3051","dom_id":"work_4806941","summary":null,"downloadable_attachments":[{"id":32104520,"asset_id":4806941,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6102754,"first_name":"Carson","last_name":"Chan","domain_name":"princeton","page_name":"CarsonChan","display_name":"Carson Chan","profile_url":"https://princeton.academia.edu/CarsonChan?f_ri=3051","photo":"https://0.academia-photos.com/6102754/2568642/2982882/s65_carson.chan.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":11469,"name":"Curating","url":"https://www.academia.edu/Documents/in/Curating?f_ri=3051","nofollow":true},{"id":226095,"name":"History of Exhibitions","url":"https://www.academia.edu/Documents/in/History_of_Exhibitions?f_ri=3051"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38686102" data-work_id="38686102" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38686102/The_Contemporary_Russian_Cinema_Reader_2005_2016_Sampler_">The Contemporary Russian Cinema Reader: 2005-2016 (Sampler)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Edited by Rimgaila Salys The early years of the twenty-first century have been an exciting transitional period in Russian cinema, as the industry recovered from the crises of the late 1990s and again stepped onto the global stage. During... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38686102" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Edited by Rimgaila Salys<br /><br />The early years of the twenty-first century have been an exciting transitional period in Russian cinema, as the industry recovered from the crises of the late 1990s and again stepped onto the global stage. During these years four generations, from the late Soviet directors through post-Soviet and New Russian filmmakers to the Russian millennials, have worked in varying visual styles and with diverse narrative strategies, while searching for a new cinematic language. Financing and distribution models have evolved, along with conservative politics driving Ministry of Culture regulation. This reader is intended both for contemporary Russian cinema courses and for modern Russian culture courses that emphasize film. It does not attempt to establish a canon for the period but seeks to provide undergraduate students with an introduction to significant Russian films released between 2005 and 2016 that are also available with English subtitles. The twenty-one essays on individual films provide background information on directors’ careers, detailed analyses of selected films, along with suggested further readings both in English and Russian.<br /><br />Learn more & purchase: <a href="https://www.academicstudiespress.com/filmandmediastudies/the-contemporary-russian-cinema-reader" rel="nofollow">https://www.academicstudiespress.com/filmandmediastudies/the-contemporary-russian-cinema-reader</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38686102" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="307ac9311ac88ba44a4b200a255cce0d" rel="nofollow" data-download="{"attachment_id":58767951,"asset_id":38686102,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58767951/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="32427977" href="https://independent.academia.edu/AcademicStudiesPress">Academic Studies Press</a><script data-card-contents-for-user="32427977" type="text/json">{"id":32427977,"first_name":"Academic Studies","last_name":"Press","domain_name":"independent","page_name":"AcademicStudiesPress","display_name":"Academic Studies Press","profile_url":"https://independent.academia.edu/AcademicStudiesPress?f_ri=3051","photo":"https://0.academia-photos.com/32427977/9960374/136021291/s65_academic_studies.press.png"}</script></span></span></li><li class="js-paper-rank-work_38686102 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38686102"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38686102, container: ".js-paper-rank-work_38686102", }); 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$(".js-view-count[data-work-id=38686102]").text(description); $(".js-view-count-work_38686102").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38686102").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38686102"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="389" rel="nofollow" href="https://www.academia.edu/Documents/in/Russian_Studies">Russian Studies</a>, <script data-card-contents-for-ri="389" type="text/json">{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38686102]'), work: {"id":38686102,"title":"The Contemporary Russian Cinema Reader: 2005-2016 (Sampler)","created_at":"2019-04-01T14:03:02.571-07:00","url":"https://www.academia.edu/38686102/The_Contemporary_Russian_Cinema_Reader_2005_2016_Sampler_?f_ri=3051","dom_id":"work_38686102","summary":"Edited by Rimgaila Salys\n\nThe early years of the twenty-first century have been an exciting transitional period in Russian cinema, as the industry recovered from the crises of the late 1990s and again stepped onto the global stage. During these years four generations, from the late Soviet directors through post-Soviet and New Russian filmmakers to the Russian millennials, have worked in varying visual styles and with diverse narrative strategies, while searching for a new cinematic language. Financing and distribution models have evolved, along with conservative politics driving Ministry of Culture regulation. This reader is intended both for contemporary Russian cinema courses and for modern Russian culture courses that emphasize film. It does not attempt to establish a canon for the period but seeks to provide undergraduate students with an introduction to significant Russian films released between 2005 and 2016 that are also available with English subtitles. The twenty-one essays on individual films provide background information on directors’ careers, detailed analyses of selected films, along with suggested further readings both in English and Russian.\n\nLearn more \u0026 purchase: https://www.academicstudiespress.com/filmandmediastudies/the-contemporary-russian-cinema-reader","downloadable_attachments":[{"id":58767951,"asset_id":38686102,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":32427977,"first_name":"Academic Studies","last_name":"Press","domain_name":"independent","page_name":"AcademicStudiesPress","display_name":"Academic Studies Press","profile_url":"https://independent.academia.edu/AcademicStudiesPress?f_ri=3051","photo":"https://0.academia-photos.com/32427977/9960374/136021291/s65_academic_studies.press.png"}],"research_interests":[{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=3051","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=3051","nofollow":true},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=3051"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=3051"},{"id":12874,"name":"Russian Film","url":"https://www.academia.edu/Documents/in/Russian_Film?f_ri=3051"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=3051"},{"id":20816,"name":"Art Theory and Politics","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Politics?f_ri=3051"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=3051"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=3051"},{"id":52277,"name":"Russian Cinema","url":"https://www.academia.edu/Documents/in/Russian_Cinema?f_ri=3051"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=3051"},{"id":54193,"name":"Art and Politics","url":"https://www.academia.edu/Documents/in/Art_and_Politics?f_ri=3051"},{"id":55485,"name":"Filmmaking","url":"https://www.academia.edu/Documents/in/Filmmaking?f_ri=3051"},{"id":58937,"name":"Slavic Studies","url":"https://www.academia.edu/Documents/in/Slavic_Studies?f_ri=3051"},{"id":80698,"name":"Films","url":"https://www.academia.edu/Documents/in/Films?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40416389" data-work_id="40416389" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40416389/Petja_Grafenauer_Krnc_Slovenia_THE_SOUND_OF_VISION_THE_VISION_OF_SOUND">Petja Grafenauer Krnc, Slovenia: THE SOUND OF VISION/THE VISION OF SOUND</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Sound and picture as basic fields that allow an individual to perceive the world do not carry the same intensity of meaning in the contemporary world. Images and scripts fight each other for dominance; the sound, be it voice, sound, or... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40416389" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Sound and picture as basic fields that allow an individual to perceive the world do not carry the same intensity of meaning in the contemporary world. Images and scripts fight each other for dominance; the sound, be it voice, sound, or tune, with an agreed meaning or without, remains left behind. The rule of the image and script and the insignificance of fleeting, uncatchable sound extend far in the past and are certainly connected with the possibility of preserving one or the other. Man was able to preserve images as early as 40,000 b.c.; the first scripts were presumably invented in Sumer, but sound in its expression remained uncatchable until the emergence of the first audio technologies. Sound inhabits its time and disperses itself in a moment. Its life is too fleeting to attract a lot of attention or let alone allow the time needed to apply research methods. The image was easier to catch and therefore it overpowered sound and prevailed as a more faithful assistant to the exegetical mind. Of course note scripts existed, with which one could interpret sound, while at the same time neither paintings nor photography could ever offer a total record of reality. Still the registering of sound was not possible until 1877, when Thomas Edison recorded the human voice-a children's song, Mary Had a Little Lamb to be exact-on a tinfoil cylindrical phonograph on December 6 th (he had perhaps recorded the word halloo on an early paper model of a phonograph in July of the same year). The existence of technologies that make sounds accessible at all times gave hearing a new status and sound recordings entered archives, libraries, laboratories, art, and philosophies. Sound could now travel far away from its creator and seperate itself from the body, which lost control over it exactly</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40416389" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3e6f17e458e829838df3bd1f3a09a668" rel="nofollow" data-download="{"attachment_id":60671674,"asset_id":40416389,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60671674/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11458607" href="https://uni-lj.academia.edu/PetjaGrafenauer">Petja Grafenauer</a><script data-card-contents-for-user="11458607" type="text/json">{"id":11458607,"first_name":"Petja","last_name":"Grafenauer","domain_name":"uni-lj","page_name":"PetjaGrafenauer","display_name":"Petja Grafenauer","profile_url":"https://uni-lj.academia.edu/PetjaGrafenauer?f_ri=3051","photo":"https://0.academia-photos.com/11458607/3728821/4368868/s65_petja.grafenauer.jpg"}</script></span></span></li><li class="js-paper-rank-work_40416389 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40416389"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40416389, container: ".js-paper-rank-work_40416389", }); });</script></li><li class="js-percentile-work_40416389 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40416389; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40416389"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40416389 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40416389"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40416389; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40416389]").text(description); $(".js-view-count-work_40416389").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40416389").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40416389"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="255021" rel="nofollow" href="https://www.academia.edu/Documents/in/Intermedia_Art">Intermedia Art</a><script data-card-contents-for-ri="255021" type="text/json">{"id":255021,"name":"Intermedia Art","url":"https://www.academia.edu/Documents/in/Intermedia_Art?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40416389]'), work: {"id":40416389,"title":"Petja Grafenauer Krnc, Slovenia: THE SOUND OF VISION/THE VISION OF SOUND","created_at":"2019-09-22T12:05:34.193-07:00","url":"https://www.academia.edu/40416389/Petja_Grafenauer_Krnc_Slovenia_THE_SOUND_OF_VISION_THE_VISION_OF_SOUND?f_ri=3051","dom_id":"work_40416389","summary":"Sound and picture as basic fields that allow an individual to perceive the world do not carry the same intensity of meaning in the contemporary world. Images and scripts fight each other for dominance; the sound, be it voice, sound, or tune, with an agreed meaning or without, remains left behind. The rule of the image and script and the insignificance of fleeting, uncatchable sound extend far in the past and are certainly connected with the possibility of preserving one or the other. Man was able to preserve images as early as 40,000 b.c.; the first scripts were presumably invented in Sumer, but sound in its expression remained uncatchable until the emergence of the first audio technologies. Sound inhabits its time and disperses itself in a moment. Its life is too fleeting to attract a lot of attention or let alone allow the time needed to apply research methods. The image was easier to catch and therefore it overpowered sound and prevailed as a more faithful assistant to the exegetical mind. Of course note scripts existed, with which one could interpret sound, while at the same time neither paintings nor photography could ever offer a total record of reality. Still the registering of sound was not possible until 1877, when Thomas Edison recorded the human voice-a children's song, Mary Had a Little Lamb to be exact-on a tinfoil cylindrical phonograph on December 6 th (he had perhaps recorded the word halloo on an early paper model of a phonograph in July of the same year). The existence of technologies that make sounds accessible at all times gave hearing a new status and sound recordings entered archives, libraries, laboratories, art, and philosophies. Sound could now travel far away from its creator and seperate itself from the body, which lost control over it exactly","downloadable_attachments":[{"id":60671674,"asset_id":40416389,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11458607,"first_name":"Petja","last_name":"Grafenauer","domain_name":"uni-lj","page_name":"PetjaGrafenauer","display_name":"Petja Grafenauer","profile_url":"https://uni-lj.academia.edu/PetjaGrafenauer?f_ri=3051","photo":"https://0.academia-photos.com/11458607/3728821/4368868/s65_petja.grafenauer.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":255021,"name":"Intermedia Art","url":"https://www.academia.edu/Documents/in/Intermedia_Art?f_ri=3051","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40449886" data-work_id="40449886" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40449886/The_Feral_the_Art_Object_and_the_Social_doctoral_thesis_">The Feral, the Art Object and the Social (doctoral thesis)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This practice-based doctoral research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and metaphorically - in the gap between defined... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40449886" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This practice-based doctoral research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and metaphorically - in the gap between defined spaces. My conception of the feral draws out the political promise of this indeterminacy: the state of being partly wild and partly civilised. The page is also constructed materially, as a space where<br />heterogeneous elements meet: different voices expressed through the writing and images of my practice.<br /><br />In claiming the feral as a critical concept, I reject its more common, derogatory, usage. In particular, during the 2011 London riots, the former British Lord Chancellor Kenneth Clarke labelled the rioters a “feral<br />underclass”, seeking to fix them in this uncivilised, abject position. I unfix this separation, through a feral interpretation of my objects, as they interpenetrate domestic, institutional, and civilised public spheres.<br />Mother’s milk solidifies as plaster-filled condom bombs, at once phallic and breast-like, poised to ignite a pyre of social theory texts in a gallery project space, a former factory; haphazard conglomerations of plant matter and urban debris are strung together in bunting on an inner-city community hall.<br /><br />The feral becomes here a rival concept to Julia Kristeva’s formulation of abjection, as the seeping bodily organs evoked by my objects are not defined in terms of the individual, but reflected on through the formless<br />mass of the social body, the displaced undercommons of Stefano Harney and Fred Moten, the wild of Jack Halberstam, the rioters of Joshua Clover.<br />The feral has an antagonistic quality, but it cannot fit the relational models of art put forward by Chantal Mouffe and Claire Bishop that seek to civilise this antagonism. Neither can the positivity of Rosi Braidotti’s posthuman new materialism extract the hybridity of materials I use from the precariousness of the social conditions from which they are drawn. My practice, like the feral, resists these separations.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40449886" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c73ddd313f74b72ad2f1d48ddf6a65b3" rel="nofollow" data-download="{"attachment_id":60713016,"asset_id":40449886,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60713016/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9015086" href="https://camberwell-arts.academia.edu/LanaLocke">Lana Locke</a><script data-card-contents-for-user="9015086" type="text/json">{"id":9015086,"first_name":"Lana","last_name":"Locke","domain_name":"camberwell-arts","page_name":"LanaLocke","display_name":"Lana Locke","profile_url":"https://camberwell-arts.academia.edu/LanaLocke?f_ri=3051","photo":"https://0.academia-photos.com/9015086/4034280/85655230/s65_lana.locke.jpg"}</script></span></span></li><li class="js-paper-rank-work_40449886 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40449886"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40449886, container: ".js-paper-rank-work_40449886", }); 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$(".js-view-count[data-work-id=40449886]").text(description); $(".js-view-count-work_40449886").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40449886").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40449886"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2080" rel="nofollow" href="https://www.academia.edu/Documents/in/Installation_Art">Installation Art</a>, <script data-card-contents-for-ri="2080" type="text/json">{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3115" rel="nofollow" href="https://www.academia.edu/Documents/in/Posthumanism">Posthumanism</a>, <script data-card-contents-for-ri="3115" type="text/json">{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7455" rel="nofollow" href="https://www.academia.edu/Documents/in/Gentrification">Gentrification</a><script data-card-contents-for-ri="7455" type="text/json">{"id":7455,"name":"Gentrification","url":"https://www.academia.edu/Documents/in/Gentrification?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40449886]'), work: {"id":40449886,"title":"The Feral, the Art Object and the Social (doctoral thesis)","created_at":"2019-09-26T09:13:12.998-07:00","url":"https://www.academia.edu/40449886/The_Feral_the_Art_Object_and_the_Social_doctoral_thesis_?f_ri=3051","dom_id":"work_40449886","summary":"This practice-based doctoral research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and metaphorically - in the gap between defined spaces. My conception of the feral draws out the political promise of this indeterminacy: the state of being partly wild and partly civilised. The page is also constructed materially, as a space where\nheterogeneous elements meet: different voices expressed through the writing and images of my practice.\n\nIn claiming the feral as a critical concept, I reject its more common, derogatory, usage. In particular, during the 2011 London riots, the former British Lord Chancellor Kenneth Clarke labelled the rioters a “feral\nunderclass”, seeking to fix them in this uncivilised, abject position. I unfix this separation, through a feral interpretation of my objects, as they interpenetrate domestic, institutional, and civilised public spheres.\nMother’s milk solidifies as plaster-filled condom bombs, at once phallic and breast-like, poised to ignite a pyre of social theory texts in a gallery project space, a former factory; haphazard conglomerations of plant matter and urban debris are strung together in bunting on an inner-city community hall.\n\nThe feral becomes here a rival concept to Julia Kristeva’s formulation of abjection, as the seeping bodily organs evoked by my objects are not defined in terms of the individual, but reflected on through the formless\nmass of the social body, the displaced undercommons of Stefano Harney and Fred Moten, the wild of Jack Halberstam, the rioters of Joshua Clover.\nThe feral has an antagonistic quality, but it cannot fit the relational models of art put forward by Chantal Mouffe and Claire Bishop that seek to civilise this antagonism. Neither can the positivity of Rosi Braidotti’s posthuman new materialism extract the hybridity of materials I use from the precariousness of the social conditions from which they are drawn. My practice, like the feral, resists these separations.","downloadable_attachments":[{"id":60713016,"asset_id":40449886,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9015086,"first_name":"Lana","last_name":"Locke","domain_name":"camberwell-arts","page_name":"LanaLocke","display_name":"Lana Locke","profile_url":"https://camberwell-arts.academia.edu/LanaLocke?f_ri=3051","photo":"https://0.academia-photos.com/9015086/4034280/85655230/s65_lana.locke.jpg"}],"research_interests":[{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism?f_ri=3051","nofollow":true},{"id":7455,"name":"Gentrification","url":"https://www.academia.edu/Documents/in/Gentrification?f_ri=3051","nofollow":true},{"id":12680,"name":"Georges Bataille","url":"https://www.academia.edu/Documents/in/Georges_Bataille?f_ri=3051"},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=3051"},{"id":14571,"name":"Julia Kristeva","url":"https://www.academia.edu/Documents/in/Julia_Kristeva?f_ri=3051"},{"id":16892,"name":"Street Art","url":"https://www.academia.edu/Documents/in/Street_Art?f_ri=3051"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=3051"},{"id":37438,"name":"Art Intervention","url":"https://www.academia.edu/Documents/in/Art_Intervention?f_ri=3051"},{"id":48672,"name":"Chantal Mouffe","url":"https://www.academia.edu/Documents/in/Chantal_Mouffe?f_ri=3051"},{"id":63741,"name":"Multitude","url":"https://www.academia.edu/Documents/in/Multitude?f_ri=3051"},{"id":100144,"name":"Jack Halberstam","url":"https://www.academia.edu/Documents/in/Jack_Halberstam?f_ri=3051"},{"id":107547,"name":"Agonism","url":"https://www.academia.edu/Documents/in/Agonism?f_ri=3051"},{"id":113497,"name":"Rosi Braidotti","url":"https://www.academia.edu/Documents/in/Rosi_Braidotti?f_ri=3051"},{"id":119198,"name":"Art and Gentrification","url":"https://www.academia.edu/Documents/in/Art_and_Gentrification?f_ri=3051"},{"id":375041,"name":"Antagonism","url":"https://www.academia.edu/Documents/in/Antagonism?f_ri=3051"},{"id":632564,"name":"Socially Engaged Art","url":"https://www.academia.edu/Documents/in/Socially_Engaged_Art-1?f_ri=3051"},{"id":856943,"name":"New Materialism in Contemporary art","url":"https://www.academia.edu/Documents/in/New_Materialism_in_Contemporary_art?f_ri=3051"},{"id":1346747,"name":"Undercommons","url":"https://www.academia.edu/Documents/in/Undercommons?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44560876" data-work_id="44560876" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44560876/Campagne_urbane">Campagne urbane</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">L’arte, nelle sue diverse declinazioni temporali ed espressive, ha offerto innumerevoli interpretazioni dello spazio agricolo. L’artista ha costruito visioni, memorie, strutture percettive, il tutto estrapolando dallo spazio... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44560876" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">L’arte, nelle sue diverse declinazioni temporali ed espressive, ha offerto innumerevoli interpretazioni dello spazio agricolo. L’artista ha costruito visioni, memorie, strutture percettive, il tutto estrapolando dallo spazio fenomenologico frammenti emozionali, selezionando precise inquadrature, attraverso un’azione volontaria che scarta, sposta, riconfigura, ricompone, modifica, racconta. Il suo lavoro è quello di svelare anticipatamente un paesaggio e di presentarlo alla collettività.<br />Con l’opera “Le spigolatrici” (Parigi, Louvre) del 1848 di Jean-François Millet, comincia un nuovo modo di guardare la campagna. Idealizzata dalla pittura romantica e resa emozionale dai paesaggisti, questa propone, dal realismo francese in poi, una dimensione nuova che contempla gli aspetti economico, sociale e urbano. Da allora la campagna, non è più percepita come natura ideale, luogo degli avvenimenti mitologici, ma spazio della produzione agricola connessa alla città. <br />Gli artisti si concentrano su nuovi temi iconografici: il lavoro dei campi vi è incluso. Si costruisce un nuovo linguaggio, temi diversi per un nuovo importante committente, la borghesia. La perdita del carattere “mitologico” e “ludico” dello spazio agricolo, presente nelle pitture di Giorgione e Goya, rappresenta un evento culturale. La campagna, da spazio allegorico, luogo di ninfe, di dei, di battaglie, di rivelazioni sacre, diventa fisica, rappresenta e accoglie i riti del proletariato. <br />Nella “casa all’Estaque” (Berna, Kunstmuseum) del 1908 di Georges Braque si percepisce, attraverso il linguaggio cubista, la de-costruzione del paesaggio urbano/agricolo e la sua ricomposizione originale. Significativi sono i contributi di Herich Hecker con “primavera in Fiandre” del 1916 riconducibile all’esperienza del Brücke; i lavori di Paul Cézanne riferiti a “la Montagne Sainte-Victoire” ed in particolare la tela di Filadelfia del 1904; il “Paesaggio raggista” del 1912 (San Pietroburgo, Museo Russo) di Michail Larinov e le sperimentazioni di Kazimir Malevic, Piet Mondrian, Paul Klee e Giorgio De Chirico.<br />Attraverso i secoli, dalle decorazioni della sala di villa Livia del I secolo d.C. (Giardino della villa di Livia, Roma, Museo Nazionale Romano) è un susseguirsi di visioni dello spazio agricolo fino alle opere pittoriche di d’Inessa (artista siciliano) che propongono un paesaggio denso di memorie, di pregnanze, di ridondanze. Acquarelli che ricompongono le esperienze di Cézanne, di Turner, di Picasso in chiave contemporanea per descrivere un paesaggio malinconico e fiabesco.<br />Negli anni ’60 e ’70 gli artisti della Land Art, Robert Smithson, Walter de Maria, Michael Heizer, Richard Serra e altri, contribuiscono a connotare l’ambiente con un oggetto-scultura effimero e minimalista che costruisce l’identità dei luoghi. “Con la Land Art è direttamente l’ambiente, su cui interviene l’artista a divenire esso stesso una forma estetica fruibile come opera d’arte.” Il lavoro segue procedure che appartengono al fare dell’architettura: scavare, aggiungere, unire, piantare, bucare, ecc . Questa forma d’arte costituisce un contributo significativo nella lettura, percezione e costruzione del paesaggio. I nuovi materiali dell’arte sono il suolo, lo spazio, la luce, lo sguardo, la memoria: tutti elementi utili per riconfigurare lo spazio agricolo o per meglio comprenderlo.<br /><br />Da una visione contemplativa e visionaria all’esercizio del progetto. <br />L’arte, anche quella letteraria, ha costruito paesaggi, determinando la configurazione dei luoghi. Pensiamo alla letteratura bucolica di Virgilio, di Petrarca. Nel XVI secolo in Spagna Garcilaso de la Vega (Toledo 1503 - Nizza 1536), poeta e guerriero, costituisce un caso emblematico. Pluma y espada riassumono la sua natura, il suo destino. Garcilaso, attraverso i suoi scritti, contribuisce a configurare il paesaggio di limite di Toledo. Suggerisce una precisa modalità insediativa relativamente all’espansione della città verso la “Fabbrica delle armi”. Tra la città storica e la nuova espansione uno spazio agricolo, reso sistemico dalle mura arabe. Le permanenze archeologiche e agricole costituiscono l’armatura organizzativa di questo spazio che mantiene per secoli la sua configurazione fino alla presa d’atto da parte della comunità di Toledo: mantenere due coni ottici privilegiati per godere della magnifica veduta del “casco historico”. <br />“Le città invisibili” di Italo Calvino rappresentano un documento utile per comprendere il rapporto tra forma, simbolo e funzione. Le campagne urbane descritte nel capitolo “le città continue 4” permettono di ricostruire un processo di trasformazione usuale. La cancellazione della memoria, dello spazio agricolo che diventa scarto, residuo. Italo Calvino permette di cogliere l’essenza della trasformazione urbana, dello spazio limite non solo sul piano fisico ma su quello della percezione emozionale.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44560876" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f734aec87f962fddfa3300587e73b4e1" rel="nofollow" data-download="{"attachment_id":65013797,"asset_id":44560876,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65013797/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4567986" href="https://unico.academia.edu/FrancescoFinocchiaro">Francesco Finocchiaro</a><script data-card-contents-for-user="4567986" type="text/json">{"id":4567986,"first_name":"Francesco","last_name":"Finocchiaro","domain_name":"unico","page_name":"FrancescoFinocchiaro","display_name":"Francesco Finocchiaro","profile_url":"https://unico.academia.edu/FrancescoFinocchiaro?f_ri=3051","photo":"https://0.academia-photos.com/4567986/1897199/59589550/s65_francesco.finocchiaro.jpg"}</script></span></span></li><li class="js-paper-rank-work_44560876 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44560876"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44560876, container: ".js-paper-rank-work_44560876", }); 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L’artista ha costruito visioni, memorie, strutture percettive, il tutto estrapolando dallo spazio fenomenologico frammenti emozionali, selezionando precise inquadrature, attraverso un’azione volontaria che scarta, sposta, riconfigura, ricompone, modifica, racconta. Il suo lavoro è quello di svelare anticipatamente un paesaggio e di presentarlo alla collettività.\nCon l’opera “Le spigolatrici” (Parigi, Louvre) del 1848 di Jean-François Millet, comincia un nuovo modo di guardare la campagna. Idealizzata dalla pittura romantica e resa emozionale dai paesaggisti, questa propone, dal realismo francese in poi, una dimensione nuova che contempla gli aspetti economico, sociale e urbano. Da allora la campagna, non è più percepita come natura ideale, luogo degli avvenimenti mitologici, ma spazio della produzione agricola connessa alla città. \nGli artisti si concentrano su nuovi temi iconografici: il lavoro dei campi vi è incluso. Si costruisce un nuovo linguaggio, temi diversi per un nuovo importante committente, la borghesia. La perdita del carattere “mitologico” e “ludico” dello spazio agricolo, presente nelle pitture di Giorgione e Goya, rappresenta un evento culturale. La campagna, da spazio allegorico, luogo di ninfe, di dei, di battaglie, di rivelazioni sacre, diventa fisica, rappresenta e accoglie i riti del proletariato. \nNella “casa all’Estaque” (Berna, Kunstmuseum) del 1908 di Georges Braque si percepisce, attraverso il linguaggio cubista, la de-costruzione del paesaggio urbano/agricolo e la sua ricomposizione originale. Significativi sono i contributi di Herich Hecker con “primavera in Fiandre” del 1916 riconducibile all’esperienza del Brücke; i lavori di Paul Cézanne riferiti a “la Montagne Sainte-Victoire” ed in particolare la tela di Filadelfia del 1904; il “Paesaggio raggista” del 1912 (San Pietroburgo, Museo Russo) di Michail Larinov e le sperimentazioni di Kazimir Malevic, Piet Mondrian, Paul Klee e Giorgio De Chirico.\nAttraverso i secoli, dalle decorazioni della sala di villa Livia del I secolo d.C. (Giardino della villa di Livia, Roma, Museo Nazionale Romano) è un susseguirsi di visioni dello spazio agricolo fino alle opere pittoriche di d’Inessa (artista siciliano) che propongono un paesaggio denso di memorie, di pregnanze, di ridondanze. Acquarelli che ricompongono le esperienze di Cézanne, di Turner, di Picasso in chiave contemporanea per descrivere un paesaggio malinconico e fiabesco.\nNegli anni ’60 e ’70 gli artisti della Land Art, Robert Smithson, Walter de Maria, Michael Heizer, Richard Serra e altri, contribuiscono a connotare l’ambiente con un oggetto-scultura effimero e minimalista che costruisce l’identità dei luoghi. “Con la Land Art è direttamente l’ambiente, su cui interviene l’artista a divenire esso stesso una forma estetica fruibile come opera d’arte.” Il lavoro segue procedure che appartengono al fare dell’architettura: scavare, aggiungere, unire, piantare, bucare, ecc . Questa forma d’arte costituisce un contributo significativo nella lettura, percezione e costruzione del paesaggio. I nuovi materiali dell’arte sono il suolo, lo spazio, la luce, lo sguardo, la memoria: tutti elementi utili per riconfigurare lo spazio agricolo o per meglio comprenderlo.\n\nDa una visione contemplativa e visionaria all’esercizio del progetto. \nL’arte, anche quella letteraria, ha costruito paesaggi, determinando la configurazione dei luoghi. Pensiamo alla letteratura bucolica di Virgilio, di Petrarca. Nel XVI secolo in Spagna Garcilaso de la Vega (Toledo 1503 - Nizza 1536), poeta e guerriero, costituisce un caso emblematico. Pluma y espada riassumono la sua natura, il suo destino. Garcilaso, attraverso i suoi scritti, contribuisce a configurare il paesaggio di limite di Toledo. Suggerisce una precisa modalità insediativa relativamente all’espansione della città verso la “Fabbrica delle armi”. Tra la città storica e la nuova espansione uno spazio agricolo, reso sistemico dalle mura arabe. Le permanenze archeologiche e agricole costituiscono l’armatura organizzativa di questo spazio che mantiene per secoli la sua configurazione fino alla presa d’atto da parte della comunità di Toledo: mantenere due coni ottici privilegiati per godere della magnifica veduta del “casco historico”. \n“Le città invisibili” di Italo Calvino rappresentano un documento utile per comprendere il rapporto tra forma, simbolo e funzione. Le campagne urbane descritte nel capitolo “le città continue 4” permettono di ricostruire un processo di trasformazione usuale. La cancellazione della memoria, dello spazio agricolo che diventa scarto, residuo. Italo Calvino permette di cogliere l’essenza della trasformazione urbana, dello spazio limite non solo sul piano fisico ma su quello della percezione emozionale. \n","downloadable_attachments":[{"id":65013797,"asset_id":44560876,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4567986,"first_name":"Francesco","last_name":"Finocchiaro","domain_name":"unico","page_name":"FrancescoFinocchiaro","display_name":"Francesco Finocchiaro","profile_url":"https://unico.academia.edu/FrancescoFinocchiaro?f_ri=3051","photo":"https://0.academia-photos.com/4567986/1897199/59589550/s65_francesco.finocchiaro.jpg"}],"research_interests":[{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":3183,"name":"Landscape Architecture","url":"https://www.academia.edu/Documents/in/Landscape_Architecture?f_ri=3051","nofollow":true},{"id":4808,"name":"Urban Planning","url":"https://www.academia.edu/Documents/in/Urban_Planning?f_ri=3051","nofollow":true},{"id":61835,"name":"Urban Design","url":"https://www.academia.edu/Documents/in/Urban_Design?f_ri=3051"},{"id":74014,"name":"Poesía","url":"https://www.academia.edu/Documents/in/Poes%C3%ADa?f_ri=3051"},{"id":99132,"name":"Paesaggio","url":"https://www.academia.edu/Documents/in/Paesaggio?f_ri=3051"},{"id":119997,"name":"Archeologia dei paesaggi","url":"https://www.academia.edu/Documents/in/Archeologia_dei_paesaggi?f_ri=3051"},{"id":135201,"name":"História da arte","url":"https://www.academia.edu/Documents/in/Hist%C3%B3ria_da_arte?f_ri=3051"},{"id":142442,"name":"Architettura","url":"https://www.academia.edu/Documents/in/Architettura?f_ri=3051"},{"id":404940,"name":"Architettura Del Paesaggio","url":"https://www.academia.edu/Documents/in/Architettura_Del_Paesaggio?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6173908" data-work_id="6173908" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6173908/Narcisse_en_eaux_troubles_Francis_Bacon_Bill_Viola_Jeff_Wall">Narcisse en eaux troubles. Francis Bacon, Bill Viola, Jeff Wall</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Ce livre aborde le mythe de Narcisse à partir de ses sources antiques et propose d’étudier ses répercussions dans l’art du XXe siècle. Ce mythe constitue un archétype culturel ponctuant la littérature et l’histoire de l’art occidentales... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_6173908" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ce livre aborde le mythe de Narcisse à partir de ses sources antiques et propose d’étudier ses répercussions dans l’art du XXe siècle. <br />Ce mythe constitue un archétype culturel ponctuant la littérature et l’histoire de l’art occidentales et se trouve à l’origine d’une stratégie de représentation confrontant la personne à sa propre image par le biais d’un médium. La présente étude met à jour les situations d’illusion qui structurent ce récit fondateur dans chacune de ses variations et considère leur reformulation en termes visuels : dans l’oeuvre du Caravage et de Poussin notamment, puis à travers différents exemples tirés de l’activité artistique du XXe siècle jusqu’à nos jours. <br />A ce titre, la métamorphose de Narcisse en une notion – le narcissisme – et surtout sa réélaboration par le biais de l’image – le stade du miroir – sont mises en confrontation avec le mythe. Fort des différentes strates historique, exégétique et visuelle recouvrant l’histoire de Narcisse, ce livre propose une étude de cas choisis dans le travail de trois artistes, Francis Bacon, Bill Viola et Jeff Wall. Les trois corpus d’oeuvres sélectionnés exemplifient chacun l’exploitation d’un médium artistique différent: la peinture, la vidéo et la photographie. Ils proposent un effet de réverbération du mythe et/ou de ses instanciations visuelles, et plus encore interagissent entre eux, communiquant parfois même par la grâce d’une référence explicite d’un artiste à un autre, de telle sorte que cet ouvrage s’érige en un circuit thématique cohérent.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6173908" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a6ee5d4c1a333a540be2a652f249f8a3" rel="nofollow" data-download="{"attachment_id":65096069,"asset_id":6173908,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65096069/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9382550" href="https://unige.academia.edu/HenrideRiedmatten">Henri de Riedmatten</a><script data-card-contents-for-user="9382550" type="text/json">{"id":9382550,"first_name":"Henri","last_name":"de Riedmatten","domain_name":"unige","page_name":"HenrideRiedmatten","display_name":"Henri de Riedmatten","profile_url":"https://unige.academia.edu/HenrideRiedmatten?f_ri=3051","photo":"https://0.academia-photos.com/9382550/2997027/12832337/s65_henri.de_riedmatten.jpg"}</script></span></span></li><li class="js-paper-rank-work_6173908 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6173908"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6173908, container: ".js-paper-rank-work_6173908", }); 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Francis Bacon, Bill Viola, Jeff Wall","created_at":"2014-02-22T18:30:58.251-08:00","url":"https://www.academia.edu/6173908/Narcisse_en_eaux_troubles_Francis_Bacon_Bill_Viola_Jeff_Wall?f_ri=3051","dom_id":"work_6173908","summary":"Ce livre aborde le mythe de Narcisse à partir de ses sources antiques et propose d’étudier ses répercussions dans l’art du XXe siècle.\r\nCe mythe constitue un archétype culturel ponctuant la littérature et l’histoire de l’art occidentales et se trouve à l’origine d’une stratégie de représentation confrontant la personne à sa propre image par le biais d’un médium. La présente étude met à jour les situations d’illusion qui structurent ce récit fondateur dans chacune de ses variations et considère leur reformulation en termes visuels : dans l’oeuvre du Caravage et de Poussin notamment, puis à travers différents exemples tirés de l’activité artistique du XXe siècle jusqu’à nos jours.\r\nA ce titre, la métamorphose de Narcisse en une notion – le narcissisme – et surtout sa réélaboration par le biais de l’image – le stade du miroir – sont mises en confrontation avec le mythe. Fort des différentes strates historique, exégétique et visuelle recouvrant l’histoire de Narcisse, ce livre propose une étude de cas choisis dans le travail de trois artistes, Francis Bacon, Bill Viola et Jeff Wall. Les trois corpus d’oeuvres sélectionnés exemplifient chacun l’exploitation d’un médium artistique différent: la peinture, la vidéo et la photographie. Ils proposent un effet de réverbération du mythe et/ou de ses instanciations visuelles, et plus encore interagissent entre eux, communiquant parfois même par la grâce d’une référence explicite d’un artiste à un autre, de telle sorte que cet ouvrage s’érige en un circuit thématique cohérent.","downloadable_attachments":[{"id":65096069,"asset_id":6173908,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9382550,"first_name":"Henri","last_name":"de Riedmatten","domain_name":"unige","page_name":"HenrideRiedmatten","display_name":"Henri de Riedmatten","profile_url":"https://unige.academia.edu/HenrideRiedmatten?f_ri=3051","photo":"https://0.academia-photos.com/9382550/2997027/12832337/s65_henri.de_riedmatten.jpg"}],"research_interests":[{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=3051","nofollow":true},{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=3051","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=3051","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051"},{"id":7615,"name":"Narcissism (Psychology)","url":"https://www.academia.edu/Documents/in/Narcissism_Psychology_?f_ri=3051"},{"id":19335,"name":"Ancient myth and religion","url":"https://www.academia.edu/Documents/in/Ancient_myth_and_religion?f_ri=3051"},{"id":75317,"name":"Narcissus","url":"https://www.academia.edu/Documents/in/Narcissus?f_ri=3051"},{"id":289535,"name":"Mediality","url":"https://www.academia.edu/Documents/in/Mediality?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36102407" data-work_id="36102407" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36102407/La_question_du_regard_dans_loeuvre_de_Lea_Lublin_enjeux_et_r%C3%A9ception">La question du regard dans l'oeuvre de Lea Lublin : enjeux et réception</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Résumé du mémoire de recherche de Marine Hebert<br />Sous la direction d'Annie Claustres<br />Université Lyon II<br />Master Recherche Histoire et Théorie de l'Art des XXe et XXIe siècles</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36102407" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ed54e322854dba9570b59510f4920f9e" rel="nofollow" data-download="{"attachment_id":65051499,"asset_id":36102407,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65051499/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="50558230" href="https://independent.academia.edu/MarineHebert">Marine Hebert</a><script data-card-contents-for-user="50558230" type="text/json">{"id":50558230,"first_name":"Marine","last_name":"Hebert","domain_name":"independent","page_name":"MarineHebert","display_name":"Marine Hebert","profile_url":"https://independent.academia.edu/MarineHebert?f_ri=3051","photo":"/images/s65_no_pic.png"}</script></span></span></li><li 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u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1138" rel="nofollow" href="https://www.academia.edu/Documents/in/Womens_Studies">Women's Studies</a>, <script data-card-contents-for-ri="1138" type="text/json">{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36102407]'), work: {"id":36102407,"title":"La question du regard dans l'oeuvre de Lea Lublin : enjeux et réception","created_at":"2018-03-07T09:48:13.637-08:00","url":"https://www.academia.edu/36102407/La_question_du_regard_dans_loeuvre_de_Lea_Lublin_enjeux_et_r%C3%A9ception?f_ri=3051","dom_id":"work_36102407","summary":"Résumé du mémoire de recherche de Marine Hebert\nSous la direction d'Annie Claustres\nUniversité Lyon II\nMaster Recherche Histoire et Théorie de l'Art des XXe et XXIe siècles","downloadable_attachments":[{"id":65051499,"asset_id":36102407,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50558230,"first_name":"Marine","last_name":"Hebert","domain_name":"independent","page_name":"MarineHebert","display_name":"Marine Hebert","profile_url":"https://independent.academia.edu/MarineHebert?f_ri=3051","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true},{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=3051","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":8338,"name":"Jacques Lacan","url":"https://www.academia.edu/Documents/in/Jacques_Lacan?f_ri=3051"},{"id":9549,"name":"Lacanian theory","url":"https://www.academia.edu/Documents/in/Lacanian_theory?f_ri=3051"},{"id":9813,"name":"Argentina","url":"https://www.academia.edu/Documents/in/Argentina?f_ri=3051"},{"id":14571,"name":"Julia Kristeva","url":"https://www.academia.edu/Documents/in/Julia_Kristeva?f_ri=3051"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=3051"},{"id":27336,"name":"France","url":"https://www.academia.edu/Documents/in/France?f_ri=3051"},{"id":34338,"name":"Marcel Duchamp","url":"https://www.academia.edu/Documents/in/Marcel_Duchamp?f_ri=3051"},{"id":35731,"name":"Women and Culture","url":"https://www.academia.edu/Documents/in/Women_and_Culture?f_ri=3051"},{"id":45797,"name":"Female Gaze","url":"https://www.academia.edu/Documents/in/Female_Gaze?f_ri=3051"},{"id":49663,"name":"Women and Gender Studies","url":"https://www.academia.edu/Documents/in/Women_and_Gender_Studies?f_ri=3051"},{"id":140210,"name":"Tel Quel","url":"https://www.academia.edu/Documents/in/Tel_Quel?f_ri=3051"},{"id":916798,"name":"Art and Feminism","url":"https://www.academia.edu/Documents/in/Art_and_Feminism?f_ri=3051"},{"id":956828,"name":"Gaze Theory","url":"https://www.academia.edu/Documents/in/Gaze_Theory?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_71730523" data-work_id="71730523" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/71730523/Preparing_for_Time_Travel">Preparing for Time Travel</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">As a participant in the internationally presented eight part series The Scientists - Profiles of Discovery in 1979 by the Science-Unit of Australian National Television my subtitle was Pope the Catalyst. In that year UNESCO appointed me... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_71730523" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">As a participant in the internationally presented eight part series The Scientists - Profiles of Discovery in 1979 by the Science-Unit of Australian National Television my subtitle was Pope the Catalyst. In that year UNESCO appointed me as a Special Science-Art Delegate to the Second Marcel Grossmann Meeting on General Relativity in Honour of Albert Einstein, Trieste, Italy. At the conference I discussed with China’s most highly awarded physicist, Kun Huang, about his paper with the Nobel Laureate in Physics, Max Born, entitled Dynamical Theory of Crystal Lattices containing a criticism of Einstein’s mechanistic worldview. My Science-Art Research Centre of Australia had also criticised Einstein's mechanistic worldview for not being stabilised by Plato’s Science-Art to balance the forces of nature.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/71730523" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="318d09680856666cc87055ec415e6373" rel="nofollow" data-download="{"attachment_id":80953320,"asset_id":71730523,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/80953320/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9336847" href="https://independent.academia.edu/robertpope">Robert Pope</a><script data-card-contents-for-user="9336847" type="text/json">{"id":9336847,"first_name":"Robert","last_name":"Pope","domain_name":"independent","page_name":"robertpope","display_name":"Robert Pope","profile_url":"https://independent.academia.edu/robertpope?f_ri=3051","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_71730523 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="71730523"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 71730523, container: ".js-paper-rank-work_71730523", }); 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In that year UNESCO appointed me as a Special Science-Art Delegate to the Second Marcel Grossmann Meeting on General Relativity in Honour of Albert Einstein, Trieste, Italy. At the conference I discussed with China’s most highly awarded physicist, Kun Huang, about his paper with the Nobel Laureate in Physics, Max Born, entitled Dynamical Theory of Crystal Lattices containing a criticism of Einstein’s mechanistic worldview. My Science-Art Research Centre of Australia had also criticised Einstein's mechanistic worldview for not being stabilised by Plato’s Science-Art to balance the forces of nature.","downloadable_attachments":[{"id":80953320,"asset_id":71730523,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9336847,"first_name":"Robert","last_name":"Pope","domain_name":"independent","page_name":"robertpope","display_name":"Robert Pope","profile_url":"https://independent.academia.edu/robertpope?f_ri=3051","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":503,"name":"Theoretical Physics","url":"https://www.academia.edu/Documents/in/Theoretical_Physics?f_ri=3051","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=3051","nofollow":true},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=3051","nofollow":true},{"id":1512,"name":"Climate 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Travel","url":"https://www.academia.edu/Documents/in/Philosophy_of_Time_Travel?f_ri=3051"},{"id":292178,"name":"3D vision","url":"https://www.academia.edu/Documents/in/3D_vision?f_ri=3051"},{"id":346506,"name":"Einstein","url":"https://www.academia.edu/Documents/in/Einstein?f_ri=3051"},{"id":424995,"name":"Human Adaptation and Survival","url":"https://www.academia.edu/Documents/in/Human_Adaptation_and_Survival?f_ri=3051"},{"id":967859,"name":"Newtonian Worldview","url":"https://www.academia.edu/Documents/in/Newtonian_Worldview?f_ri=3051"},{"id":1539232,"name":"Holographic Universe","url":"https://www.academia.edu/Documents/in/Holographic_Universe?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44856202" data-work_id="44856202" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 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zhang","profile_url":"https://univ-paris1.academia.edu/linjuanzhang?f_ri=3051","photo":"https://0.academia-photos.com/75590942/22354747/143750239/s65_linjuan.zhang.jpeg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_69437413" data-work_id="69437413" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" 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","url":"https://www.academia.edu/Documents/in/History_of_1821_Greek_revolution-1?f_ri=3051","nofollow":true},{"id":4032494,"name":"Bicentenary","url":"https://www.academia.edu/Documents/in/Bicentenary?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2305663" data-work_id="2305663" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2305663/Without_A_Pause_Without_a_Breath_On_the_Art_of_Vernon_Ah_Kee">Without A Pause Without a Breath: On the Art of Vernon Ah Kee</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2305663" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="38cdaeb12a051a7833532bc2f564fc3a" rel="nofollow" data-download="{"attachment_id":30350626,"asset_id":2305663,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30350626/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1097947" href="https://oxford.academia.edu/AnthonyGardner">Anthony Gardner</a><script data-card-contents-for-user="1097947" type="text/json">{"id":1097947,"first_name":"Anthony","last_name":"Gardner","domain_name":"oxford","page_name":"AnthonyGardner","display_name":"Anthony Gardner","profile_url":"https://oxford.academia.edu/AnthonyGardner?f_ri=3051","photo":"https://0.academia-photos.com/1097947/393035/478103/s65_anthony.gardner.jpg"}</script></span></span></li><li class="js-paper-rank-work_2305663 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2305663"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2305663, container: ".js-paper-rank-work_2305663", }); 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This essay was... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44589882" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A critical, comparative analysis of the exhibition project Utopia Station, mounted by Hans-Ulrich Obrist, Molly Nesbit, and Rirkrit Tiravanija at the 2003 Venice Biennale, against Hardt and Negri's 2000 treatise, Empire. This essay was written in 2006 and originally published online in the journal PART (no. 12, 2007), which is now defunct as far as I can tell. I wrote this piece in my first year of grad school, but it has been cited by a number of scholars so I share it here in case it may be of further use to others.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44589882" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="eb8e9cd49de51bafbbb398e74a28f6bc" rel="nofollow" data-download="{"attachment_id":65048490,"asset_id":44589882,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65048490/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9080620" href="https://uh.academia.edu/NatileeHarren">Natilee Harren</a><script data-card-contents-for-user="9080620" type="text/json">{"id":9080620,"first_name":"Natilee","last_name":"Harren","domain_name":"uh","page_name":"NatileeHarren","display_name":"Natilee Harren","profile_url":"https://uh.academia.edu/NatileeHarren?f_ri=3051","photo":"https://0.academia-photos.com/9080620/4204648/69496250/s65_natilee.harren.jpg"}</script></span></span></li><li class="js-paper-rank-work_44589882 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44589882"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44589882, container: ".js-paper-rank-work_44589882", }); 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This essay was written in 2006 and originally published online in the journal PART (no. 12, 2007), which is now defunct as far as I can tell. I wrote this piece in my first year of grad school, but it has been cited by a number of scholars so I share it here in case it may be of further use to others.","downloadable_attachments":[{"id":65048490,"asset_id":44589882,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9080620,"first_name":"Natilee","last_name":"Harren","domain_name":"uh","page_name":"NatileeHarren","display_name":"Natilee Harren","profile_url":"https://uh.academia.edu/NatileeHarren?f_ri=3051","photo":"https://0.academia-photos.com/9080620/4204648/69496250/s65_natilee.harren.jpg"}],"research_interests":[{"id":1439,"name":"Globalization","url":"https://www.academia.edu/Documents/in/Globalization?f_ri=3051","nofollow":true},{"id":1696,"name":"Political Theory","url":"https://www.academia.edu/Documents/in/Political_Theory?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":4498,"name":"Utopian Studies","url":"https://www.academia.edu/Documents/in/Utopian_Studies?f_ri=3051","nofollow":true},{"id":22832,"name":"Curatorial Practice (Art)","url":"https://www.academia.edu/Documents/in/Curatorial_Practice_Art_?f_ri=3051"},{"id":30010,"name":"Empire","url":"https://www.academia.edu/Documents/in/Empire?f_ri=3051"},{"id":34924,"name":"Contemporary Political Theory","url":"https://www.academia.edu/Documents/in/Contemporary_Political_Theory?f_ri=3051"},{"id":49043,"name":"Utopia","url":"https://www.academia.edu/Documents/in/Utopia?f_ri=3051"},{"id":207718,"name":"Biennials","url":"https://www.academia.edu/Documents/in/Biennials?f_ri=3051"},{"id":3144458,"name":"Global Contemporary Art","url":"https://www.academia.edu/Documents/in/Global_Contemporary_Art?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45004413 coauthored" data-work_id="45004413" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45004413/Arte_e_intelligenza_artificiale_be_my_GAN_a_cura_di_A_Barale_Jaca_Book_Milano_2020">Arte e intelligenza artificiale: be my GAN, a cura di A. Barale, Jaca Book, Milano 2020</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A cura di aliCe Barale A fine 2018 un evento inaspettato si verifica presso la prestigiosa casa d'aste Christie's: per la prima volta viene battuta, con grande successo, un'opera d'arte assistita dall'intelligenza artificiale, è Edmond de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45004413" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A cura di aliCe Barale A fine 2018 un evento inaspettato si verifica presso la prestigiosa casa d'aste Christie's: per la prima volta viene battuta, con grande successo, un'opera d'arte assistita dall'intelligenza artificiale, è Edmond de Belamy del collettivo francese Obvious. La sorpresa e lo sconcerto della stampa rivelano quanto possa essere problematica l'idea stessa di intelligenza artificiale per il mondo dell'arte. Pochi mesi dopo, anche Sotheby's mette in asta un'installazione di Mario Klingemann, pioniere nell'utilizzo delle gAN (Generative Adversarial Networks), le reti generative avversarie inventate nel 2014 dal giovane studioso Ian Goodfellow. Le opere che usano l'intelligenza artificiale suscitano un dibattito sfaccettato e di grande interesse. Questo volume raccoglie le voci di filosofi, artisti della scena internazionale, informatici, studiosi d'arte e di musica che si confrontano, ognuno in modi e prospettive differenti, su domande di fondo: che cos'è la creatività? Le macchine possono essere creative o la creatività è solo una caratteristica umana? Chi è l'artefice e chi lo spettatore? Il processo generativo di un sistema di intelligenza artificiale può essere qualificato come originale? Possiamo chiamare "estetici" gli algoritmi delle gAN che discriminano fra milioni di "opere" generate da un computer?... Dalle pagine del libro, capitolo dopo capitolo, prende forma un panorama ricchissimo, anche dal punto di vista estetico, e di enorme fascino per chi ami percorrere le strade dell'arte, comunque imprevedibili.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45004413" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5728b9cc065aa5f74843b822143dcf74" rel="nofollow" data-download="{"attachment_id":65548717,"asset_id":45004413,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65548717/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6496708" href="https://unimi.academia.edu/alicebarale">alice barale</a><script data-card-contents-for-user="6496708" type="text/json">{"id":6496708,"first_name":"alice","last_name":"barale","domain_name":"unimi","page_name":"alicebarale","display_name":"alice barale","profile_url":"https://unimi.academia.edu/alicebarale?f_ri=3051","photo":"https://0.academia-photos.com/6496708/2616290/133517345/s65_alice.barale.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-45004413">+2</span><div class="hidden js-additional-users-45004413"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://edinburgh.academia.edu/CaterinaMoruzzi">Caterina Moruzzi</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://cofc.academia.edu/MarianMazzone">Marian Mazzone</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-45004413'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-45004413').html(); 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Barale, Jaca Book, Milano 2020","created_at":"2021-01-29T02:35:41.718-08:00","url":"https://www.academia.edu/45004413/Arte_e_intelligenza_artificiale_be_my_GAN_a_cura_di_A_Barale_Jaca_Book_Milano_2020?f_ri=3051","dom_id":"work_45004413","summary":"A cura di aliCe Barale A fine 2018 un evento inaspettato si verifica presso la prestigiosa casa d'aste Christie's: per la prima volta viene battuta, con grande successo, un'opera d'arte assistita dall'intelligenza artificiale, è Edmond de Belamy del collettivo francese Obvious. La sorpresa e lo sconcerto della stampa rivelano quanto possa essere problematica l'idea stessa di intelligenza artificiale per il mondo dell'arte. Pochi mesi dopo, anche Sotheby's mette in asta un'installazione di Mario Klingemann, pioniere nell'utilizzo delle gAN (Generative Adversarial Networks), le reti generative avversarie inventate nel 2014 dal giovane studioso Ian Goodfellow. Le opere che usano l'intelligenza artificiale suscitano un dibattito sfaccettato e di grande interesse. Questo volume raccoglie le voci di filosofi, artisti della scena internazionale, informatici, studiosi d'arte e di musica che si confrontano, ognuno in modi e prospettive differenti, su domande di fondo: che cos'è la creatività? Le macchine possono essere creative o la creatività è solo una caratteristica umana? Chi è l'artefice e chi lo spettatore? Il processo generativo di un sistema di intelligenza artificiale può essere qualificato come originale? Possiamo chiamare \"estetici\" gli algoritmi delle gAN che discriminano fra milioni di \"opere\" generate da un computer?... Dalle pagine del libro, capitolo dopo capitolo, prende forma un panorama ricchissimo, anche dal punto di vista estetico, e di enorme fascino per chi ami percorrere le strade dell'arte, comunque imprevedibili.","downloadable_attachments":[{"id":65548717,"asset_id":45004413,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6496708,"first_name":"alice","last_name":"barale","domain_name":"unimi","page_name":"alicebarale","display_name":"alice barale","profile_url":"https://unimi.academia.edu/alicebarale?f_ri=3051","photo":"https://0.academia-photos.com/6496708/2616290/133517345/s65_alice.barale.jpg"},{"id":2775266,"first_name":"Caterina","last_name":"Moruzzi","domain_name":"edinburgh","page_name":"CaterinaMoruzzi","display_name":"Caterina Moruzzi","profile_url":"https://edinburgh.academia.edu/CaterinaMoruzzi?f_ri=3051","photo":"https://0.academia-photos.com/2775266/904475/60000446/s65_caterina.moruzzi.jpg"},{"id":8118130,"first_name":"Marian","last_name":"Mazzone","domain_name":"cofc","page_name":"MarianMazzone","display_name":"Marian Mazzone","profile_url":"https://cofc.academia.edu/MarianMazzone?f_ri=3051","photo":"https://0.academia-photos.com/8118130/2827022/3299690/s65_marian.mazzone.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":1311390,"name":"Artificial Intelligent (AI) and Its Applications","url":"https://www.academia.edu/Documents/in/Artificial_Intelligent_AI_and_Its_Applications?f_ri=3051","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_78855707" data-work_id="78855707" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/78855707/Screen_Bodies_7_1_Lu_Yang_An_Artist_in_Transformation">Screen Bodies 7.1 - Lu Yang: An Artist in Transformation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This Special Issue is the first volume in English to focus entirely on this remarkable artist.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/78855707" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9539ae9ed708b8618e9418ceb47878ba" rel="nofollow" data-download="{"attachment_id":85752186,"asset_id":78855707,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/85752186/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="98940338" href="https://emerson.academia.edu/AndrewBall">Andrew Ball</a><script data-card-contents-for-user="98940338" type="text/json">{"id":98940338,"first_name":"Andrew","last_name":"Ball","domain_name":"emerson","page_name":"AndrewBall","display_name":"Andrew Ball","profile_url":"https://emerson.academia.edu/AndrewBall?f_ri=3051","photo":"https://0.academia-photos.com/98940338/21569696/20923756/s65_andrew.ball.jpg"}</script></span></span></li><li class="js-paper-rank-work_78855707 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="78855707"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 78855707, container: ".js-paper-rank-work_78855707", }); 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$(".js-view-count[data-work-id=78855707]").text(description); $(".js-view-count-work_78855707").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_78855707").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="78855707"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="928" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="933" rel="nofollow" href="https://www.academia.edu/Documents/in/New_Media">New Media</a>, <script data-card-contents-for-ri="933" type="text/json">{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="934" rel="nofollow" href="https://www.academia.edu/Documents/in/Media_and_Cultural_Studies">Media and Cultural Studies</a>, <script data-card-contents-for-ri="934" type="text/json">{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=78855707]'), work: {"id":78855707,"title":"Screen Bodies 7.1 - Lu Yang: An Artist in Transformation","created_at":"2022-05-09T06:38:09.163-07:00","url":"https://www.academia.edu/78855707/Screen_Bodies_7_1_Lu_Yang_An_Artist_in_Transformation?f_ri=3051","dom_id":"work_78855707","summary":"This Special Issue is the first volume in English to focus entirely on this remarkable artist. ","downloadable_attachments":[{"id":85752186,"asset_id":78855707,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":98940338,"first_name":"Andrew","last_name":"Ball","domain_name":"emerson","page_name":"AndrewBall","display_name":"Andrew Ball","profile_url":"https://emerson.academia.edu/AndrewBall?f_ri=3051","photo":"https://0.academia-photos.com/98940338/21569696/20923756/s65_andrew.ball.jpg"}],"research_interests":[{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=3051","nofollow":true},{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=3051","nofollow":true},{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=3051"},{"id":3331,"name":"New Media Arts","url":"https://www.academia.edu/Documents/in/New_Media_Arts?f_ri=3051"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=3051"},{"id":7216,"name":"The Body","url":"https://www.academia.edu/Documents/in/The_Body?f_ri=3051"},{"id":9031,"name":"Media Arts and Sciences","url":"https://www.academia.edu/Documents/in/Media_Arts_and_Sciences?f_ri=3051"},{"id":130938,"name":"Body studies","url":"https://www.academia.edu/Documents/in/Body_studies?f_ri=3051"},{"id":274093,"name":"Contemporary Performance Art in the Context of Digital Arts and New Media","url":"https://www.academia.edu/Documents/in/Contemporary_Performance_Art_in_the_Context_of_Digital_Arts_and_New_Media?f_ri=3051"},{"id":343363,"name":"Screen Studies","url":"https://www.academia.edu/Documents/in/Screen_Studies?f_ri=3051"},{"id":1032577,"name":"Curatorial Practices In Live Art and Media Arts","url":"https://www.academia.edu/Documents/in/Curatorial_Practices_In_Live_Art_and_Media_Arts?f_ri=3051"},{"id":1294729,"name":"Sinophone Studies","url":"https://www.academia.edu/Documents/in/Sinophone_Studies?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29476942" data-work_id="29476942" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29476942/Politics_of_Perception_Post_Foucauldien_Ceramics">Politics of Perception: Post-Foucauldien Ceramics</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Whether due to his insight or influence, Foucault’s mixture of cynicism, paranoia and obsession with power mirrors our current cultural zeitgeist. His thoughts resonate on both thin edges of the American political thought. On the left,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29476942" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Whether due to his insight or influence, Foucault’s mixture of cynicism, paranoia and obsession with power mirrors our current cultural zeitgeist. His thoughts resonate on both thin edges of the American political thought. On the left, consider feminist law scholar Catharine MacKinnon who stated that men incarcerated for rape thinks it is stupid because “They were put into jail for something very little different from what most men do most of the time and they call it sex. The only difference is they got caught. It may also be right.”  On the right, there are those who believe that including homosexuality as a personal choice would lead to an epidemic of sodomy. In speaking of homosexuality, Pat Buchanan sees even mere acceptance as wrong.  While these ideas are clearly on the lip of the American political bell curve, it is an arc plotted on a Foucauldien graph. The X-axis is knowledge and the right axis is power.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29476942" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d786981196a016662d00f3828f43d320" rel="nofollow" data-download="{"attachment_id":49917007,"asset_id":29476942,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49917007/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="861345" href="https://independent.academia.edu/TonyMerino">Anthony D Merino</a><script data-card-contents-for-user="861345" type="text/json">{"id":861345,"first_name":"Anthony","last_name":"Merino","domain_name":"independent","page_name":"TonyMerino","display_name":"Anthony D Merino","profile_url":"https://independent.academia.edu/TonyMerino?f_ri=3051","photo":"https://0.academia-photos.com/861345/308125/3523366/s65_tony.merino.jpg"}</script></span></span></li><li class="js-paper-rank-work_29476942 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29476942"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29476942, container: ".js-paper-rank-work_29476942", }); });</script></li><li class="js-percentile-work_29476942 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29476942; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_29476942"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_29476942 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="29476942"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29476942; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29476942]").text(description); $(".js-view-count-work_29476942").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29476942").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29476942"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4474" rel="nofollow" href="https://www.academia.edu/Documents/in/Critical_Thinking">Critical Thinking</a>, <script data-card-contents-for-ri="4474" type="text/json">{"id":4474,"name":"Critical Thinking","url":"https://www.academia.edu/Documents/in/Critical_Thinking?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11927" rel="nofollow" href="https://www.academia.edu/Documents/in/Michel_Foucault">Michel Foucault</a>, <script data-card-contents-for-ri="11927" type="text/json">{"id":11927,"name":"Michel Foucault","url":"https://www.academia.edu/Documents/in/Michel_Foucault?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="58128" rel="nofollow" href="https://www.academia.edu/Documents/in/Ceramics">Ceramics</a><script data-card-contents-for-ri="58128" type="text/json">{"id":58128,"name":"Ceramics","url":"https://www.academia.edu/Documents/in/Ceramics?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29476942]'), work: {"id":29476942,"title":"Politics of Perception: Post-Foucauldien Ceramics","created_at":"2016-10-27T11:24:38.670-07:00","url":"https://www.academia.edu/29476942/Politics_of_Perception_Post_Foucauldien_Ceramics?f_ri=3051","dom_id":"work_29476942","summary":"Whether due to his insight or influence, Foucault’s mixture of cynicism, paranoia and obsession with power mirrors our current cultural zeitgeist. His thoughts resonate on both thin edges of the American political thought. On the left, consider feminist law scholar Catharine MacKinnon who stated that men incarcerated for rape thinks it is stupid because “They were put into jail for something very little different from what most men do most of the time and they call it sex. The only difference is they got caught. It may also be right.” On the right, there are those who believe that including homosexuality as a personal choice would lead to an epidemic of sodomy. In speaking of homosexuality, Pat Buchanan sees even mere acceptance as wrong. While these ideas are clearly on the lip of the American political bell curve, it is an arc plotted on a Foucauldien graph. The X-axis is knowledge and the right axis is power. ","downloadable_attachments":[{"id":49917007,"asset_id":29476942,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":861345,"first_name":"Anthony","last_name":"Merino","domain_name":"independent","page_name":"TonyMerino","display_name":"Anthony D Merino","profile_url":"https://independent.academia.edu/TonyMerino?f_ri=3051","photo":"https://0.academia-photos.com/861345/308125/3523366/s65_tony.merino.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":4474,"name":"Critical Thinking","url":"https://www.academia.edu/Documents/in/Critical_Thinking?f_ri=3051","nofollow":true},{"id":11927,"name":"Michel Foucault","url":"https://www.academia.edu/Documents/in/Michel_Foucault?f_ri=3051","nofollow":true},{"id":58128,"name":"Ceramics","url":"https://www.academia.edu/Documents/in/Ceramics?f_ri=3051","nofollow":true},{"id":152388,"name":"Art Theory and Criticism","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Criticism?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36486075" data-work_id="36486075" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36486075/Power_in_Numbers_The_Collective_Curatorial_Practices_of_Tranzit_pdf">Power in Numbers - The Collective Curatorial Practices of Tranzit .pdf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Power in Numbers: The Collective Curatorial Practices of Tranzit "Is the curationist moment over?" 2 This question is raised by David Balzer at the beginning of his book, Curationism: How Curating Took Over the Art World and Everything... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36486075" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Power in Numbers: The Collective Curatorial Practices of Tranzit "Is the curationist moment over?" 2 This question is raised by David Balzer at the beginning of his book, Curationism: How Curating Took Over the Art World and Everything Else. 3 The book details the rise and the potential future of what it means to "curate." If one is to look around, the ubiquitous nature of curating is a contemporary cultural phenomenon. Curating is not just used within an exhibition or museum context, but now used when someone manages a music playlist, food menu, or a clothing line. Balzer discusses that curating as we know it in a museum and gallery context began with the autonomous celebrity curator. This started with the position of the all-powerful curator who seemingly gained full control of the museum. The prototype example of this is Alfred H. Barr, Jr. who, in 1929, became the first curator and director of The Museum of Modern Art. Over time, the omnipresent contemporary curator achieved celebrity status and this is seen with figures such as Hans Ulrich Obrist. However, the idea of this all-powerful curator is ultimately a myth and unsustainable in our contemporary culture. Balzer explains that even Hans Ulrich Obrist "depends on others to do what he does." 4 While this is certainly true that no exhibition or gallery is successful simply through the virtue of the singular curator, it is also important to take this one step further. What if the curation practice was done between multiple curators, not ultimately resting on the visage of one curator? To Balzer's previous question, I respond that the curationist movement is not over but the way in which we think about the curator and who the curator is must change.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36486075" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4dff5da7b2ac25eca009d9b9cbee1b2a" rel="nofollow" data-download="{"attachment_id":56404776,"asset_id":36486075,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56404776/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38559924" href="https://cia.academia.edu/ElliottJenkins">Elliott Jenkins</a><script data-card-contents-for-user="38559924" type="text/json">{"id":38559924,"first_name":"Elliott","last_name":"Jenkins","domain_name":"cia","page_name":"ElliottJenkins","display_name":"Elliott Jenkins","profile_url":"https://cia.academia.edu/ElliottJenkins?f_ri=3051","photo":"https://0.academia-photos.com/38559924/14530738/37550567/s65_elliott.jenkins.jpg"}</script></span></span></li><li class="js-paper-rank-work_36486075 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36486075"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36486075, container: ".js-paper-rank-work_36486075", }); });</script></li><li class="js-percentile-work_36486075 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36486075; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_36486075"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_36486075 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="36486075"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36486075; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36486075]").text(description); $(".js-view-count-work_36486075").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36486075").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36486075"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="382" rel="nofollow" href="https://www.academia.edu/Documents/in/Eastern_European_Studies">Eastern European Studies</a>, <script data-card-contents-for-ri="382" type="text/json">{"id":382,"name":"Eastern European Studies","url":"https://www.academia.edu/Documents/in/Eastern_European_Studies?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2021" rel="nofollow" href="https://www.academia.edu/Documents/in/Romanian_History">Romanian History</a>, <script data-card-contents-for-ri="2021" type="text/json">{"id":2021,"name":"Romanian History","url":"https://www.academia.edu/Documents/in/Romanian_History?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11866" rel="nofollow" href="https://www.academia.edu/Documents/in/Romani_Studies">Romani Studies</a><script data-card-contents-for-ri="11866" type="text/json">{"id":11866,"name":"Romani Studies","url":"https://www.academia.edu/Documents/in/Romani_Studies?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36486075]'), work: {"id":36486075,"title":"Power in Numbers - The Collective Curatorial Practices of Tranzit .pdf","created_at":"2018-04-24T00:36:30.345-07:00","url":"https://www.academia.edu/36486075/Power_in_Numbers_The_Collective_Curatorial_Practices_of_Tranzit_pdf?f_ri=3051","dom_id":"work_36486075","summary":"Power in Numbers: The Collective Curatorial Practices of Tranzit \"Is the curationist moment over?\" 2 This question is raised by David Balzer at the beginning of his book, Curationism: How Curating Took Over the Art World and Everything Else. 3 The book details the rise and the potential future of what it means to \"curate.\" If one is to look around, the ubiquitous nature of curating is a contemporary cultural phenomenon. Curating is not just used within an exhibition or museum context, but now used when someone manages a music playlist, food menu, or a clothing line. Balzer discusses that curating as we know it in a museum and gallery context began with the autonomous celebrity curator. This started with the position of the all-powerful curator who seemingly gained full control of the museum. The prototype example of this is Alfred H. Barr, Jr. who, in 1929, became the first curator and director of The Museum of Modern Art. Over time, the omnipresent contemporary curator achieved celebrity status and this is seen with figures such as Hans Ulrich Obrist. However, the idea of this all-powerful curator is ultimately a myth and unsustainable in our contemporary culture. Balzer explains that even Hans Ulrich Obrist \"depends on others to do what he does.\" 4 While this is certainly true that no exhibition or gallery is successful simply through the virtue of the singular curator, it is also important to take this one step further. What if the curation practice was done between multiple curators, not ultimately resting on the visage of one curator? To Balzer's previous question, I respond that the curationist movement is not over but the way in which we think about the curator and who the curator is must change.","downloadable_attachments":[{"id":56404776,"asset_id":36486075,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":38559924,"first_name":"Elliott","last_name":"Jenkins","domain_name":"cia","page_name":"ElliottJenkins","display_name":"Elliott Jenkins","profile_url":"https://cia.academia.edu/ElliottJenkins?f_ri=3051","photo":"https://0.academia-photos.com/38559924/14530738/37550567/s65_elliott.jenkins.jpg"}],"research_interests":[{"id":382,"name":"Eastern European Studies","url":"https://www.academia.edu/Documents/in/Eastern_European_Studies?f_ri=3051","nofollow":true},{"id":2021,"name":"Romanian History","url":"https://www.academia.edu/Documents/in/Romanian_History?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":11866,"name":"Romani Studies","url":"https://www.academia.edu/Documents/in/Romani_Studies?f_ri=3051","nofollow":true},{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=3051"},{"id":22832,"name":"Curatorial Practice (Art)","url":"https://www.academia.edu/Documents/in/Curatorial_Practice_Art_?f_ri=3051"},{"id":44469,"name":"Boris Groys","url":"https://www.academia.edu/Documents/in/Boris_Groys?f_ri=3051"},{"id":169362,"name":"Curatorial Theory","url":"https://www.academia.edu/Documents/in/Curatorial_Theory?f_ri=3051"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_73879479" data-work_id="73879479" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/73879479/Archaic_Modernism">Archaic Modernism</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Archaic Modernism is the second monographic retrospective dedicated to Christophe Spzajdel. Back in 2018 Szpajdel commissioned Archaeological Records to cure the biography, critic essay and logo selection for his new anthology of logos.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_73879479" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Archaic Modernism is the second monographic retrospective dedicated to Christophe Spzajdel. Back in 2018 Szpajdel commissioned Archaeological Records to cure the biography, critic essay and logo selection for his new anthology of logos. Together with the author we decided to narrate his most recent production – the body of work made after the release of the book 'Lord of the Logos' (Gestalten, 2010) – as an evolution of his original Depresiv'Moderne and Winterstijl calligraphic styles in the one named Archaic Modernism. Archaic Modernism is an ideal synthesis of his career as graphic designer.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/73879479" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="344d192ef2da96edc0b71a9806a73560" rel="nofollow" data-download="{"attachment_id":82245993,"asset_id":73879479,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/82245993/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="88266438" href="https://independent.academia.edu/ArchaeologicalRecords">Archaeological Records</a><script data-card-contents-for-user="88266438" type="text/json">{"id":88266438,"first_name":"Archaeological","last_name":"Records","domain_name":"independent","page_name":"ArchaeologicalRecords","display_name":"Archaeological Records","profile_url":"https://independent.academia.edu/ArchaeologicalRecords?f_ri=3051","photo":"https://0.academia-photos.com/88266438/20200288/64553182/s65_archaeological.records.jpg"}</script></span></span></li><li class="js-paper-rank-work_73879479 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="73879479"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 73879479, container: ".js-paper-rank-work_73879479", }); });</script></li><li class="js-percentile-work_73879479 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 73879479; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_73879479"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_73879479 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="73879479"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 73879479; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=73879479]").text(description); $(".js-view-count-work_73879479").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_73879479").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="73879479"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5079" rel="nofollow" href="https://www.academia.edu/Documents/in/Graphic_Design">Graphic Design</a><script data-card-contents-for-ri="5079" type="text/json">{"id":5079,"name":"Graphic Design","url":"https://www.academia.edu/Documents/in/Graphic_Design?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=73879479]'), work: {"id":73879479,"title":"Archaic Modernism","created_at":"2022-03-16T04:43:30.390-07:00","url":"https://www.academia.edu/73879479/Archaic_Modernism?f_ri=3051","dom_id":"work_73879479","summary":"Archaic Modernism is the second monographic retrospective dedicated to Christophe Spzajdel. Back in 2018 Szpajdel commissioned Archaeological Records to cure the biography, critic essay and logo selection for his new anthology of logos. Together with the author we decided to narrate his most recent production – the body of work made after the release of the book 'Lord of the Logos' (Gestalten, 2010) – as an evolution of his original Depresiv'Moderne and Winterstijl calligraphic styles in the one named Archaic Modernism. Archaic Modernism is an ideal synthesis of his career as graphic designer. ","downloadable_attachments":[{"id":82245993,"asset_id":73879479,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":88266438,"first_name":"Archaeological","last_name":"Records","domain_name":"independent","page_name":"ArchaeologicalRecords","display_name":"Archaeological Records","profile_url":"https://independent.academia.edu/ArchaeologicalRecords?f_ri=3051","photo":"https://0.academia-photos.com/88266438/20200288/64553182/s65_archaeological.records.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=3051","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":5079,"name":"Graphic Design","url":"https://www.academia.edu/Documents/in/Graphic_Design?f_ri=3051","nofollow":true},{"id":5080,"name":"Illustration","url":"https://www.academia.edu/Documents/in/Illustration?f_ri=3051"},{"id":30726,"name":"Art Nouveau","url":"https://www.academia.edu/Documents/in/Art_Nouveau?f_ri=3051"},{"id":82342,"name":"Black Metal Theory","url":"https://www.academia.edu/Documents/in/Black_Metal_Theory?f_ri=3051"},{"id":149263,"name":"Underground Literature","url":"https://www.academia.edu/Documents/in/Underground_Literature?f_ri=3051"},{"id":178885,"name":"Heavy Metal Music","url":"https://www.academia.edu/Documents/in/Heavy_Metal_Music?f_ri=3051"},{"id":304187,"name":"Black Metal, Industrial and post-Industrial music","url":"https://www.academia.edu/Documents/in/Black_Metal_Industrial_and_post-Industrial_music?f_ri=3051"},{"id":421236,"name":"Logo Design; Branding","url":"https://www.academia.edu/Documents/in/Logo_Design_Branding?f_ri=3051"},{"id":1832652,"name":"Black Metal Music","url":"https://www.academia.edu/Documents/in/Black_Metal_Music?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38609668" data-work_id="38609668" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/38609668/L_Art_Biotech_complete_book_">L' Art Biotech (complete book)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Book (in French) published in 2003 at the occasion of the first exhibition staging exclusively biomedia art works at the national art center Le Lieu Unique in Nantes/France. Hauser Jens (ed.): L'Art Biotech. Nantes/Trézélan, 2003. The... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38609668" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Book (in French) published in 2003 at the occasion of the first exhibition staging exclusively biomedia art works at the national art center Le Lieu Unique in Nantes/France. Hauser Jens (ed.): L'Art Biotech. Nantes/Trézélan, 2003. <br /> <br />The publication has not been available anymore since 2008; this PDF is made accessible with the agreement and the kind support of the Filigranes publishing house, until an augmented new edition will be be available. Great thanks to Filigranes and Patrick Le Bescont! <a href="https://www.filigranes.com" rel="nofollow">https://www.filigranes.com</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38609668" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5b09a0ce3ccfb632dadfdb5e066bfd75" rel="nofollow" data-download="{"attachment_id":58685388,"asset_id":38609668,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58685388/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12524523" href="https://ku-dk.academia.edu/JensHauser">Jens Hauser</a><script data-card-contents-for-user="12524523" type="text/json">{"id":12524523,"first_name":"Jens","last_name":"Hauser","domain_name":"ku-dk","page_name":"JensHauser","display_name":"Jens Hauser","profile_url":"https://ku-dk.academia.edu/JensHauser?f_ri=3051","photo":"https://0.academia-photos.com/12524523/21715284/21033816/s65_jens.hauser.jpg"}</script></span></span></li><li class="js-paper-rank-work_38609668 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38609668"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38609668, container: ".js-paper-rank-work_38609668", }); });</script></li><li class="js-percentile-work_38609668 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38609668; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38609668"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38609668 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38609668"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38609668; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38609668]").text(description); $(".js-view-count-work_38609668").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38609668").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38609668"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="155" rel="nofollow" href="https://www.academia.edu/Documents/in/Evolutionary_Biology">Evolutionary Biology</a>, <script data-card-contents-for-ri="155" type="text/json">{"id":155,"name":"Evolutionary Biology","url":"https://www.academia.edu/Documents/in/Evolutionary_Biology?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="803" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="815" rel="nofollow" href="https://www.academia.edu/Documents/in/Epistemology">Epistemology</a>, <script data-card-contents-for-ri="815" type="text/json">{"id":815,"name":"Epistemology","url":"https://www.academia.edu/Documents/in/Epistemology?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="821" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy_of_Science">Philosophy of Science</a><script data-card-contents-for-ri="821" type="text/json">{"id":821,"name":"Philosophy of Science","url":"https://www.academia.edu/Documents/in/Philosophy_of_Science?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38609668]'), work: {"id":38609668,"title":"L' Art Biotech (complete book)","created_at":"2019-03-22T16:43:59.713-07:00","url":"https://www.academia.edu/38609668/L_Art_Biotech_complete_book_?f_ri=3051","dom_id":"work_38609668","summary":"Book (in French) published in 2003 at the occasion of the first exhibition staging exclusively biomedia art works at the national art center Le Lieu Unique in Nantes/France. Hauser Jens (ed.): L'Art Biotech. Nantes/Trézélan, 2003. \r\n\r\nThe publication has not been available anymore since 2008; this PDF is made accessible with the agreement and the kind support of the Filigranes publishing house, until an augmented new edition will be be available. Great thanks to Filigranes and Patrick Le Bescont! https://www.filigranes.com\r\n","downloadable_attachments":[{"id":58685388,"asset_id":38609668,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12524523,"first_name":"Jens","last_name":"Hauser","domain_name":"ku-dk","page_name":"JensHauser","display_name":"Jens Hauser","profile_url":"https://ku-dk.academia.edu/JensHauser?f_ri=3051","photo":"https://0.academia-photos.com/12524523/21715284/21033816/s65_jens.hauser.jpg"}],"research_interests":[{"id":155,"name":"Evolutionary Biology","url":"https://www.academia.edu/Documents/in/Evolutionary_Biology?f_ri=3051","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=3051","nofollow":true},{"id":815,"name":"Epistemology","url":"https://www.academia.edu/Documents/in/Epistemology?f_ri=3051","nofollow":true},{"id":821,"name":"Philosophy of Science","url":"https://www.academia.edu/Documents/in/Philosophy_of_Science?f_ri=3051","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=3051"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=3051"},{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=3051"},{"id":2699,"name":"Tissue Engineering","url":"https://www.academia.edu/Documents/in/Tissue_Engineering?f_ri=3051"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051"},{"id":4138,"name":"Hybridity","url":"https://www.academia.edu/Documents/in/Hybridity?f_ri=3051"},{"id":5398,"name":"Biotechnology","url":"https://www.academia.edu/Documents/in/Biotechnology?f_ri=3051"},{"id":6065,"name":"DNA MICROARRAYS","url":"https://www.academia.edu/Documents/in/DNA_MICROARRAYS?f_ri=3051"},{"id":6098,"name":"Media Arts","url":"https://www.academia.edu/Documents/in/Media_Arts?f_ri=3051"},{"id":6970,"name":"Biomarkers","url":"https://www.academia.edu/Documents/in/Biomarkers?f_ri=3051"},{"id":20348,"name":"Plant breeding and genetics","url":"https://www.academia.edu/Documents/in/Plant_breeding_and_genetics?f_ri=3051"},{"id":76498,"name":"Transgenics","url":"https://www.academia.edu/Documents/in/Transgenics?f_ri=3051"},{"id":319725,"name":"Biomedia","url":"https://www.academia.edu/Documents/in/Biomedia?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10214227" data-work_id="10214227" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10214227/Contemporary_Art_from_the_Middle_East_Regional_Interactions_with_Global_Art_Discourses">Contemporary Art from the Middle East: Regional Interactions with Global Art Discourses</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">How is home-grown contemporary art viewed within the Middle East? And is it understood differently outside the region? What is liable to be lost when contemporary art from the Middle East is 'transferred' to international contexts - and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10214227" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">How is home-grown contemporary art viewed within the Middle East? And is it understood differently outside the region? What is liable to be lost when contemporary art from the Middle East is 'transferred' to international contexts - and how can it be reclaimed? This timely book tackles ongoing questions about how 'local' perspectives on contemporary art from the Middle East are defined and how these perspectives intersect with global art discourses. Inside, leading figures from the Middle Eastern art world, western art historians, art theorists and museum curators discuss the historical and cultural circumstances which have shaped contemporary art from the Middle East, reflecting on recent exhibitions and curatorial projects and revealing how artists have struggled with the label of 'Middle Eastern Artist'. Chapters reflect on the fundamental methodologies of art history and cultural studies - considering how relevant they are when studying contemporary art from the Middle East - and investigate the ways in which contemporary, so-called 'global', theories impact on the making of art in the region. Drawing on their unique expertise, the book's contributors offer completely new perspectives on the most recent cultural, intellectual and socio-political developments of contemporary art from the Middle East.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10214227" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="33780edab1ed88ca34005abf72723101" rel="nofollow" data-download="{"attachment_id":65055195,"asset_id":10214227,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65055195/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4811356" href="https://soas.academia.edu/HKeshmirshekan">Hamid Keshmirshekan</a><script data-card-contents-for-user="4811356" type="text/json">{"id":4811356,"first_name":"Hamid","last_name":"Keshmirshekan","domain_name":"soas","page_name":"HKeshmirshekan","display_name":"Hamid Keshmirshekan","profile_url":"https://soas.academia.edu/HKeshmirshekan?f_ri=3051","photo":"https://0.academia-photos.com/4811356/2052566/92611413/s65_hamid.keshmirshekan.jpg"}</script></span></span></li><li class="js-paper-rank-work_10214227 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10214227"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10214227, container: ".js-paper-rank-work_10214227", }); });</script></li><li class="js-percentile-work_10214227 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10214227; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_10214227"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_10214227 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="10214227"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10214227; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10214227]").text(description); $(".js-view-count-work_10214227").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10214227").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10214227"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10214227]'), work: {"id":10214227,"title":"Contemporary Art from the Middle East: Regional Interactions with Global Art Discourses","created_at":"2015-01-18T01:59:10.859-08:00","url":"https://www.academia.edu/10214227/Contemporary_Art_from_the_Middle_East_Regional_Interactions_with_Global_Art_Discourses?f_ri=3051","dom_id":"work_10214227","summary":"How is home-grown contemporary art viewed within the Middle East? And is it understood differently outside the region? What is liable to be lost when contemporary art from the Middle East is 'transferred' to international contexts - and how can it be reclaimed? This timely book tackles ongoing questions about how 'local' perspectives on contemporary art from the Middle East are defined and how these perspectives intersect with global art discourses. Inside, leading figures from the Middle Eastern art world, western art historians, art theorists and museum curators discuss the historical and cultural circumstances which have shaped contemporary art from the Middle East, reflecting on recent exhibitions and curatorial projects and revealing how artists have struggled with the label of 'Middle Eastern Artist'. Chapters reflect on the fundamental methodologies of art history and cultural studies - considering how relevant they are when studying contemporary art from the Middle East - and investigate the ways in which contemporary, so-called 'global', theories impact on the making of art in the region. Drawing on their unique expertise, the book's contributors offer completely new perspectives on the most recent cultural, intellectual and socio-political developments of contemporary art from the Middle East.","downloadable_attachments":[{"id":65055195,"asset_id":10214227,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4811356,"first_name":"Hamid","last_name":"Keshmirshekan","domain_name":"soas","page_name":"HKeshmirshekan","display_name":"Hamid Keshmirshekan","profile_url":"https://soas.academia.edu/HKeshmirshekan?f_ri=3051","photo":"https://0.academia-photos.com/4811356/2052566/92611413/s65_hamid.keshmirshekan.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_73438818" data-work_id="73438818" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/73438818/Gauguin_ist_mein_Katalysator_Gauguin_is_my_catalyst_published_in_Museumsjournal_Berlin_March_2022">'Gauguin ist mein Katalysator (Gauguin is my catalyst)' published in Museumsjournal, Berlin March 2022</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Artist profile published in Museumjournal, Berlin in March 2022</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/73438818" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d442549735292d9d9ada42d56cd510e3" rel="nofollow" data-download="{"attachment_id":81960980,"asset_id":73438818,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/81960980/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="17528215" href="https://unive.academia.edu/YukiKihara">Yuki Kihara</a><script data-card-contents-for-user="17528215" type="text/json">{"id":17528215,"first_name":"Yuki","last_name":"Kihara","domain_name":"unive","page_name":"YukiKihara","display_name":"Yuki Kihara","profile_url":"https://unive.academia.edu/YukiKihara?f_ri=3051","photo":"https://0.academia-photos.com/17528215/9239073/132692886/s65_yuki.kihara.jpg"}</script></span></span></li><li class="js-paper-rank-work_73438818 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="73438818"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 73438818, container: ".js-paper-rank-work_73438818", }); 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$(".js-view-count[data-work-id=73438818]").text(description); $(".js-view-count-work_73438818").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_73438818").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="73438818"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="164091" rel="nofollow" href="https://www.academia.edu/Documents/in/Paul_Gauguin">Paul Gauguin</a>, <script data-card-contents-for-ri="164091" type="text/json">{"id":164091,"name":"Paul Gauguin","url":"https://www.academia.edu/Documents/in/Paul_Gauguin?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="279768" rel="nofollow" href="https://www.academia.edu/Documents/in/Pacific_Islanders">Pacific Islanders</a>, <script data-card-contents-for-ri="279768" type="text/json">{"id":279768,"name":"Pacific Islanders","url":"https://www.academia.edu/Documents/in/Pacific_Islanders?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="476247" rel="nofollow" href="https://www.academia.edu/Documents/in/Asian_Pacific_Islander_LGBTQ_Studies">Asian / Pacific Islander LGBTQ Studies</a><script data-card-contents-for-ri="476247" type="text/json">{"id":476247,"name":"Asian / Pacific Islander LGBTQ Studies","url":"https://www.academia.edu/Documents/in/Asian_Pacific_Islander_LGBTQ_Studies?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=73438818]'), work: {"id":73438818,"title":"'Gauguin ist mein Katalysator (Gauguin is my catalyst)' published in Museumsjournal, Berlin March 2022","created_at":"2022-03-09T20:05:25.856-08:00","url":"https://www.academia.edu/73438818/Gauguin_ist_mein_Katalysator_Gauguin_is_my_catalyst_published_in_Museumsjournal_Berlin_March_2022?f_ri=3051","dom_id":"work_73438818","summary":"Artist profile published in Museumjournal, Berlin in March 2022","downloadable_attachments":[{"id":81960980,"asset_id":73438818,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":17528215,"first_name":"Yuki","last_name":"Kihara","domain_name":"unive","page_name":"YukiKihara","display_name":"Yuki Kihara","profile_url":"https://unive.academia.edu/YukiKihara?f_ri=3051","photo":"https://0.academia-photos.com/17528215/9239073/132692886/s65_yuki.kihara.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":164091,"name":"Paul Gauguin","url":"https://www.academia.edu/Documents/in/Paul_Gauguin?f_ri=3051","nofollow":true},{"id":279768,"name":"Pacific Islanders","url":"https://www.academia.edu/Documents/in/Pacific_Islanders?f_ri=3051","nofollow":true},{"id":476247,"name":"Asian / Pacific Islander LGBTQ Studies","url":"https://www.academia.edu/Documents/in/Asian_Pacific_Islander_LGBTQ_Studies?f_ri=3051","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40402235 coauthored" data-work_id="40402235" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40402235/Montale_a_cura_di_Paolo_Marini_e_Niccol%C3%B2_Scaffai_Roma_Carocci_2019">Montale, a cura di Paolo Marini e Niccolò Scaffai, Roma, Carocci, 2019</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La centralità di Montale nella storia della poesia italiana è dovuta alla capacità di acquisire elementi tematici e formali della tradizione rielaborandoli in un linguaggio nuovo. L’esperienza di un autore che ha attraversato il Novecento... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40402235" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La centralità di Montale nella storia della poesia italiana è dovuta alla capacità di acquisire elementi tematici e formali della tradizione rielaborandoli in un linguaggio nuovo. L’esperienza di un autore che ha attraversato il Novecento letterario diventandone spartiacque e insieme punto di riferimento ineludibile è indagata in questo volume da 14 studiosi che si misurano in una ricognizione globale di testi e questioni aggiornata alle più recenti acquisizioni: da Ossi di seppia agli ultimi libri di poesie degli anni ’70, alle prose narrative; e quindi, trasversalmente, dai nodi filologici alle specifiche linguistiche e metriche, dal rapporto con gli antichi (Dante in testa) e coi contemporanei (in Italia e fuori d’Italia) all’immensa produzione critica, sino al confronto fecondo con le arti figurative e con la musica.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40402235" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="859b5ff8471f988c5e681bd1e8b2cb1d" rel="nofollow" data-download="{"attachment_id":60654731,"asset_id":40402235,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60654731/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="953884" href="https://unitusdistu.academia.edu/PaoloMarini">Paolo Marini</a><script data-card-contents-for-user="953884" type="text/json">{"id":953884,"first_name":"Paolo","last_name":"Marini","domain_name":"unitusdistu","page_name":"PaoloMarini","display_name":"Paolo Marini","profile_url":"https://unitusdistu.academia.edu/PaoloMarini?f_ri=3051","photo":"https://0.academia-photos.com/953884/852249/52384890/s65_paolo.marini.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-40402235">+4</span><div class="hidden js-additional-users-40402235"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unisi.academia.edu/Niccol%C3%B2Scaffai">Niccolò Scaffai</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unipi.academia.edu/IdaCampeggiani">Ida Campeggiani</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unige-it1.academia.edu/PaoloZublena">Paolo Zublena</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unisi.academia.edu/RiccardoCastellana">Riccardo Castellana</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-40402235'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-40402235').html(); 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L’esperienza di un autore che ha attraversato il Novecento letterario diventandone spartiacque e insieme punto di riferimento ineludibile è indagata in questo volume da 14 studiosi che si misurano in una ricognizione globale di testi e questioni aggiornata alle più recenti acquisizioni: da Ossi di seppia agli ultimi libri di poesie degli anni ’70, alle prose narrative; e quindi, trasversalmente, dai nodi filologici alle specifiche linguistiche e metriche, dal rapporto con gli antichi (Dante in testa) e coi contemporanei (in Italia e fuori d’Italia) all’immensa produzione critica, sino al confronto fecondo con le arti figurative e con la musica.","downloadable_attachments":[{"id":60654731,"asset_id":40402235,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":953884,"first_name":"Paolo","last_name":"Marini","domain_name":"unitusdistu","page_name":"PaoloMarini","display_name":"Paolo Marini","profile_url":"https://unitusdistu.academia.edu/PaoloMarini?f_ri=3051","photo":"https://0.academia-photos.com/953884/852249/52384890/s65_paolo.marini.jpg"},{"id":368264,"first_name":"Niccolò","last_name":"Scaffai","domain_name":"unisi","page_name":"NiccolòScaffai","display_name":"Niccolò Scaffai","profile_url":"https://unisi.academia.edu/Niccol%C3%B2Scaffai?f_ri=3051","photo":"https://0.academia-photos.com/368264/99807/39150809/s65_niccol_.scaffai.png"},{"id":15988251,"first_name":"Ida","last_name":"Campeggiani","domain_name":"unipi","page_name":"IdaCampeggiani","display_name":"Ida Campeggiani","profile_url":"https://unipi.academia.edu/IdaCampeggiani?f_ri=3051","photo":"https://0.academia-photos.com/15988251/4333025/17494266/s65_ida.campeggiani.jpg"},{"id":133584,"first_name":"Paolo","last_name":"Zublena","domain_name":"unige-it1","page_name":"PaoloZublena","display_name":"Paolo Zublena","profile_url":"https://unige-it1.academia.edu/PaoloZublena?f_ri=3051","photo":"https://0.academia-photos.com/133584/35519/32640/s65_paolo.zublena.jpg"},{"id":6314813,"first_name":"Riccardo","last_name":"Castellana","domain_name":"unisi","page_name":"RiccardoCastellana","display_name":"Riccardo Castellana","profile_url":"https://unisi.academia.edu/RiccardoCastellana?f_ri=3051","photo":"https://0.academia-photos.com/6314813/2582197/37328512/s65_riccardo.castellana.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=3051","nofollow":true},{"id":1758,"name":"Dante Studies","url":"https://www.academia.edu/Documents/in/Dante_Studies?f_ri=3051","nofollow":true},{"id":2221,"name":"Italian Studies","url":"https://www.academia.edu/Documents/in/Italian_Studies?f_ri=3051","nofollow":true},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":3581,"name":"Poetry","url":"https://www.academia.edu/Documents/in/Poetry?f_ri=3051"},{"id":15514,"name":"Contemporary Literature","url":"https://www.academia.edu/Documents/in/Contemporary_Literature?f_ri=3051"},{"id":16920,"name":"Italian philology","url":"https://www.academia.edu/Documents/in/Italian_philology?f_ri=3051"},{"id":40013,"name":"Eugenio Montale","url":"https://www.academia.edu/Documents/in/Eugenio_Montale?f_ri=3051"},{"id":43660,"name":"History of Italian Language","url":"https://www.academia.edu/Documents/in/History_of_Italian_Language?f_ri=3051"},{"id":69388,"name":"Letteratura italiana moderna e contemporanea","url":"https://www.academia.edu/Documents/in/Letteratura_italiana_moderna_e_contemporanea?f_ri=3051"},{"id":342977,"name":"Nobel Prize in Literature","url":"https://www.academia.edu/Documents/in/Nobel_Prize_in_Literature?f_ri=3051"},{"id":703114,"name":"Novecento","url":"https://www.academia.edu/Documents/in/Novecento?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_22338074" data-work_id="22338074" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/22338074/Who_cares_a_lot_Ruangrupa_as_curatorship">Who cares a lot? Ruangrupa as curatorship</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/22338074" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e2c5d6ee3aa97638d2ead22a11337175" rel="nofollow" data-download="{"attachment_id":42971420,"asset_id":22338074,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/42971420/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5364262" href="https://nus.academia.edu/DavidTeh">David Teh</a><script data-card-contents-for-user="5364262" type="text/json">{"id":5364262,"first_name":"David","last_name":"Teh","domain_name":"nus","page_name":"DavidTeh","display_name":"David Teh","profile_url":"https://nus.academia.edu/DavidTeh?f_ri=3051","photo":"https://0.academia-photos.com/5364262/28261722/26457451/s65_david.teh.jpg"}</script></span></span></li><li class="js-paper-rank-work_22338074 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="22338074"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 22338074, container: ".js-paper-rank-work_22338074", }); 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$(".js-view-count[data-work-id=22338074]").text(description); $(".js-view-count-work_22338074").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_22338074").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="22338074"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19161" rel="nofollow" href="https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice">Curatorial Studies and Practice</a>, <script data-card-contents-for-ri="19161" type="text/json">{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="22832" rel="nofollow" href="https://www.academia.edu/Documents/in/Curatorial_Practice_Art_">Curatorial Practice (Art)</a>, <script data-card-contents-for-ri="22832" type="text/json">{"id":22832,"name":"Curatorial Practice (Art)","url":"https://www.academia.edu/Documents/in/Curatorial_Practice_Art_?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="169362" rel="nofollow" href="https://www.academia.edu/Documents/in/Curatorial_Theory">Curatorial Theory</a><script data-card-contents-for-ri="169362" type="text/json">{"id":169362,"name":"Curatorial Theory","url":"https://www.academia.edu/Documents/in/Curatorial_Theory?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=22338074]'), work: {"id":22338074,"title":"Who cares a lot? 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Fictioning in art is an open-ended, experimental practice that involves performing, diagramming or assembling to create or anticipate new modes of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40249049" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Maps out the practice of fictioning as a new field of study for art and philosophy. Fictioning in art is an open-ended, experimental practice that involves performing, diagramming or assembling to create or anticipate new modes of existence. In this extensively illustrated book containing over 80 diagrams and images of artworks, David Burrows and Simon O'Sullivan explore the technics of fictioning through three focal points: mythopoesis, myth-science and mythotechnesis. These relate to three specific modes of fictioning: performance fictioning, science fictioning and machine fictioning. In this way, Burrows and O'Sullivan explore how fictioning can offer us alternatives to the dominant fictions that construct our reality in an age of 'post-truth' and 'perception management'. Through fictioning, they look forward to the new kinds of human, part-human and non-human bodies and societies to come. <br /><br />'This is a book about loops, the fictional and the real, the virtual and the actual, the past that never was and the people yet to come-and how to occupy them, to live in the in-between, summon demons, talk to cats, compose new temporalities, all in the name of building a future so alien that none of us could even imagine what it might be like.' Laboria Cuboniks</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40249049" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="db6301a9d02aadd05e4465d3a8e4997d" rel="nofollow" data-download="{"attachment_id":60482127,"asset_id":40249049,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60482127/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="71887" href="https://goldsmiths.academia.edu/SimonOSullivan">Simon O'Sullivan</a><script data-card-contents-for-user="71887" type="text/json">{"id":71887,"first_name":"Simon","last_name":"O'Sullivan","domain_name":"goldsmiths","page_name":"SimonOSullivan","display_name":"Simon O'Sullivan","profile_url":"https://goldsmiths.academia.edu/SimonOSullivan?f_ri=3051","photo":"https://0.academia-photos.com/71887/19964/12366675/s65_simon.o_sullivan.jpg"}</script></span></span></li><li class="js-paper-rank-work_40249049 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40249049"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40249049, container: ".js-paper-rank-work_40249049", }); 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Fictioning in art is an open-ended, experimental practice that involves performing, diagramming or assembling to create or anticipate new modes of existence. In this extensively illustrated book containing over 80 diagrams and images of artworks, David Burrows and Simon O'Sullivan explore the technics of fictioning through three focal points: mythopoesis, myth-science and mythotechnesis. These relate to three specific modes of fictioning: performance fictioning, science fictioning and machine fictioning. In this way, Burrows and O'Sullivan explore how fictioning can offer us alternatives to the dominant fictions that construct our reality in an age of 'post-truth' and 'perception management'. Through fictioning, they look forward to the new kinds of human, part-human and non-human bodies and societies to come. \n\n'This is a book about loops, the fictional and the real, the virtual and the actual, the past that never was and the people yet to come-and how to occupy them, to live in the in-between, summon demons, talk to cats, compose new temporalities, all in the name of building a future so alien that none of us could even imagine what it might be like.' Laboria Cuboniks ","downloadable_attachments":[{"id":60482127,"asset_id":40249049,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":71887,"first_name":"Simon","last_name":"O'Sullivan","domain_name":"goldsmiths","page_name":"SimonOSullivan","display_name":"Simon O'Sullivan","profile_url":"https://goldsmiths.academia.edu/SimonOSullivan?f_ri=3051","photo":"https://0.academia-photos.com/71887/19964/12366675/s65_simon.o_sullivan.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":5463,"name":"Performance Art","url":"https://www.academia.edu/Documents/in/Performance_Art?f_ri=3051","nofollow":true},{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction?f_ri=3051","nofollow":true},{"id":49702,"name":"Mythopoesis","url":"https://www.academia.edu/Documents/in/Mythopoesis?f_ri=3051","nofollow":true},{"id":2268471,"name":"Myth-Science","url":"https://www.academia.edu/Documents/in/Myth-Science?f_ri=3051"},{"id":2324465,"name":"Fictioning","url":"https://www.academia.edu/Documents/in/Fictioning?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_57359544" data-work_id="57359544" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/57359544/La_caduta_di_Icaro_di_Giulio_Paolini_Uno_studio_iconografico_L_uomo_nero_Materiali_per_una_storia_dell_arte_della_modernit%C3%A0_anno_XVII_n_17_18_febbraio_2021_classe_A_ANVUR_">La caduta di Icaro di Giulio Paolini. Uno studio iconografico, “L’uomo nero. Materiali per una storia dell’arte della modernità”, anno XVII, n. 17-18, febbraio 2021 (classe A ANVUR)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">The article aims at reconstructing the first installation of "La caduta di Icaro" (The Fall of Icarus), 1982, a pivotal work by Giulio Paolini.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/57359544" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="94bc1aea7a89f5ab81fd909fd2247967" rel="nofollow" data-download="{"attachment_id":72300170,"asset_id":57359544,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/72300170/download_file?st=MTczOTkxMjc2OCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5564619" href="https://unimi.academia.edu/StefanoMenichini">Stefano Menichini</a><script data-card-contents-for-user="5564619" type="text/json">{"id":5564619,"first_name":"Stefano","last_name":"Menichini","domain_name":"unimi","page_name":"StefanoMenichini","display_name":"Stefano Menichini","profile_url":"https://unimi.academia.edu/StefanoMenichini?f_ri=3051","photo":"https://0.academia-photos.com/5564619/2437131/16283457/s65_stefano.menichini.jpg"}</script></span></span></li><li class="js-paper-rank-work_57359544 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="57359544"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 57359544, container: ".js-paper-rank-work_57359544", }); 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$(".js-view-count[data-work-id=57359544]").text(description); $(".js-view-count-work_57359544").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_57359544").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="57359544"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" rel="nofollow" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="66609" rel="nofollow" href="https://www.academia.edu/Documents/in/Arte_Contemporanea">Arte Contemporanea</a>, <script data-card-contents-for-ri="66609" type="text/json">{"id":66609,"name":"Arte Contemporanea","url":"https://www.academia.edu/Documents/in/Arte_Contemporanea?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="97533" rel="nofollow" href="https://www.academia.edu/Documents/in/Arte_Povera">Arte Povera</a>, <script data-card-contents-for-ri="97533" type="text/json">{"id":97533,"name":"Arte Povera","url":"https://www.academia.edu/Documents/in/Arte_Povera?f_ri=3051","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="326935" rel="nofollow" href="https://www.academia.edu/Documents/in/Giulio_Paolini">Giulio Paolini</a><script data-card-contents-for-ri="326935" type="text/json">{"id":326935,"name":"Giulio Paolini","url":"https://www.academia.edu/Documents/in/Giulio_Paolini?f_ri=3051","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=57359544]'), work: {"id":57359544,"title":"La caduta di Icaro di Giulio Paolini. 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Materiali per una storia dell’arte della modernità”, anno XVII, n. 17-18, febbraio 2021 (classe A ANVUR)","created_at":"2021-10-12T10:53:32.137-07:00","url":"https://www.academia.edu/57359544/La_caduta_di_Icaro_di_Giulio_Paolini_Uno_studio_iconografico_L_uomo_nero_Materiali_per_una_storia_dell_arte_della_modernit%C3%A0_anno_XVII_n_17_18_febbraio_2021_classe_A_ANVUR_?f_ri=3051","dom_id":"work_57359544","summary":"The article aims at reconstructing the first installation of \"La caduta di Icaro\" (The Fall of Icarus), 1982, a pivotal work by Giulio Paolini.","downloadable_attachments":[{"id":72300170,"asset_id":57359544,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5564619,"first_name":"Stefano","last_name":"Menichini","domain_name":"unimi","page_name":"StefanoMenichini","display_name":"Stefano Menichini","profile_url":"https://unimi.academia.edu/StefanoMenichini?f_ri=3051","photo":"https://0.academia-photos.com/5564619/2437131/16283457/s65_stefano.menichini.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=3051","nofollow":true},{"id":66609,"name":"Arte Contemporanea","url":"https://www.academia.edu/Documents/in/Arte_Contemporanea?f_ri=3051","nofollow":true},{"id":97533,"name":"Arte Povera","url":"https://www.academia.edu/Documents/in/Arte_Povera?f_ri=3051","nofollow":true},{"id":326935,"name":"Giulio Paolini","url":"https://www.academia.edu/Documents/in/Giulio_Paolini?f_ri=3051","nofollow":true},{"id":1240319,"name":"Arte Concettuale","url":"https://www.academia.edu/Documents/in/Arte_Concettuale?f_ri=3051"}]}, }) } })();</script></ul></li></ul></div></div></div><div class="u-taCenter Pagination"><ul class="pagination"><li class="next_page"><a 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