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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Art and Science</h1><div class="u-tcGrayDark">34,673 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Art and Science</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Art_and_Science">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Art_and_Science/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Art_and_Science/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Art_and_Science/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Art_and_Science">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27164776 coauthored" data-work_id="27164776" 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/27164776/The_Tumamoc_Hill_Arts_Initiative_A_Portfolio_of_Site_Based_Art_and_Writing_Inspired_by_a_History_of_Sonoran_Desert_Science">The Tumamoc Hill Arts Initiative: A Portfolio of Site-Based Art and Writing Inspired by a History of Sonoran Desert Science</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 is a collaborative portfolio of art and writing from Tumamoc Hill including work by Paul Mirocha, Eric Magrane, Barbara Terkanian, Monique Soria, D.L. Coleman, Meredith Milstead, and Kathleen Koopman. The introduction, titled "A... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27164776" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is a collaborative portfolio of art and writing from Tumamoc Hill including work by Paul Mirocha, Eric Magrane, Barbara Terkanian, Monique Soria, D.L. Coleman, Meredith Milstead, and Kathleen Koopman. <br />The introduction, titled "A Context for Arts on Tumamoc," by Mirocha and Magrane, begins:<br />Early on a recent May morning, artist Meredith Milstead set up her easel outside of the historic Desert Lab buildings on Tumamoc Hill and proceeded to paint the scene before her over a twelve-hour period, completing one painting per hour. A study of color and time, the act of making these paintings echoes the historical research on Tumamoc. Much of what is known about deserts comes from Tumamoc Hill, either through research at the site itself or through the impressive list of those—a who's who of desert ecologists—who have worked at the Hill over the years. It's not a stretch to claim that the modern field of ecology owes much of its beginning to the Carnegie Desert Botanical Laboratory established on Tumamoc Hill in 1903. Long-term study plots set up by these early ecologists comprise the longest-running vegetation-monitoring program in the world. That some of the current activity on the Hill is in the form of art or poetry is a reflection of the growing awareness that scientific and artistic ways of knowing are not in opposition but can be, rather, complementary to each other. In a time when climate change has us facing increasing temperatures, drought, and wildfire here in much of the Southwest, and when increased acknowledgment that the disciplinary silos that have built up over the last couple of centuries are not up to facing such big questions alone, it is fitting that Tumamoc Hill is one of the sites that has embraced the role that artists and writers may play in the present, an epoch that many have begun to call the Anthropocene.</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/27164776" 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="03076900e684bf53ba071f086ecb7acf" rel="nofollow" data-download="{"attachment_id":47412306,"asset_id":27164776,"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/47412306/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="34351783" href="https://nmsu.academia.edu/EricMagrane">Eric Magrane</a><script data-card-contents-for-user="34351783" type="text/json">{"id":34351783,"first_name":"Eric","last_name":"Magrane","domain_name":"nmsu","page_name":"EricMagrane","display_name":"Eric Magrane","profile_url":"https://nmsu.academia.edu/EricMagrane?f_ri=8927","photo":"https://0.academia-photos.com/34351783/10058872/11221392/s65_eric.magrane.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-27164776">+3</span><div class="hidden js-additional-users-27164776"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://arizona.academia.edu/PaulMirocha">Paul Mirocha</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/MeredithMilstead">Meredith Milstead</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/KathleenKoopman">Kathleen Koopman</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-27164776'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-27164776').html(); 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Coleman, Meredith Milstead, and Kathleen Koopman. \nThe introduction, titled \"A Context for Arts on Tumamoc,\" by Mirocha and Magrane, begins:\nEarly on a recent May morning, artist Meredith Milstead set up her easel outside of the historic Desert Lab buildings on Tumamoc Hill and proceeded to paint the scene before her over a twelve-hour period, completing one painting per hour. A study of color and time, the act of making these paintings echoes the historical research on Tumamoc. Much of what is known about deserts comes from Tumamoc Hill, either through research at the site itself or through the impressive list of those—a who's who of desert ecologists—who have worked at the Hill over the years. It's not a stretch to claim that the modern field of ecology owes much of its beginning to the Carnegie Desert Botanical Laboratory established on Tumamoc Hill in 1903. Long-term study plots set up by these early ecologists comprise the longest-running vegetation-monitoring program in the world. That some of the current activity on the Hill is in the form of art or poetry is a reflection of the growing awareness that scientific and artistic ways of knowing are not in opposition but can be, rather, complementary to each other. In a time when climate change has us facing increasing temperatures, drought, and wildfire here in much of the Southwest, and when increased acknowledgment that the disciplinary silos that have built up over the last couple of centuries are not up to facing such big questions alone, it is fitting that Tumamoc Hill is one of the sites that has embraced the role that artists and writers may play in the present, an epoch that many have begun to call the Anthropocene.","downloadable_attachments":[{"id":47412306,"asset_id":27164776,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34351783,"first_name":"Eric","last_name":"Magrane","domain_name":"nmsu","page_name":"EricMagrane","display_name":"Eric 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_179901" data-work_id="179901" 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/179901/D_art_et_de_science_au_temps_de_Louis_XIII_ou_De_la_musique_comme_un_Janus_Descartes_Mersenne_">D’art et de science au temps de Louis XIII ou De la musique comme un Janus (Descartes, Mersenne)</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/179901" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span 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class="u-tcGrayDark u-fw700" data-has-card-for-user="39964" href="https://paris-sorbonne.academia.edu/psychoyou">Théodora Psychoyou</a><script data-card-contents-for-user="39964" type="text/json">{"id":39964,"first_name":"Théodora","last_name":"Psychoyou","domain_name":"paris-sorbonne","page_name":"psychoyou","display_name":"Théodora Psychoyou","profile_url":"https://paris-sorbonne.academia.edu/psychoyou?f_ri=8927","photo":"https://0.academia-photos.com/39964/4252279/4946871/s65_th_odora.psychoyou.jpg"}</script></span></span></li><li class="js-paper-rank-work_179901 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="179901"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 179901, container: ".js-paper-rank-work_179901", }); });</script></li><li class="js-percentile-work_179901 InlineList-item InlineList-item--bordered 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href="https://www.academia.edu/Documents/in/17th_Century_and_Early_Modern_Philosophy">17th Century & Early Modern Philosophy</a>, <script data-card-contents-for-ri="911" type="text/json">{"id":911,"name":"17th Century \u0026 Early Modern Philosophy","url":"https://www.academia.edu/Documents/in/17th_Century_and_Early_Modern_Philosophy?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8724" href="https://www.academia.edu/Documents/in/17th-Century_Studies">17th-Century Studies</a>, <script data-card-contents-for-ri="8724" type="text/json">{"id":8724,"name":"17th-Century Studies","url":"https://www.academia.edu/Documents/in/17th-Century_Studies?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8825" href="https://www.academia.edu/Documents/in/Robert_Fludd_Robertus_de_Fluctibus_">Robert Fludd (Robertus de Fluctibus)</a><script data-card-contents-for-ri="8825" type="text/json">{"id":8825,"name":"Robert Fludd 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Psychoyou","profile_url":"https://paris-sorbonne.academia.edu/psychoyou?f_ri=8927","photo":"https://0.academia-photos.com/39964/4252279/4946871/s65_th_odora.psychoyou.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=8927","nofollow":false},{"id":911,"name":"17th Century \u0026 Early Modern Philosophy","url":"https://www.academia.edu/Documents/in/17th_Century_and_Early_Modern_Philosophy?f_ri=8927","nofollow":false},{"id":8724,"name":"17th-Century Studies","url":"https://www.academia.edu/Documents/in/17th-Century_Studies?f_ri=8927","nofollow":false},{"id":8825,"name":"Robert Fludd (Robertus de Fluctibus)","url":"https://www.academia.edu/Documents/in/Robert_Fludd_Robertus_de_Fluctibus_?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927"},{"id":12541,"name":"Music And Religion","url":"https://www.academia.edu/Documents/in/Music_And_Religion?f_ri=8927"},{"id":21608,"name":"Descartes, René","url":"https://www.academia.edu/Documents/in/Descartes_Ren%C3%A9?f_ri=8927"},{"id":25667,"name":"17th Century Music","url":"https://www.academia.edu/Documents/in/17th_Century_Music?f_ri=8927"},{"id":27397,"name":"Scientific Revolution","url":"https://www.academia.edu/Documents/in/Scientific_Revolution?f_ri=8927"},{"id":34336,"name":"Histoire de la musique","url":"https://www.academia.edu/Documents/in/Histoire_de_la_musique?f_ri=8927"},{"id":43913,"name":"Perception of music and sound","url":"https://www.academia.edu/Documents/in/Perception_of_music_and_sound?f_ri=8927"},{"id":65924,"name":"Marin Mersenne","url":"https://www.academia.edu/Documents/in/Marin_Mersenne?f_ri=8927"},{"id":301646,"name":"Music and Science","url":"https://www.academia.edu/Documents/in/Music_and_Science?f_ri=8927"},{"id":444238,"name":"Music and philosophy","url":"https://www.academia.edu/Documents/in/Music_and_philosophy?f_ri=8927"},{"id":517541,"name":"History of Acoustics","url":"https://www.academia.edu/Documents/in/History_of_Acoustics?f_ri=8927"},{"id":772773,"name":"Louis XIII","url":"https://www.academia.edu/Documents/in/Louis_XIII?f_ri=8927"},{"id":989506,"name":"History of Music Theory and Acoustics","url":"https://www.academia.edu/Documents/in/History_of_Music_Theory_and_Acoustics?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31022700" data-work_id="31022700" 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/31022700/%C3%8En%C8%99elare_iluzie_certitudine_%C8%99tiin%C8%9B%C4%83_%C8%99i_teoria_artei_%C3%AEn_Italia_secolulului_al_XVII_lea_Deception_illusion_certitude_science_and_theory_of_art_in_17th_century_Italy_">Înșelare, iluzie, certitudine: știință și teoria artei în Italia secolulului al XVII-lea [Deception, illusion, certitude: science and theory of art in 17th century Italy]</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, which is a fragment of my PhD Dissertation written under the supervision of Professor Corina Popa, examines the way in which illusionism is discussed in the early modern period, thus trying to offer, in its original context,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31022700" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article, which is a fragment of my PhD Dissertation written under the supervision of Professor Corina Popa, examines the way in which illusionism is discussed in the early modern period, thus trying to offer, in its original context, a background for understanding the attitude of Roman art theorists from the seventeenth century towards illusionistic painting. <br />Illusion is the most feared danger in a century obsessively concerned with the certainty of knowledge; asserting the epistemic capacity of painting – which, in my opinion, was a chief concern for Seicento Roman theorists – meant by necessity in the seventeenth century confronting<br />this problem. The issue was extremely pressing since topoi about painting as an art of illusion were at the core of Renaissance art theory. More so, illusion, had become, on the one hand, associated with the wondrous, thus un-scientific, attitude towards nature characteristic of the now obsolete culture of curiosity; but, on the other hand, it was on occasions considered a tool for understanding the flaws of the visual process of deriving knowledge from nature, and many natural philosophers were interested in the science of optical illusions.<br />One of the most salient features of the whole debate is the way perspectival effects are assessed. For Renaissance art theorists and practitioners the employment of perspective offered the guarantee<br />for a “rational,” implicitly “scientific,” representation. Numerous treatises from the seventeenth century, though, discuss it and the anamorphic representations based on it, as means of tricking the senses and it is no surprise that art theorists of the second half of the seventeenth century do not approve of the illusionism based on mathematical rules (anamorphoses, trompe-l’ oeil). Based on the individual, subjective point of view, such artworks cannot find their approval, since they do not partake to the unbiased decorum of objectivity of the scientific endeavour. <br />I further highlight the difficulty of endorsing trompe-l’ oeil – a type of image that introduces ambiguity and disrupts the transitive function by putting forward the artifice involved – by an art-theoretical system rooted in the belief in the function of the image to represent (in the<br />cartesian sense) and to communicate. I also put forward a complementary explanation for the disbelief towards illusionism: the conjunction of illusionistic mimesis and the representation of the<br />particulars challenges the Classicist notion of the Idea, which must, through judicious selection, transcede the particulars in nature and embrace its very essence, and thus guide every artistic act. Finally, I argue that the suspicion of art theorists towards illusionism owes to its futility for scientific representation, in the view of early modern natural historians, which, in its turn, is based on this very issue of the association between illusionism and particulars.<br />Focusing on the position of illusion in seventeenth-century thinking, I have showed the main reasons for the changes in the discourse of art theorists (Mancini, Bellori, Passeri, etc.) about painting’ s capacity to create illusion.</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/31022700" 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="a19a09ed1a5aa0595713e619343eb05d" rel="nofollow" data-download="{"attachment_id":51454620,"asset_id":31022700,"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/51454620/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="14804242" href="https://unarte.academia.edu/IoanaMagureanu">Ioana Magureanu</a><script data-card-contents-for-user="14804242" type="text/json">{"id":14804242,"first_name":"Ioana","last_name":"Magureanu","domain_name":"unarte","page_name":"IoanaMagureanu","display_name":"Ioana Magureanu","profile_url":"https://unarte.academia.edu/IoanaMagureanu?f_ri=8927","photo":"https://0.academia-photos.com/14804242/10270962/26943912/s65_ioana.magureanu.jpg"}</script></span></span></li><li class="js-paper-rank-work_31022700 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31022700"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31022700, container: ".js-paper-rank-work_31022700", }); });</script></li><li class="js-percentile-work_31022700 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31022700; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_31022700"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_31022700 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="31022700"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31022700; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31022700]").text(description); $(".js-view-count-work_31022700").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31022700").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="31022700"><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="1386" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a>, <script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="48540" href="https://www.academia.edu/Documents/in/Giovan_Pietro_Bellori">Giovan Pietro Bellori</a>, <script data-card-contents-for-ri="48540" type="text/json">{"id":48540,"name":"Giovan Pietro Bellori","url":"https://www.academia.edu/Documents/in/Giovan_Pietro_Bellori?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="147919" href="https://www.academia.edu/Documents/in/Optical_Illusions">Optical Illusions</a><script data-card-contents-for-ri="147919" type="text/json">{"id":147919,"name":"Optical Illusions","url":"https://www.academia.edu/Documents/in/Optical_Illusions?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31022700]'), work: {"id":31022700,"title":"Înșelare, iluzie, certitudine: știință și teoria artei în Italia secolulului al XVII-lea [Deception, illusion, certitude: science and theory of art in 17th century Italy]","created_at":"2017-01-21T06:35:40.984-08:00","url":"https://www.academia.edu/31022700/%C3%8En%C8%99elare_iluzie_certitudine_%C8%99tiin%C8%9B%C4%83_%C8%99i_teoria_artei_%C3%AEn_Italia_secolulului_al_XVII_lea_Deception_illusion_certitude_science_and_theory_of_art_in_17th_century_Italy_?f_ri=8927","dom_id":"work_31022700","summary":"This article, which is a fragment of my PhD Dissertation written under the supervision of Professor Corina Popa, examines the way in which illusionism is discussed in the early modern period, thus trying to offer, in its original context, a background for understanding the attitude of Roman art theorists from the seventeenth century towards illusionistic painting. \nIllusion is the most feared danger in a century obsessively concerned with the certainty of knowledge; asserting the epistemic capacity of painting – which, in my opinion, was a chief concern for Seicento Roman theorists – meant by necessity in the seventeenth century confronting\nthis problem. The issue was extremely pressing since topoi about painting as an art of illusion were at the core of Renaissance art theory. More so, illusion, had become, on the one hand, associated with the wondrous, thus un-scientific, attitude towards nature characteristic of the now obsolete culture of curiosity; but, on the other hand, it was on occasions considered a tool for understanding the flaws of the visual process of deriving knowledge from nature, and many natural philosophers were interested in the science of optical illusions.\nOne of the most salient features of the whole debate is the way perspectival effects are assessed. For Renaissance art theorists and practitioners the employment of perspective offered the guarantee\nfor a “rational,” implicitly “scientific,” representation. Numerous treatises from the seventeenth century, though, discuss it and the anamorphic representations based on it, as means of tricking the senses and it is no surprise that art theorists of the second half of the seventeenth century do not approve of the illusionism based on mathematical rules (anamorphoses, trompe-l’ oeil). Based on the individual, subjective point of view, such artworks cannot find their approval, since they do not partake to the unbiased decorum of objectivity of the scientific endeavour. \nI further highlight the difficulty of endorsing trompe-l’ oeil – a type of image that introduces ambiguity and disrupts the transitive function by putting forward the artifice involved – by an art-theoretical system rooted in the belief in the function of the image to represent (in the\ncartesian sense) and to communicate. I also put forward a complementary explanation for the disbelief towards illusionism: the conjunction of illusionistic mimesis and the representation of the\nparticulars challenges the Classicist notion of the Idea, which must, through judicious selection, transcede the particulars in nature and embrace its very essence, and thus guide every artistic act. Finally, I argue that the suspicion of art theorists towards illusionism owes to its futility for scientific representation, in the view of early modern natural historians, which, in its turn, is based on this very issue of the association between illusionism and particulars.\nFocusing on the position of illusion in seventeenth-century thinking, I have showed the main reasons for the changes in the discourse of art theorists (Mancini, Bellori, Passeri, etc.) about painting’ s capacity to create illusion.","downloadable_attachments":[{"id":51454620,"asset_id":31022700,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":14804242,"first_name":"Ioana","last_name":"Magureanu","domain_name":"unarte","page_name":"IoanaMagureanu","display_name":"Ioana Magureanu","profile_url":"https://unarte.academia.edu/IoanaMagureanu?f_ri=8927","photo":"https://0.academia-photos.com/14804242/10270962/26943912/s65_ioana.magureanu.jpg"}],"research_interests":[{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":48540,"name":"Giovan Pietro Bellori","url":"https://www.academia.edu/Documents/in/Giovan_Pietro_Bellori?f_ri=8927","nofollow":false},{"id":147919,"name":"Optical Illusions","url":"https://www.academia.edu/Documents/in/Optical_Illusions?f_ri=8927","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35436716" data-work_id="35436716" 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/35436716/Art_and_Intervention_in_the_Stewardship_of_the_Planetary_Commons_Towards_a_Curatorial_Model_of_Co_inquiry">Art and Intervention in the Stewardship of the Planetary Commons: Towards a Curatorial Model of Co-inquiry</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 Ph.D. by Published Work examines five projects that took place over ten years, between 2007 and 2016, that were curated as part of the artistic programme of Arts Catalyst, an independent interdisciplinary arts commissioning... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35436716" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This Ph.D. by Published Work examines five projects that took place over ten years, between 2007 and 2016, that were curated as part of the artistic programme of Arts Catalyst, an independent interdisciplinary arts commissioning organisation of which the author is the founding director. This programme of work sought to understand what form of curatorial model and interpretative framework could generate new artworks and co-produce interdisciplinary knowledge across areas of specialist research and geopolitical urgency.<br /><br />The projects take the form of exhibitions, texts and edited books, which are presented as the portfolio of work. The selected projects are: Malamp UK, Brandon Ballengée (2007-2010); Arctic Perspective Initiative (2009-2011); ITACCUS – IAF Technical Activities Committee on the Cultural Utilisation of Space – and associated activities (2007-2014); Holoturian, Ariel Guzik (2013-2015); and Wrecked on the Intertidal Zone, YoHa, Critical Art Ensemble, et al. (2013-2016).<br /><br />Through analysis of and reflection on the projects, this commentary proposes a curatorial model of interdisciplinary co-inquiry, which can foster an ecology of practices, enabling curators, artists, scientists, specialist experts and people with situated expertise to coproduce knowledge around matters of concern, particularly relating to human-environment interaction and common and extraterritorial spaces. It examines the roles of the curator in this model and how these might differ from those commonly understood as established curatorial practice. <br /><br />The commentary further presents an interpretative and tactical framework of the planetary commons for curating art-led projects in the realm of ecopolitical concerns, that can engage audiences and publics with the art and ideas emerging from this co-inquiry approach. The combination of curatorial model and interpretative and tactical framework contribute to discourses on both inter/trans-disciplinarity and the role of art in relation to the politics of ecology.<br /><br />The Ph.D. contributes to the field on several levels. Within curatorial studies, the interdisciplinary co-inquiry model reconfigures curatorial practice as a collective, inquiry-driven, knowledge-producing practice, and provides a useful methodology for inter-/trans-disciplinary artistic practice in relation to the politics of ecology, while the framework of the planetary commons proposes direction and allows for investment in reciprocity through commoning practices. Beyond contemporary art, a curatorial co-inquiry model deepens and alters existing approaches for listening to, valuing, and synthesising different types of knowledge and expertise around current environmental and related social concerns. While the commentary argues for the planetary commons framework within the contemporary art space, there are wider implications for it as a complement and alternative to the dominant interpretative framework of the Anthropocene.</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/35436716" 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="704973be49a216d262a3497f24946367" rel="nofollow" data-download="{"attachment_id":55298090,"asset_id":35436716,"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/55298090/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="368541" href="https://westminster.academia.edu/NicolaTriscott">Nicola Triscott</a><script data-card-contents-for-user="368541" type="text/json">{"id":368541,"first_name":"Nicola","last_name":"Triscott","domain_name":"westminster","page_name":"NicolaTriscott","display_name":"Nicola Triscott","profile_url":"https://westminster.academia.edu/NicolaTriscott?f_ri=8927","photo":"https://0.academia-photos.com/368541/96286/14917583/s65_nicola.triscott.png"}</script></span></span></li><li class="js-paper-rank-work_35436716 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35436716"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35436716, container: ".js-paper-rank-work_35436716", }); });</script></li><li class="js-percentile-work_35436716 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 = 35436716; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35436716"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35436716 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35436716"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35436716; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35436716]").text(description); $(".js-view-count-work_35436716").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35436716").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="35436716"><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="3051" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a>, <script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19161" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="22832" 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=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35436716]'), work: {"id":35436716,"title":"Art and Intervention in the Stewardship of the Planetary Commons: Towards a Curatorial Model of Co-inquiry","created_at":"2017-12-15T05:47:16.602-08:00","url":"https://www.academia.edu/35436716/Art_and_Intervention_in_the_Stewardship_of_the_Planetary_Commons_Towards_a_Curatorial_Model_of_Co_inquiry?f_ri=8927","dom_id":"work_35436716","summary":"This Ph.D. by Published Work examines five projects that took place over ten years, between 2007 and 2016, that were curated as part of the artistic programme of Arts Catalyst, an independent interdisciplinary arts commissioning organisation of which the author is the founding director. This programme of work sought to understand what form of curatorial model and interpretative framework could generate new artworks and co-produce interdisciplinary knowledge across areas of specialist research and geopolitical urgency.\n\nThe projects take the form of exhibitions, texts and edited books, which are presented as the portfolio of work. The selected projects are: Malamp UK, Brandon Ballengée (2007-2010); Arctic Perspective Initiative (2009-2011); ITACCUS – IAF Technical Activities Committee on the Cultural Utilisation of Space – and associated activities (2007-2014); Holoturian, Ariel Guzik (2013-2015); and Wrecked on the Intertidal Zone, YoHa, Critical Art Ensemble, et al. (2013-2016).\n\nThrough analysis of and reflection on the projects, this commentary proposes a curatorial model of interdisciplinary co-inquiry, which can foster an ecology of practices, enabling curators, artists, scientists, specialist experts and people with situated expertise to coproduce knowledge around matters of concern, particularly relating to human-environment interaction and common and extraterritorial spaces. It examines the roles of the curator in this model and how these might differ from those commonly understood as established curatorial practice. \n\nThe commentary further presents an interpretative and tactical framework of the planetary commons for curating art-led projects in the realm of ecopolitical concerns, that can engage audiences and publics with the art and ideas emerging from this co-inquiry approach. The combination of curatorial model and interpretative and tactical framework contribute to discourses on both inter/trans-disciplinarity and the role of art in relation to the politics of ecology.\n\nThe Ph.D. contributes to the field on several levels. Within curatorial studies, the interdisciplinary co-inquiry model reconfigures curatorial practice as a collective, inquiry-driven, knowledge-producing practice, and provides a useful methodology for inter-/trans-disciplinary artistic practice in relation to the politics of ecology, while the framework of the planetary commons proposes direction and allows for investment in reciprocity through commoning practices. Beyond contemporary art, a curatorial co-inquiry model deepens and alters existing approaches for listening to, valuing, and synthesising different types of knowledge and expertise around current environmental and related social concerns. While the commentary argues for the planetary commons framework within the contemporary art space, there are wider implications for it as a complement and alternative to the dominant interpretative framework of the Anthropocene.\n","downloadable_attachments":[{"id":55298090,"asset_id":35436716,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":368541,"first_name":"Nicola","last_name":"Triscott","domain_name":"westminster","page_name":"NicolaTriscott","display_name":"Nicola Triscott","profile_url":"https://westminster.academia.edu/NicolaTriscott?f_ri=8927","photo":"https://0.academia-photos.com/368541/96286/14917583/s65_nicola.triscott.png"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=8927","nofollow":false},{"id":22832,"name":"Curatorial Practice (Art)","url":"https://www.academia.edu/Documents/in/Curatorial_Practice_Art_?f_ri=8927","nofollow":false},{"id":26510,"name":"Interdisciplinary Studies","url":"https://www.academia.edu/Documents/in/Interdisciplinary_Studies?f_ri=8927"},{"id":149474,"name":"Anthropocene","url":"https://www.academia.edu/Documents/in/Anthropocene?f_ri=8927"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=8927"},{"id":1137981,"name":"Contemporary Art and Ecology","url":"https://www.academia.edu/Documents/in/Contemporary_Art_and_Ecology?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38859426" data-work_id="38859426" 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/38859426/La_Lune_Du_voyage_r%C3%A9el_aux_voyages_imaginaires_Paris_2019">La Lune. Du voyage réel aux voyages imaginaires, Paris, 2019</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Extraits du catalogue publié à l'occasion de l'exposition du même titre au Grand Palais, Paris (commissariat d'Alexia Fabre et Philippe Malgouyres).</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/38859426" 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="13d1387316bdd7c7d22c82db5f1e7172" rel="nofollow" data-download="{"attachment_id":58955282,"asset_id":38859426,"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/58955282/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="15155083" href="https://xn--muse-du-louvre-dkb.academia.edu/PhilippeMalgouyres">Philippe Malgouyres</a><script data-card-contents-for-user="15155083" type="text/json">{"id":15155083,"first_name":"Philippe","last_name":"Malgouyres","domain_name":"xn--muse-du-louvre-dkb","page_name":"PhilippeMalgouyres","display_name":"Philippe Malgouyres","profile_url":"https://xn--muse-du-louvre-dkb.academia.edu/PhilippeMalgouyres?f_ri=8927","photo":"https://0.academia-photos.com/15155083/4088236/4766691/s65_philippe.malgouyres.jpg"}</script></span></span></li><li class="js-paper-rank-work_38859426 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38859426"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38859426, container: ".js-paper-rank-work_38859426", }); 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$(".js-view-count[data-work-id=38859426]").text(description); $(".js-view-count-work_38859426").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38859426").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="38859426"><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="700" href="https://www.academia.edu/Documents/in/Space_Sciences">Space Sciences</a>, <script data-card-contents-for-ri="700" type="text/json">{"id":700,"name":"Space Sciences","url":"https://www.academia.edu/Documents/in/Space_Sciences?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a>, <script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="108743" href="https://www.academia.edu/Documents/in/Arts_and_Sciences">Arts and Sciences</a>, <script data-card-contents-for-ri="108743" type="text/json">{"id":108743,"name":"Arts and Sciences","url":"https://www.academia.edu/Documents/in/Arts_and_Sciences?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="368755" href="https://www.academia.edu/Documents/in/Religious_Iconography">Religious Iconography</a><script data-card-contents-for-ri="368755" type="text/json">{"id":368755,"name":"Religious Iconography","url":"https://www.academia.edu/Documents/in/Religious_Iconography?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38859426]'), work: {"id":38859426,"title":"La Lune. Du voyage réel aux voyages imaginaires, Paris, 2019","created_at":"2019-04-19T05:08:34.072-07:00","url":"https://www.academia.edu/38859426/La_Lune_Du_voyage_r%C3%A9el_aux_voyages_imaginaires_Paris_2019?f_ri=8927","dom_id":"work_38859426","summary":"Extraits du catalogue publié à l'occasion de l'exposition du même titre au Grand Palais, Paris (commissariat d'Alexia Fabre et Philippe Malgouyres).","downloadable_attachments":[{"id":58955282,"asset_id":38859426,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":15155083,"first_name":"Philippe","last_name":"Malgouyres","domain_name":"xn--muse-du-louvre-dkb","page_name":"PhilippeMalgouyres","display_name":"Philippe Malgouyres","profile_url":"https://xn--muse-du-louvre-dkb.academia.edu/PhilippeMalgouyres?f_ri=8927","photo":"https://0.academia-photos.com/15155083/4088236/4766691/s65_philippe.malgouyres.jpg"}],"research_interests":[{"id":700,"name":"Space Sciences","url":"https://www.academia.edu/Documents/in/Space_Sciences?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":108743,"name":"Arts and Sciences","url":"https://www.academia.edu/Documents/in/Arts_and_Sciences?f_ri=8927","nofollow":false},{"id":368755,"name":"Religious Iconography","url":"https://www.academia.edu/Documents/in/Religious_Iconography?f_ri=8927","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_13959376" data-work_id="13959376" 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/13959376/Widmontologia_Teoria_filozoficzna_i_praktyka_artystyczna_ponowoczesno%C5%9Bci">Widmontologia. Teoria filozoficzna i praktyka artystyczna ponowoczesności</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_13959376" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji. <br /> <br />Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? <br /> <br />Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.</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/13959376" 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="a34b7963763bdd192c24d4263db0ff4e" rel="nofollow" data-download="{"attachment_id":56840903,"asset_id":13959376,"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/56840903/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="1934801" href="https://amu.academia.edu/AndrzejMarzec">Andrzej Marzec</a><script data-card-contents-for-user="1934801" type="text/json">{"id":1934801,"first_name":"Andrzej","last_name":"Marzec","domain_name":"amu","page_name":"AndrzejMarzec","display_name":"Andrzej Marzec","profile_url":"https://amu.academia.edu/AndrzejMarzec?f_ri=8927","photo":"https://0.academia-photos.com/1934801/652084/20810388/s65_andrzej.marzec.jpg"}</script></span></span></li><li class="js-paper-rank-work_13959376 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13959376"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13959376, container: ".js-paper-rank-work_13959376", }); 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Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? \r\n \r\nKategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.","downloadable_attachments":[{"id":56840903,"asset_id":13959376,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1934801,"first_name":"Andrzej","last_name":"Marzec","domain_name":"amu","page_name":"AndrzejMarzec","display_name":"Andrzej Marzec","profile_url":"https://amu.academia.edu/AndrzejMarzec?f_ri=8927","photo":"https://0.academia-photos.com/1934801/652084/20810388/s65_andrzej.marzec.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=8927","nofollow":false},{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=8927","nofollow":false},{"id":188,"name":"Cultural 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data-work_id="25605113" 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/25605113/Proceedings_of_Si15_2nd_International_Symposium_on_Sound_and_Interactivity">Proceedings of Si15: 2nd International Symposium on Sound and Interactivity</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Welcome to this Special Issue of Array: Proceedings of Si15, the 2nd International Symposium on Sound and Interactivity. The articles in the present issue originated in the Si15 Soundislands Festival, which was held in Singapore 18–23... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25605113" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Welcome to this Special Issue of Array: Proceedings of Si15, the 2nd International Symposium on Sound and Interactivity. <br />The articles in the present issue originated in the Si15 Soundislands Festival, which was held in Singapore 18–23 August 2015. The festival events included five invited artist performances, two scientific keynotes and two days of proceedings, a commissioned sound installation, an afternoon of public talks, an internet panel, two pedagogic workshops, a concert with young performers, and more than fifty artworks and scientific papers in numerous forms and formats selected from an open call (<a href="http://soundislands.com/si15" rel="nofollow">http://soundislands.com/si15</a>).<br />We are thrilled to present 20 articles, by 31 authors, emanating from Si15. The articles have been extended and thoroughly revised for this special issue of Array. They cover a range of topics related to aesthetics, percep-tion, technology, and sound art. We hope that you will enjoy the fruits of the authors' labour and therein discover many a stimulating thought.</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/25605113" 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="5d3992a9f47952635fb456ebc3989018" rel="nofollow" data-download="{"attachment_id":45935790,"asset_id":25605113,"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/45935790/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="2179753" href="https://nanyang.academia.edu/SuzyStyles">Suzy Styles</a><script data-card-contents-for-user="2179753" type="text/json">{"id":2179753,"first_name":"Suzy","last_name":"Styles","domain_name":"nanyang","page_name":"SuzyStyles","display_name":"Suzy Styles","profile_url":"https://nanyang.academia.edu/SuzyStyles?f_ri=8927","photo":"https://0.academia-photos.com/2179753/700988/870648/s65_suzy.styles.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-25605113">+9</span><div class="hidden js-additional-users-25605113"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://cityu-hk.academia.edu/PerMagnusLindborg">PerMagnus Lindborg</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/VibekeSorensen">Vibeke Sorensen</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://oxford.academia.edu/CharlesSpence">Charles Spence</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/ThamChinPang">Tham Chin Pang</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/NathalieTse">Natalie A . Tse</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/NanShang1">Nan Shang</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://waseda.academia.edu/ShaoMinSeanHung">Shao-Min (Sean) Hung</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/chensyr">Rachel C</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unimelb.academia.edu/paulfletcher">paul fletcher</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-25605113'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-25605113').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_25605113 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25605113"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25605113, container: ".js-paper-rank-work_25605113", }); });</script></li><li class="js-percentile-work_25605113 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 = 25605113; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_25605113"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_25605113 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="25605113"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25605113; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25605113]").text(description); $(".js-view-count-work_25605113").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_25605113").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="25605113"><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="221" href="https://www.academia.edu/Documents/in/Psychology">Psychology</a>, <script data-card-contents-for-ri="221" type="text/json">{"id":221,"name":"Psychology","url":"https://www.academia.edu/Documents/in/Psychology?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="867" href="https://www.academia.edu/Documents/in/Perception">Perception</a>, <script data-card-contents-for-ri="867" type="text/json">{"id":867,"name":"Perception","url":"https://www.academia.edu/Documents/in/Perception?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1018" href="https://www.academia.edu/Documents/in/Music_Technology">Music Technology</a><script data-card-contents-for-ri="1018" type="text/json">{"id":1018,"name":"Music Technology","url":"https://www.academia.edu/Documents/in/Music_Technology?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=25605113]'), work: {"id":25605113,"title":"Proceedings of Si15: 2nd International Symposium on Sound and Interactivity","created_at":"2016-05-25T02:23:52.895-07:00","url":"https://www.academia.edu/25605113/Proceedings_of_Si15_2nd_International_Symposium_on_Sound_and_Interactivity?f_ri=8927","dom_id":"work_25605113","summary":"Welcome to this Special Issue of Array: Proceedings of Si15, the 2nd International Symposium on Sound and Interactivity. \nThe articles in the present issue originated in the Si15 Soundislands Festival, which was held in Singapore 18–23 August 2015. 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Da Leonardo a Galileo, Giunti, Firenze 2009.</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/11940352" 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="77bb1ee07287eef1da75dc78ad026022" rel="nofollow" data-download="{"attachment_id":37302714,"asset_id":11940352,"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/37302714/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="1420523" href="https://museogalileo.academia.edu/FilippoCamerota">Filippo Camerota</a><script data-card-contents-for-user="1420523" type="text/json">{"id":1420523,"first_name":"Filippo","last_name":"Camerota","domain_name":"museogalileo","page_name":"FilippoCamerota","display_name":"Filippo Camerota","profile_url":"https://museogalileo.academia.edu/FilippoCamerota?f_ri=8927","photo":"https://0.academia-photos.com/1420523/10316175/59238019/s65_filippo.camerota.jpg"}</script></span></span></li><li class="js-paper-rank-work_11940352 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11940352"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11940352, container: ".js-paper-rank-work_11940352", }); });</script></li><li class="js-percentile-work_11940352 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 = 11940352; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_11940352"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_11940352 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="11940352"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11940352; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11940352]").text(description); $(".js-view-count-work_11940352").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11940352").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="11940352"><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="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a><script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11940352]'), work: {"id":11940352,"title":"Arte e Scienza. Da Leonardo a Galileo, Giunti, Firenze 2009.","created_at":"2015-04-14T05:39:09.294-07:00","url":"https://www.academia.edu/11940352/Arte_e_Scienza_Da_Leonardo_a_Galileo_Giunti_Firenze_2009?f_ri=8927","dom_id":"work_11940352","summary":null,"downloadable_attachments":[{"id":37302714,"asset_id":11940352,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1420523,"first_name":"Filippo","last_name":"Camerota","domain_name":"museogalileo","page_name":"FilippoCamerota","display_name":"Filippo Camerota","profile_url":"https://museogalileo.academia.edu/FilippoCamerota?f_ri=8927","photo":"https://0.academia-photos.com/1420523/10316175/59238019/s65_filippo.camerota.jpg"}],"research_interests":[{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_15256379" data-work_id="15256379" 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/15256379/Representing_Representation">Representing Representation</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 review essay of two edited volumes sketches how STS scholars have analyzed scientific representation and visualization in recent work. Several key foci have emerged, among them attending closely to materiality, engaging the digital... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_15256379" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This review essay of two edited volumes sketches how STS scholars have analyzed scientific representation and visualization in recent work. Several key foci have emerged, among them attending closely to materiality, engaging the digital through embodied action, turning to ontology, as well as benefitting from artistic practice and critique. In diverse ways these choices are informed by a discontentment with the Cartesian split of mind and body as well as the picture theory of language. Yet, naturalism endures as a template, an expectation, and sometimes a specter with and against which much representational work in science is done. What STS scholars have learnt about representation in laboratory and expert settings still awaits being employed more comprehensively for making sense of practices beyond the lab, especially in contested political, social and ecological environments. In setting out to do so, they ought to reflect on the kinds of logic that their practices of representing representation enact.</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/15256379" 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="307d42d16d33ce85b5e6c821c6ccc848" rel="nofollow" data-download="{"attachment_id":38601951,"asset_id":15256379,"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/38601951/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="4555442" href="https://uwaterloo.academia.edu/GoetzHoeppe">Götz Hoeppe</a><script data-card-contents-for-user="4555442" type="text/json">{"id":4555442,"first_name":"Götz","last_name":"Hoeppe","domain_name":"uwaterloo","page_name":"GoetzHoeppe","display_name":"Götz Hoeppe","profile_url":"https://uwaterloo.academia.edu/GoetzHoeppe?f_ri=8927","photo":"https://0.academia-photos.com/4555442/3429699/4033612/s65_g_tz.hoeppe.jpg"}</script></span></span></li><li class="js-paper-rank-work_15256379 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15256379"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15256379, container: ".js-paper-rank-work_15256379", }); 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$(".js-view-count[data-work-id=15256379]").text(description); $(".js-view-count-work_15256379").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_15256379").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="15256379"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="805" href="https://www.academia.edu/Documents/in/Ontology">Ontology</a>, <script data-card-contents-for-ri="805" type="text/json">{"id":805,"name":"Ontology","url":"https://www.academia.edu/Documents/in/Ontology?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1440" href="https://www.academia.edu/Documents/in/Visualization">Visualization</a>, <script data-card-contents-for-ri="1440" type="text/json">{"id":1440,"name":"Visualization","url":"https://www.academia.edu/Documents/in/Visualization?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5044" href="https://www.academia.edu/Documents/in/Embodiment">Embodiment</a>, <script data-card-contents-for-ri="5044" type="text/json">{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a><script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=15256379]'), work: {"id":15256379,"title":"Representing Representation","created_at":"2015-08-28T12:44:00.082-07:00","url":"https://www.academia.edu/15256379/Representing_Representation?f_ri=8927","dom_id":"work_15256379","summary":"This review essay of two edited volumes sketches how STS scholars have analyzed scientific representation and visualization in recent work. Several key foci have emerged, among them attending closely to materiality, engaging the digital through embodied action, turning to ontology, as well as benefitting from artistic practice and critique. In diverse ways these choices are informed by a discontentment with the Cartesian split of mind and body as well as the picture theory of language. Yet, naturalism endures as a template, an expectation, and sometimes a specter with and against which much representational work in science is done. What STS scholars have learnt about representation in laboratory and expert settings still awaits being employed more comprehensively for making sense of practices beyond the lab, especially in contested political, social and ecological environments. In setting out to do so, they ought to reflect on the kinds of logic that their practices of representing representation enact.","downloadable_attachments":[{"id":38601951,"asset_id":15256379,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4555442,"first_name":"Götz","last_name":"Hoeppe","domain_name":"uwaterloo","page_name":"GoetzHoeppe","display_name":"Götz Hoeppe","profile_url":"https://uwaterloo.academia.edu/GoetzHoeppe?f_ri=8927","photo":"https://0.academia-photos.com/4555442/3429699/4033612/s65_g_tz.hoeppe.jpg"}],"research_interests":[{"id":805,"name":"Ontology","url":"https://www.academia.edu/Documents/in/Ontology?f_ri=8927","nofollow":false},{"id":1440,"name":"Visualization","url":"https://www.academia.edu/Documents/in/Visualization?f_ri=8927","nofollow":false},{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":15090,"name":"Scientific Representation","url":"https://www.academia.edu/Documents/in/Scientific_Representation?f_ri=8927"},{"id":16226,"name":"Materiality (Anthropology)","url":"https://www.academia.edu/Documents/in/Materiality_Anthropology_?f_ri=8927"},{"id":21500,"name":"Social Studies Of Science","url":"https://www.academia.edu/Documents/in/Social_Studies_Of_Science?f_ri=8927"},{"id":30369,"name":"Scientific Practice","url":"https://www.academia.edu/Documents/in/Scientific_Practice?f_ri=8927"},{"id":50118,"name":"Representation","url":"https://www.academia.edu/Documents/in/Representation?f_ri=8927"},{"id":1744493,"name":"Science and Technology Studies","url":"https://www.academia.edu/Documents/in/Science_and_Technology_Studies?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_62183386" data-work_id="62183386" 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/62183386/Neo_Modernismos_o_artista_engenheiro_no_s%C3%A9culo_XXI">Neo-Modernismos: o artista-engenheiro no século XXI</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/62183386" 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="359f03caf0cb9a6a469760d7c93cbd5a" rel="nofollow" data-download="{"attachment_id":75015276,"asset_id":62183386,"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/75015276/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="28780" href="https://unl-pt.academia.edu/HelenaBarbas">Helena Barbas</a><script data-card-contents-for-user="28780" type="text/json">{"id":28780,"first_name":"Helena","last_name":"Barbas","domain_name":"unl-pt","page_name":"HelenaBarbas","display_name":"Helena Barbas","profile_url":"https://unl-pt.academia.edu/HelenaBarbas?f_ri=8927","photo":"https://0.academia-photos.com/28780/9368/18034984/s65_helena.barbas.jpg"}</script></span></span></li><li class="js-paper-rank-work_62183386 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="62183386"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 62183386, container: ".js-paper-rank-work_62183386", }); 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Art as intervention and reflection, critique and policy in corporations and organizations.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">From a societal point of view, art has a key relevance: Art is a means to pursue the cultural questions posed about interrelations, perceptions of realities and meanings (critique and value formation) in an aesthetic mode of working. It... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44872830" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">From a societal point of view, art has a key relevance: Art is a means to pursue the cultural questions posed about interrelations, perceptions of realities and meanings (critique and value formation) in an aesthetic mode of working. It is a multivalent communication (communication system) which, through a varying contextualization, evades a specific translation (interpretation) and, in this way, forms a resource for reflection—on the personal level, through the beholder, and on the societal level, as a system.<br />In terms of the progressing differentiation of art systems (horizontal differentiation), this is accompanied by a shift of emphasis so that its focus is not (any longer) on the production of objects and in particular their display in art contexts (labelled as such). Instead, what is now its focus is the designing of processes influencing developments as well as the integration of a range of disciplines. Rather than artists being the experts on questions of design, they are now being inquired as experts on issues related to perception and its relationing. As a result, perceptual (aesthetic) skills and their artistic application in social contexts (relationing) represent a crucial ability, and the medium and the canon of media becomes secondary.<br /><br /><br />// full text: <a href="https://artrelated.net/ruediger_john/critical-aesthetic-work-economy-sciences.html" rel="nofollow">https://artrelated.net/ruediger_john/critical-aesthetic-work-economy-sciences.html</a> // PDF: <a href="https://artrelated.net/ruediger_john/critical-aesthetic-work-economy-sciences-ruediger-john.pdf" rel="nofollow">https://artrelated.net/ruediger_john/critical-aesthetic-work-economy-sciences-ruediger-john.pdf</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/44872830" 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="877377527da3f017c8569a120fe1cb43" rel="nofollow" data-download="{"attachment_id":65385602,"asset_id":44872830,"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/65385602/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="1148373" href="https://critical-aesthetics.academia.edu/RuedigerJohn">Ruediger John</a><script data-card-contents-for-user="1148373" type="text/json">{"id":1148373,"first_name":"Ruediger","last_name":"John","domain_name":"critical-aesthetics","page_name":"RuedigerJohn","display_name":"Ruediger John","profile_url":"https://critical-aesthetics.academia.edu/RuedigerJohn?f_ri=8927","photo":"https://0.academia-photos.com/1148373/7055019/7951350/s65_ruediger.john.jpeg"}</script></span></span></li><li class="js-paper-rank-work_44872830 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44872830"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44872830, container: ".js-paper-rank-work_44872830", }); 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Art as intervention and reflection, critique and policy in corporations and organizations.","created_at":"2021-01-10T01:44:09.643-08:00","url":"https://www.academia.edu/44872830/Practice_Critical_Aesthetic_Work_in_the_Context_of_the_Economic_System_and_the_Sciences_Art_as_intervention_and_reflection_critique_and_policy_in_corporations_and_organizations?f_ri=8927","dom_id":"work_44872830","summary":"From a societal point of view, art has a key relevance: Art is a means to pursue the cultural questions posed about interrelations, perceptions of realities and meanings (critique and value formation) in an aesthetic mode of working. It is a multivalent communication (communication system) which, through a varying contextualization, evades a specific translation (interpretation) and, in this way, forms a resource for reflection—on the personal level, through the beholder, and on the societal level, as a system.\nIn terms of the progressing differentiation of art systems (horizontal differentiation), this is accompanied by a shift of emphasis so that its focus is not (any longer) on the production of objects and in particular their display in art contexts (labelled as such). Instead, what is now its focus is the designing of processes influencing developments as well as the integration of a range of disciplines. Rather than artists being the experts on questions of design, they are now being inquired as experts on issues related to perception and its relationing. As a result, perceptual (aesthetic) skills and their artistic application in social contexts (relationing) represent a crucial ability, and the medium and the canon of media becomes secondary.\n\n\n// full text: https://artrelated.net/ruediger_john/critical-aesthetic-work-economy-sciences.html // PDF: https://artrelated.net/ruediger_john/critical-aesthetic-work-economy-sciences-ruediger-john.pdf ","downloadable_attachments":[{"id":65385602,"asset_id":44872830,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1148373,"first_name":"Ruediger","last_name":"John","domain_name":"critical-aesthetics","page_name":"RuedigerJohn","display_name":"Ruediger John","profile_url":"https://critical-aesthetics.academia.edu/RuedigerJohn?f_ri=8927","photo":"https://0.academia-photos.com/1148373/7055019/7951350/s65_ruediger.john.jpeg"}],"research_interests":[{"id":1386,"name":"Art 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Organizations","url":"https://www.academia.edu/Documents/in/Artistic_Interventions_in_Organizations?f_ri=8927"},{"id":458236,"name":"Purpose driven business","url":"https://www.academia.edu/Documents/in/Purpose_driven_business?f_ri=8927"},{"id":519814,"name":"Critical Aesthetics","url":"https://www.academia.edu/Documents/in/Critical_Aesthetics?f_ri=8927"},{"id":722489,"name":"Artistic Interventions","url":"https://www.academia.edu/Documents/in/Artistic_Interventions?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41143661" data-work_id="41143661" 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/41143661/Shaping_Humanity_How_Science_Art_And_Imagination_Help_Us_Understand_Our_Origins_Book_Review_">Shaping Humanity: How Science Art And Imagination Help Us Understand Our Origins (Book Review)</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/41143661" 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="1e0b73996d5235b1deb02e4a83eb5c42" rel="nofollow" data-download="{"attachment_id":61390416,"asset_id":41143661,"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" 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Pobiner","profile_url":"https://si.academia.edu/BrianaPobiner?f_ri=8927","photo":"https://0.academia-photos.com/137481058/36653501/31307173/s65_briana.pobiner.jpg"}</script></span></span></li><li class="js-paper-rank-work_41143661 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41143661"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41143661, container: ".js-paper-rank-work_41143661", }); });</script></li><li class="js-percentile-work_41143661 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 = 41143661; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = 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data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a><script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=41143661]'), work: {"id":41143661,"title":"Shaping Humanity: How Science Art And Imagination Help Us Understand Our Origins (Book 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Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44603980" data-work_id="44603980" 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/44603980/Back_to_the_Land_Andrea_Lerda_essay_2017_gb_">Back to the Land, Andrea Lerda, essay, 2017 gb-</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 need to be distant from the frenetic rhythms of the contemporary life, to rediscover an equal relationship with the natural environment, and to expand ecological and eco-critical awareness, is certainly not a recent idea. Already on... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44603980" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The need to be distant from the frenetic rhythms of the contemporary life, to rediscover an equal relationship with the natural environment, and to expand ecological and eco-critical awareness, is certainly not a recent idea. Already on the cusp of the 1960s and 1970s, in America the Back to the Land social movement gathered around itself a great many supporters who promoted a rural style of life, one antithetical to that offered by the unhealthy and corrupt traditional society. Little more than a century earlier, in 1845, Henry Thoreau, at twenty-eight years of age, decided to leave his hometown and go to live beside Walden Lake, in a cabin he himself had built. In the silence of the woods, Thoreau wanted to march to the sound of a “different drum” by rediscovering the freedom to immerse himself in the rhythms of nature. He was to remain there for more than two years.<br />In his 1919 book Bäume: Betrachtungen und Gedichte, Hermann Hesse undertook a poetical journey inside a sacred place called “sanctuary”. The books published about the philosophies of the environment and nature from the nineteenth to the twentieth centuries were innumerable: from Ralph Waldo Emerson’s 1836 Nature to Darwin’s On the Origin of Species, 1859, and to George Perkis March’s Man and Nature published in 1964. These were followed by the collection of essays titled A Sound County Almanac, written in 1949 by Aldo Leopold and Silent Spring by Rachel Carson published in 1962. But the list is far longer1. An important historical bibliography, then, represents the fertile terrain on which there has grown up, over the last two centuries, an increasingly heated and varied eco-critical debate. It is no longer the academic, scientific, political and economic world that is debating world-wide environmental problems: contemporary art too, with its provocative and multi-sensorial language, has in fact for some time played a leading role within this scenario.<br />It is a heterogeneous story consisting of many points of view, of summits about the climate, of group actions in favour of the environment and against the decay of nature caused by uncontrolled economic progress, but also of green slogans and the most recent green economy. All these voices united together in a polyphonic chorus have for some time attempted to outline a new path to follow, one that, through the rediscovery of ethical values and moral codes, might lead to a more knowing debate and cohabitation with the world.</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/44603980" 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="44e21c29da0020b1410cf6dd427f3df3" rel="nofollow" data-download="{"attachment_id":65066776,"asset_id":44603980,"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/65066776/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="80700273" href="https://unito.academia.edu/AndreaLerda">Andrea Lerda</a><script data-card-contents-for-user="80700273" type="text/json">{"id":80700273,"first_name":"Andrea","last_name":"Lerda","domain_name":"unito","page_name":"AndreaLerda","display_name":"Andrea Lerda","profile_url":"https://unito.academia.edu/AndreaLerda?f_ri=8927","photo":"https://0.academia-photos.com/80700273/36812294/96289401/s65_andrea.lerda.jpg"}</script></span></span></li><li class="js-paper-rank-work_44603980 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44603980"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44603980, container: ".js-paper-rank-work_44603980", }); 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Already on the cusp of the 1960s and 1970s, in America the Back to the Land social movement gathered around itself a great many supporters who promoted a rural style of life, one antithetical to that offered by the unhealthy and corrupt traditional society. Little more than a century earlier, in 1845, Henry Thoreau, at twenty-eight years of age, decided to leave his hometown and go to live beside Walden Lake, in a cabin he himself had built. In the silence of the woods, Thoreau wanted to march to the sound of a “different drum” by rediscovering the freedom to immerse himself in the rhythms of nature. He was to remain there for more than two years.\nIn his 1919 book Bäume: Betrachtungen und Gedichte, Hermann Hesse undertook a poetical journey inside a sacred place called “sanctuary”. The books published about the philosophies of the environment and nature from the nineteenth to the twentieth centuries were innumerable: from Ralph Waldo Emerson’s 1836 Nature to Darwin’s On the Origin of Species, 1859, and to George Perkis March’s Man and Nature published in 1964. These were followed by the collection of essays titled A Sound County Almanac, written in 1949 by Aldo Leopold and Silent Spring by Rachel Carson published in 1962. But the list is far longer1. An important historical bibliography, then, represents the fertile terrain on which there has grown up, over the last two centuries, an increasingly heated and varied eco-critical debate. It is no longer the academic, scientific, political and economic world that is debating world-wide environmental problems: contemporary art too, with its provocative and multi-sensorial language, has in fact for some time played a leading role within this scenario.\nIt is a heterogeneous story consisting of many points of view, of summits about the climate, of group actions in favour of the environment and against the decay of nature caused by uncontrolled economic progress, but also of green slogans and the most recent green economy. All these voices united together in a polyphonic chorus have for some time attempted to outline a new path to follow, one that, through the rediscovery of ethical values and moral codes, might lead to a more knowing debate and cohabitation with the world.\n","downloadable_attachments":[{"id":65066776,"asset_id":44603980,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":80700273,"first_name":"Andrea","last_name":"Lerda","domain_name":"unito","page_name":"AndreaLerda","display_name":"Andrea Lerda","profile_url":"https://unito.academia.edu/AndreaLerda?f_ri=8927","photo":"https://0.academia-photos.com/80700273/36812294/96289401/s65_andrea.lerda.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":9846,"name":"Ecology","url":"https://www.academia.edu/Documents/in/Ecology?f_ri=8927","nofollow":false},{"id":18845,"name":"Environmental Sustainability","url":"https://www.academia.edu/Documents/in/Environmental_Sustainability?f_ri=8927","nofollow":false},{"id":33319,"name":"Nature","url":"https://www.academia.edu/Documents/in/Nature?f_ri=8927"},{"id":45405,"name":"Global Warming","url":"https://www.academia.edu/Documents/in/Global_Warming?f_ri=8927"},{"id":45760,"name":"Art and Nature","url":"https://www.academia.edu/Documents/in/Art_and_Nature?f_ri=8927"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=8927"},{"id":1137981,"name":"Contemporary Art and Ecology","url":"https://www.academia.edu/Documents/in/Contemporary_Art_and_Ecology?f_ri=8927"},{"id":1928034,"name":"Antropocene","url":"https://www.academia.edu/Documents/in/Antropocene?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4482578" data-work_id="4482578" 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/4482578/The_Aesthetics_of_Reason_and_Care">The Aesthetics of Reason and Care</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/4482578" 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="d2b5632a94b1ac6ef3dd46a063cc77b3" rel="nofollow" data-download="{"attachment_id":31885603,"asset_id":4482578,"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/31885603/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="2597162" href="https://unilodz.academia.edu/RyszardWKluszczy%C5%84ski">Ryszard W . Kluszczyński</a><script data-card-contents-for-user="2597162" type="text/json">{"id":2597162,"first_name":"Ryszard","last_name":"Kluszczyński","domain_name":"unilodz","page_name":"RyszardWKluszczyński","display_name":"Ryszard W . Kluszczyński","profile_url":"https://unilodz.academia.edu/RyszardWKluszczy%C5%84ski?f_ri=8927","photo":"https://0.academia-photos.com/2597162/818079/1017100/s65_ryszard.kluszczy_ski.jpg"}</script></span></span></li><li class="js-paper-rank-work_4482578 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4482578"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4482578, container: ".js-paper-rank-work_4482578", }); });</script></li><li class="js-percentile-work_4482578 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4482578; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_4482578"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_4482578 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="4482578"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4482578; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4482578]").text(description); $(".js-view-count-work_4482578").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_4482578").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="4482578"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">34</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="945" href="https://www.academia.edu/Documents/in/Performing_Arts">Performing Arts</a>, <script data-card-contents-for-ri="945" type="text/json">{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" 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=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4482578]'), work: {"id":4482578,"title":"The Aesthetics of Reason and Care","created_at":"2013-09-13T21:35:06.950-07:00","url":"https://www.academia.edu/4482578/The_Aesthetics_of_Reason_and_Care?f_ri=8927","dom_id":"work_4482578","summary":null,"downloadable_attachments":[{"id":31885603,"asset_id":4482578,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2597162,"first_name":"Ryszard","last_name":"Kluszczyński","domain_name":"unilodz","page_name":"RyszardWKluszczyński","display_name":"Ryszard W . 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This PowerPoint show also explains how the black and white... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9573960" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Over 30 colorful photographs of snowflakes, taken through a microscope, are included in this show -- work that has been used in a variety of schools for about 15 years. This PowerPoint show also explains how the black and white microphotographs of snow crystals by W.A. "Snowflake" Bentley in 1885 were converted to colored images. Using a technique similar to staining, Rick Doble colored the original Bentley images (in the public domain) to bring out the structure of the crystals. Doble explains his process in this presentation along with a lavish display of his colored snowflakes. These colored photographs have been widely used in elementary schools and also at the college level. They have also been featured in libraries and in the national media. Documentation about these mentions are included at the end of this presentation. Permission is given to educators and non-profit organizations to use these images, as long as the artist is credited.</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/9573960" 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="9d9deecfb42064867bd4bcd41f0b862c" rel="nofollow" data-download="{"attachment_id":35788263,"asset_id":9573960,"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/35788263/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="4134558" href="https://unc.academia.edu/RickDoble">Rick Doble</a><script data-card-contents-for-user="4134558" type="text/json">{"id":4134558,"first_name":"Rick","last_name":"Doble","domain_name":"unc","page_name":"RickDoble","display_name":"Rick Doble","profile_url":"https://unc.academia.edu/RickDoble?f_ri=8927","photo":"https://0.academia-photos.com/4134558/1605082/1939252/s65_rick.doble.jpg"}</script></span></span></li><li class="js-paper-rank-work_9573960 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9573960"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9573960, container: ".js-paper-rank-work_9573960", }); });</script></li><li class="js-percentile-work_9573960 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 = 9573960; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_9573960"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_9573960 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="9573960"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 9573960; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9573960]").text(description); $(".js-view-count-work_9573960").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9573960").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="9573960"><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="1177" href="https://www.academia.edu/Documents/in/Crystallography">Crystallography</a>, <script data-card-contents-for-ri="1177" type="text/json">{"id":1177,"name":"Crystallography","url":"https://www.academia.edu/Documents/in/Crystallography?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1736" href="https://www.academia.edu/Documents/in/Science_Education">Science Education</a>, <script data-card-contents-for-ri="1736" type="text/json">{"id":1736,"name":"Science Education","url":"https://www.academia.edu/Documents/in/Science_Education?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a>, <script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="36556" href="https://www.academia.edu/Documents/in/Elementary_Education">Elementary Education</a><script data-card-contents-for-ri="36556" type="text/json">{"id":36556,"name":"Elementary Education","url":"https://www.academia.edu/Documents/in/Elementary_Education?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9573960]'), work: {"id":9573960,"title":"PowerPoint: Colorized Microphotographs of Snowflakes By Rick Doble","created_at":"2014-11-30T20:41:58.518-08:00","url":"https://www.academia.edu/9573960/PowerPoint_Colorized_Microphotographs_of_Snowflakes_By_Rick_Doble?f_ri=8927","dom_id":"work_9573960","summary":"Over 30 colorful photographs of snowflakes, taken through a microscope, are included in this show -- work that has been used in a variety of schools for about 15 years. This PowerPoint show also explains how the black and white microphotographs of snow crystals by W.A. \"Snowflake\" Bentley in 1885 were converted to colored images. Using a technique similar to staining, Rick Doble colored the original Bentley images (in the public domain) to bring out the structure of the crystals. Doble explains his process in this presentation along with a lavish display of his colored snowflakes. These colored photographs have been widely used in elementary schools and also at the college level. They have also been featured in libraries and in the national media. Documentation about these mentions are included at the end of this presentation. Permission is given to educators and non-profit organizations to use these images, as long as the artist is credited.","downloadable_attachments":[{"id":35788263,"asset_id":9573960,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4134558,"first_name":"Rick","last_name":"Doble","domain_name":"unc","page_name":"RickDoble","display_name":"Rick Doble","profile_url":"https://unc.academia.edu/RickDoble?f_ri=8927","photo":"https://0.academia-photos.com/4134558/1605082/1939252/s65_rick.doble.jpg"}],"research_interests":[{"id":1177,"name":"Crystallography","url":"https://www.academia.edu/Documents/in/Crystallography?f_ri=8927","nofollow":false},{"id":1736,"name":"Science Education","url":"https://www.academia.edu/Documents/in/Science_Education?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":36556,"name":"Elementary Education","url":"https://www.academia.edu/Documents/in/Elementary_Education?f_ri=8927","nofollow":false},{"id":108743,"name":"Arts and Sciences","url":"https://www.academia.edu/Documents/in/Arts_and_Sciences?f_ri=8927"},{"id":112879,"name":"Elementary School","url":"https://www.academia.edu/Documents/in/Elementary_School?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_47881794" data-work_id="47881794" 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/47881794/Reconfiguring_interdisciplinary_and_transdisciplinary_spaces_for_Arts_Humanities_and_Social_Sciences_integration">Reconfiguring interdisciplinary and transdisciplinary spaces for Arts, Humanities and Social Sciences integration</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Interdisciplinarity and transdisciplinarity denote a diversity of practices and present specific challenges to collaboration in research and education. One of those challenges is the integration of Arts, Humanities and Social Sciences... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_47881794" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Interdisciplinarity and transdisciplinarity denote a diversity of practices and present specific challenges to collaboration in research and education. One of those challenges is the integration of Arts, Humanities and Social Sciences (AHSS). The roles these disciplines perform in inter- and transdisciplinary research and education are often mostly limited to instrumental and subordinate ones. Unequal participation of these disciplines causes their exclusion from scientific communities, also affecting career paths of early and senior researchers. I present some results from the project entitled «Shaping interdisciplinary practices in Europe» (SHAPE-ID) that addresses the problem of how to better integrate AHSS disciplines in interdisciplinarity and transdisciplinarity. I conducted a systematic literature review and identified spaces in which integration is performed and roles that AHSS researchers fruitfully develop in an inter- or transdisciplinary setting. I discuss how to facilitate the participation of AHSS researchers by reconfiguring inter- and transdisciplinary spaces and roles. I conclude that AHSS disciplines’ participation in collaborative settings is limited and affects the type of inter- and transdisciplinary knowledge production processes that are driven. This has a direct effect on how senior researchers perceive their academic careers and set the research agenda. But also, on how early career researchers build their academic future.</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/47881794" 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="5366fbb6612d4bfc4d4e9cdfac25d895" rel="nofollow" data-download="{"attachment_id":66779127,"asset_id":47881794,"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/66779127/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="1763082" href="https://ethz.academia.edu/BiancaVienniBaptista">Bianca Vienni-Baptista</a><script data-card-contents-for-user="1763082" type="text/json">{"id":1763082,"first_name":"Bianca","last_name":"Vienni-Baptista","domain_name":"ethz","page_name":"BiancaVienniBaptista","display_name":"Bianca Vienni-Baptista","profile_url":"https://ethz.academia.edu/BiancaVienniBaptista?f_ri=8927","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_47881794 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="47881794"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 47881794, container: ".js-paper-rank-work_47881794", }); });</script></li><li class="js-percentile-work_47881794 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 = 47881794; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_47881794"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_47881794 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="47881794"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 47881794; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=47881794]").text(description); $(".js-view-count-work_47881794").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_47881794").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="47881794"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="951" href="https://www.academia.edu/Documents/in/Humanities">Humanities</a>, <script data-card-contents-for-ri="951" type="text/json">{"id":951,"name":"Humanities","url":"https://www.academia.edu/Documents/in/Humanities?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2582" href="https://www.academia.edu/Documents/in/Interdisciplinarity">Interdisciplinarity</a>, <script data-card-contents-for-ri="2582" type="text/json">{"id":2582,"name":"Interdisciplinarity","url":"https://www.academia.edu/Documents/in/Interdisciplinarity?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5799" href="https://www.academia.edu/Documents/in/Transdisciplinarity">Transdisciplinarity</a>, <script data-card-contents-for-ri="5799" type="text/json">{"id":5799,"name":"Transdisciplinarity","url":"https://www.academia.edu/Documents/in/Transdisciplinarity?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a><script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=47881794]'), work: {"id":47881794,"title":"Reconfiguring interdisciplinary and transdisciplinary spaces for Arts, Humanities and Social Sciences integration","created_at":"2021-05-02T12:38:47.613-07:00","url":"https://www.academia.edu/47881794/Reconfiguring_interdisciplinary_and_transdisciplinary_spaces_for_Arts_Humanities_and_Social_Sciences_integration?f_ri=8927","dom_id":"work_47881794","summary":"Interdisciplinarity and transdisciplinarity denote a diversity of practices and present specific challenges to collaboration in research and education. One of those challenges is the integration of Arts, Humanities and Social Sciences (AHSS). The roles these disciplines perform in inter- and transdisciplinary research and education are often mostly limited to instrumental and subordinate ones. Unequal participation of these disciplines causes their exclusion from scientific communities, also affecting career paths of early and senior researchers. I present some results from the project entitled «Shaping interdisciplinary practices in Europe» (SHAPE-ID) that addresses the problem of how to better integrate AHSS disciplines in interdisciplinarity and transdisciplinarity. I conducted a systematic literature review and identified spaces in which integration is performed and roles that AHSS researchers fruitfully develop in an inter- or transdisciplinary setting. I discuss how to facilitate the participation of AHSS researchers by reconfiguring inter- and transdisciplinary spaces and roles. I conclude that AHSS disciplines’ participation in collaborative settings is limited and affects the type of inter- and transdisciplinary knowledge production processes that are driven. This has a direct effect on how senior researchers perceive their academic careers and set the research agenda. But also, on how early career researchers build their academic future.","downloadable_attachments":[{"id":66779127,"asset_id":47881794,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1763082,"first_name":"Bianca","last_name":"Vienni-Baptista","domain_name":"ethz","page_name":"BiancaVienniBaptista","display_name":"Bianca Vienni-Baptista","profile_url":"https://ethz.academia.edu/BiancaVienniBaptista?f_ri=8927","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":951,"name":"Humanities","url":"https://www.academia.edu/Documents/in/Humanities?f_ri=8927","nofollow":false},{"id":2582,"name":"Interdisciplinarity","url":"https://www.academia.edu/Documents/in/Interdisciplinarity?f_ri=8927","nofollow":false},{"id":5799,"name":"Transdisciplinarity","url":"https://www.academia.edu/Documents/in/Transdisciplinarity?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":26510,"name":"Interdisciplinary Studies","url":"https://www.academia.edu/Documents/in/Interdisciplinary_Studies?f_ri=8927"},{"id":33691,"name":"Interdisciplinary research (Social Sciences)","url":"https://www.academia.edu/Documents/in/Interdisciplinary_research_Social_Sciences_?f_ri=8927"},{"id":65345,"name":"TRANSDISCIPLINARY STUDIES","url":"https://www.academia.edu/Documents/in/TRANSDISCIPLINARY_STUDIES?f_ri=8927"},{"id":81390,"name":"Interdisciplinary research","url":"https://www.academia.edu/Documents/in/Interdisciplinary_research?f_ri=8927"},{"id":205631,"name":"Interdisciplinariedad","url":"https://www.academia.edu/Documents/in/Interdisciplinariedad?f_ri=8927"},{"id":364140,"name":"Humanities and Social Science","url":"https://www.academia.edu/Documents/in/Humanities_and_Social_Science?f_ri=8927"},{"id":578214,"name":"Impact of Social Sciences and Humanities","url":"https://www.academia.edu/Documents/in/Impact_of_Social_Sciences_and_Humanities?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35702780" data-work_id="35702780" 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/35702780/George_Rickey_and_Kenneth_Snelson_at_the_Palais_Royale">George Rickey and Kenneth Snelson at the Palais Royale</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/35702780" 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="98e961db3989a43e4d0407040cb5594a" rel="nofollow" data-download="{"attachment_id":55574486,"asset_id":35702780,"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/55574486/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="361650" href="https://vcu.academia.edu/RobertHobbs">Robert Hobbs</a><script data-card-contents-for-user="361650" type="text/json">{"id":361650,"first_name":"Robert","last_name":"Hobbs","domain_name":"vcu","page_name":"RobertHobbs","display_name":"Robert Hobbs","profile_url":"https://vcu.academia.edu/RobertHobbs?f_ri=8927","photo":"https://0.academia-photos.com/361650/110403/19450490/s65_robert.hobbs.jpg"}</script></span></span></li><li class="js-paper-rank-work_35702780 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35702780"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35702780, container: ".js-paper-rank-work_35702780", }); 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$(".js-view-count[data-work-id=35702780]").text(description); $(".js-view-count-work_35702780").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35702780").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="35702780"><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="915" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a>, <script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16320" href="https://www.academia.edu/Documents/in/Site-Specific_Art">Site-Specific Art</a>, <script data-card-contents-for-ri="16320" type="text/json">{"id":16320,"name":"Site-Specific Art","url":"https://www.academia.edu/Documents/in/Site-Specific_Art?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20178" href="https://www.academia.edu/Documents/in/Conceptual_Art">Conceptual Art</a><script data-card-contents-for-ri="20178" type="text/json">{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35702780]'), work: {"id":35702780,"title":"George Rickey and Kenneth Snelson at the Palais Royale","created_at":"2018-01-18T07:58:47.426-08:00","url":"https://www.academia.edu/35702780/George_Rickey_and_Kenneth_Snelson_at_the_Palais_Royale?f_ri=8927","dom_id":"work_35702780","summary":null,"downloadable_attachments":[{"id":55574486,"asset_id":35702780,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":361650,"first_name":"Robert","last_name":"Hobbs","domain_name":"vcu","page_name":"RobertHobbs","display_name":"Robert Hobbs","profile_url":"https://vcu.academia.edu/RobertHobbs?f_ri=8927","photo":"https://0.academia-photos.com/361650/110403/19450490/s65_robert.hobbs.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":16320,"name":"Site-Specific Art","url":"https://www.academia.edu/Documents/in/Site-Specific_Art?f_ri=8927","nofollow":false},{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art?f_ri=8927","nofollow":false},{"id":21265,"name":"Art and technology","url":"https://www.academia.edu/Documents/in/Art_and_technology?f_ri=8927"},{"id":43406,"name":"Kinetic Art","url":"https://www.academia.edu/Documents/in/Kinetic_Art?f_ri=8927"},{"id":251913,"name":"Earth Art","url":"https://www.academia.edu/Documents/in/Earth_Art?f_ri=8927"},{"id":625036,"name":"Kinetic Sculpture and Installation","url":"https://www.academia.edu/Documents/in/Kinetic_Sculpture_and_Installation?f_ri=8927"},{"id":1712037,"name":"Post-Minimalist Sculpture","url":"https://www.academia.edu/Documents/in/Post-Minimalist_Sculpture?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29799242" data-work_id="29799242" 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/29799242/Portrety_przypadku">Portrety przypadku</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Naukową refleksję nad zagadnieniem przypadku zwykło się utożsamiać z matematyką czy filozofią. W niniejszej pracy spojrzymy na ten problem z perspektywy sztuk wizualnych. Historia filozofii i nauki pokazuje, iż pojęcie przypadku rozumiane... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29799242" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Naukową refleksję nad zagadnieniem przypadku zwykło się utożsamiać z matematyką czy filozofią. W niniejszej pracy spojrzymy na ten problem z perspektywy sztuk wizualnych. Historia filozofii i nauki pokazuje, iż pojęcie przypadku rozumiane było na wiele różnych sposobów. Także dzisiaj można wyodrębnić przynajmniej trzy jego odmienne ujęcia: 1) przypadek obiektywny – kiedy uznajemy, że zdarzenia losowe faktycznie występują w przyrodzie, 2) przypadek subiektywny – kiedy to, co uznajemy za losowe wynika z braku dostatecznej wiedzy na temat możliwych zdarzeń, oraz 3) przypadek dynamiczny – kiedy losowość pojawia się w wyniku złożonych interakcji w zdeterminowanych układach. Wydaje się, iż wszystkie te oblicza przypadku mają swoje odzwierciedlenie również w sztuce. Odnajdujemy je w twórczość wielkich mistrzów (Leonarda da Vinci, Maxa Ernsta, André Massona, Marcela Duchampa, Jacksona Pollocka, Ryszarda Winiarskiego) a także w dziełach sztuki współczesnej.</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/29799242" 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="4ee94ca58da94774dd590a967fa464b4" rel="nofollow" data-download="{"attachment_id":54068024,"asset_id":29799242,"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/54068024/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="30521526" href="https://asp-wroc.academia.edu/JakubJernajczyk">Jakub Jernajczyk</a><script data-card-contents-for-user="30521526" type="text/json">{"id":30521526,"first_name":"Jakub","last_name":"Jernajczyk","domain_name":"asp-wroc","page_name":"JakubJernajczyk","display_name":"Jakub Jernajczyk","profile_url":"https://asp-wroc.academia.edu/JakubJernajczyk?f_ri=8927","photo":"https://0.academia-photos.com/30521526/8868355/17569041/s65_jakub.jernajczyk.jpg"}</script></span></span></li><li class="js-paper-rank-work_29799242 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29799242"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29799242, container: ".js-paper-rank-work_29799242", }); 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$(".js-view-count[data-work-id=29799242]").text(description); $(".js-view-count-work_29799242").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29799242").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="29799242"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="4951" href="https://www.academia.edu/Documents/in/Surrealism">Surrealism</a>, <script data-card-contents-for-ri="4951" type="text/json">{"id":4951,"name":"Surrealism","url":"https://www.academia.edu/Documents/in/Surrealism?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a>, <script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9036" href="https://www.academia.edu/Documents/in/Generative_Art">Generative Art</a>, <script data-card-contents-for-ri="9036" type="text/json">{"id":9036,"name":"Generative Art","url":"https://www.academia.edu/Documents/in/Generative_Art?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="33069" href="https://www.academia.edu/Documents/in/Probability">Probability</a><script data-card-contents-for-ri="33069" type="text/json">{"id":33069,"name":"Probability","url":"https://www.academia.edu/Documents/in/Probability?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29799242]'), work: {"id":29799242,"title":"Portrety przypadku","created_at":"2016-11-11T12:40:55.928-08:00","url":"https://www.academia.edu/29799242/Portrety_przypadku?f_ri=8927","dom_id":"work_29799242","summary":"Naukową refleksję nad zagadnieniem przypadku zwykło się utożsamiać z matematyką czy filozofią. W niniejszej pracy spojrzymy na ten problem z perspektywy sztuk wizualnych. Historia filozofii i nauki pokazuje, iż pojęcie przypadku rozumiane było na wiele różnych sposobów. Także dzisiaj można wyodrębnić przynajmniej trzy jego odmienne ujęcia: 1) przypadek obiektywny – kiedy uznajemy, że zdarzenia losowe faktycznie występują w przyrodzie, 2) przypadek subiektywny – kiedy to, co uznajemy za losowe wynika z braku dostatecznej wiedzy na temat możliwych zdarzeń, oraz 3) przypadek dynamiczny – kiedy losowość pojawia się w wyniku złożonych interakcji w zdeterminowanych układach. Wydaje się, iż wszystkie te oblicza przypadku mają swoje odzwierciedlenie również w sztuce. Odnajdujemy je w twórczość wielkich mistrzów (Leonarda da Vinci, Maxa Ernsta, André Massona, Marcela Duchampa, Jacksona Pollocka, Ryszarda Winiarskiego) a także w dziełach sztuki współczesnej.","downloadable_attachments":[{"id":54068024,"asset_id":29799242,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":30521526,"first_name":"Jakub","last_name":"Jernajczyk","domain_name":"asp-wroc","page_name":"JakubJernajczyk","display_name":"Jakub Jernajczyk","profile_url":"https://asp-wroc.academia.edu/JakubJernajczyk?f_ri=8927","photo":"https://0.academia-photos.com/30521526/8868355/17569041/s65_jakub.jernajczyk.jpg"}],"research_interests":[{"id":4951,"name":"Surrealism","url":"https://www.academia.edu/Documents/in/Surrealism?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":9036,"name":"Generative Art","url":"https://www.academia.edu/Documents/in/Generative_Art?f_ri=8927","nofollow":false},{"id":33069,"name":"Probability","url":"https://www.academia.edu/Documents/in/Probability?f_ri=8927","nofollow":false},{"id":46571,"name":"Chance","url":"https://www.academia.edu/Documents/in/Chance?f_ri=8927"},{"id":105078,"name":"Pseudo-Random Number Generator","url":"https://www.academia.edu/Documents/in/Pseudo-Random_Number_Generator?f_ri=8927"},{"id":730238,"name":"Fractals and Chaos","url":"https://www.academia.edu/Documents/in/Fractals_and_Chaos?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_75751833" data-work_id="75751833" 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/75751833/The_Identification_of_the_first_Paleolithic_animal_sculpture_in_the_Ile_de_France_the_S%C3%A9gognole_3_bison_and_its_ramifications">The Identification of the first Paleolithic animal sculpture in the Ile-de-France: the Ségognole 3 bison and its ramifications</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 unveils imagery that seems intended to be recognized in phases from such sites as Font-de-Gaume (pg. 24), Laugerie-Basse (pg. 35-37), Isturitz (pg. 37-38), Saint-Cirq-du-Bugue (pg. 38-39), and Guy-Martin (pg. 26-35), after... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_75751833" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article unveils imagery that seems intended to be recognized in phases from such sites as Font-de-Gaume (pg. 24), Laugerie-Basse (pg. 35-37), Isturitz (pg. 37-38), Saint-Cirq-du-Bugue (pg. 38-39), and Guy-Martin (pg. 26-35), after describing the first Paleolithic sculpture of an animal reported in the Ile-de-France. These include: 1) The extended panel of Ségognole 3. The grotto is known for a vulva between 2 faint horses, but its largest graphic element is a groove that has been explained away as a “border”. The groove is actually the caudal line of a 1.9 meter-long bas-relief of a bison that has been overlooked because of the failure to apply the same conventions of the vulva – figurative realism, monumentality, and the use of natural forms – to the engraved line, although it is identical in manufacture. The wisent composed by natural relief accentuated by incising, flaking, and polishing confirms that the ensemble is Paleolithic. 2) A survey of Paleolithic parietal images wh...</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/75751833" 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="efbeb41934f55c1e73fd4fd5a69fd69a" rel="nofollow" data-download="{"attachment_id":83478412,"asset_id":75751833,"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/83478412/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="3082518" href="https://independent.academia.edu/DuncanCaldwell">Duncan Caldwell</a><script data-card-contents-for-user="3082518" type="text/json">{"id":3082518,"first_name":"Duncan","last_name":"Caldwell","domain_name":"independent","page_name":"DuncanCaldwell","display_name":"Duncan Caldwell","profile_url":"https://independent.academia.edu/DuncanCaldwell?f_ri=8927","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_75751833 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="75751833"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 75751833, container: ".js-paper-rank-work_75751833", }); 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$(".js-view-count[data-work-id=75751833]").text(description); $(".js-view-count-work_75751833").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_75751833").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="75751833"><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="261" href="https://www.academia.edu/Documents/in/Geography">Geography</a>, <script data-card-contents-for-ri="261" type="text/json">{"id":261,"name":"Geography","url":"https://www.academia.edu/Documents/in/Geography?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4548" href="https://www.academia.edu/Documents/in/Palaeolithic_Archaeology">Palaeolithic Archaeology</a>, <script data-card-contents-for-ri="4548" type="text/json">{"id":4548,"name":"Palaeolithic Archaeology","url":"https://www.academia.edu/Documents/in/Palaeolithic_Archaeology?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4950" href="https://www.academia.edu/Documents/in/Modern_Art">Modern Art</a><script data-card-contents-for-ri="4950" type="text/json">{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=75751833]'), work: {"id":75751833,"title":"The Identification of the first Paleolithic animal sculpture in the Ile-de-France: the Ségognole 3 bison and its ramifications","created_at":"2022-04-07T13:02:47.334-07:00","url":"https://www.academia.edu/75751833/The_Identification_of_the_first_Paleolithic_animal_sculpture_in_the_Ile_de_France_the_S%C3%A9gognole_3_bison_and_its_ramifications?f_ri=8927","dom_id":"work_75751833","summary":"This article unveils imagery that seems intended to be recognized in phases from such sites as Font-de-Gaume (pg. 24), Laugerie-Basse (pg. 35-37), Isturitz (pg. 37-38), Saint-Cirq-du-Bugue (pg. 38-39), and Guy-Martin (pg. 26-35), after describing the first Paleolithic sculpture of an animal reported in the Ile-de-France. These include: 1) The extended panel of Ségognole 3. The grotto is known for a vulva between 2 faint horses, but its largest graphic element is a groove that has been explained away as a “border”. The groove is actually the caudal line of a 1.9 meter-long bas-relief of a bison that has been overlooked because of the failure to apply the same conventions of the vulva – figurative realism, monumentality, and the use of natural forms – to the engraved line, although it is identical in manufacture. The wisent composed by natural relief accentuated by incising, flaking, and polishing confirms that the ensemble is Paleolithic. 2) A survey of Paleolithic parietal images wh...","downloadable_attachments":[{"id":83478412,"asset_id":75751833,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3082518,"first_name":"Duncan","last_name":"Caldwell","domain_name":"independent","page_name":"DuncanCaldwell","display_name":"Duncan Caldwell","profile_url":"https://independent.academia.edu/DuncanCaldwell?f_ri=8927","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":261,"name":"Geography","url":"https://www.academia.edu/Documents/in/Geography?f_ri=8927","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=8927","nofollow":false},{"id":4548,"name":"Palaeolithic Archaeology","url":"https://www.academia.edu/Documents/in/Palaeolithic_Archaeology?f_ri=8927","nofollow":false},{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927"},{"id":26087,"name":"Paleolithic Europe","url":"https://www.academia.edu/Documents/in/Paleolithic_Europe?f_ri=8927"},{"id":28781,"name":"Aurignacian","url":"https://www.academia.edu/Documents/in/Aurignacian?f_ri=8927"},{"id":49708,"name":"Magdalenian","url":"https://www.academia.edu/Documents/in/Magdalenian?f_ri=8927"},{"id":56002,"name":"Bison","url":"https://www.academia.edu/Documents/in/Bison?f_ri=8927"},{"id":57752,"name":"Paleolithic","url":"https://www.academia.edu/Documents/in/Paleolithic?f_ri=8927"},{"id":79058,"name":"Paleolithic Art","url":"https://www.academia.edu/Documents/in/Paleolithic_Art?f_ri=8927"},{"id":79956,"name":"Final Paleolithic","url":"https://www.academia.edu/Documents/in/Final_Paleolithic?f_ri=8927"},{"id":91636,"name":"Paleolithic Archaeology","url":"https://www.academia.edu/Documents/in/Paleolithic_Archaeology?f_ri=8927"},{"id":97249,"name":"Mammoth","url":"https://www.academia.edu/Documents/in/Mammoth?f_ri=8927"},{"id":169960,"name":"Late Upper Paleolithic","url":"https://www.academia.edu/Documents/in/Late_Upper_Paleolithic?f_ri=8927"},{"id":229323,"name":"Aurignacien","url":"https://www.academia.edu/Documents/in/Aurignacien?f_ri=8927"},{"id":300890,"name":"Mammoths","url":"https://www.academia.edu/Documents/in/Mammoths?f_ri=8927"},{"id":587175,"name":"Paléolithique","url":"https://www.academia.edu/Documents/in/Pal%C3%A9olithique?f_ri=8927"},{"id":600041,"name":"Paléolithique supérieur","url":"https://www.academia.edu/Documents/in/Pal%C3%A9olithique_sup%C3%A9rieur?f_ri=8927"},{"id":819731,"name":"Arte paleolítico","url":"https://www.academia.edu/Documents/in/Arte_paleolitico?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38944936" data-work_id="38944936" 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/38944936/Exposure">Exposure</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">“You [must] risk getting lost in the thickets, … that is the only way to make art.” --Robert Smithson. Julian Charrière’s (*1987) work bridges the realms of environmental science and cultural history. Marshalling performance,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38944936" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">“You [must] risk getting lost in the thickets, … that is the only way to make art.” --Robert Smithson. <br /> <br />Julian Charrière’s (*1987) work bridges the realms of environmental science and cultural history. Marshalling performance, sculpture and photography, his projects often stem from fieldwork in remote locations with acute geophysical identities. His latest work Second Suns investigates the post-nuclear landscapes and architecture of the Bikini Atoll (Marshall Islands) and Semipalatinsk (Kazakhstan). Visual content comprises four major photo series, sculptural and video works, and expedition documentation, featuring compelling images of ruined concrete bunkers, sunken battleships, apocalyptic sunsets and decaying infrastructure while contributions by leading thinkers provide historic, geographic and intellectual context. Second Suns offers readers access to notorious geographical zones shrouded in fantasy and tragedy and provides the most comprehensive visual engagement with each site published to date.</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/38944936" 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="f8d67f294c3517dfa050e7a84563bc66" rel="nofollow" data-download="{"attachment_id":59046781,"asset_id":38944936,"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/59046781/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="6362266" href="https://ku-dk.academia.edu/DehliaHannah">Dehlia Hannah</a><script data-card-contents-for-user="6362266" type="text/json">{"id":6362266,"first_name":"Dehlia","last_name":"Hannah","domain_name":"ku-dk","page_name":"DehliaHannah","display_name":"Dehlia Hannah","profile_url":"https://ku-dk.academia.edu/DehliaHannah?f_ri=8927","photo":"https://0.academia-photos.com/6362266/2590145/120729495/s65_dehlia.hannah.png"}</script></span></span></li><li class="js-paper-rank-work_38944936 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38944936"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38944936, container: ".js-paper-rank-work_38944936", }); 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Marshalling performance, sculpture and photography, his projects often stem from fieldwork in remote locations with acute geophysical identities. His latest work Second Suns investigates the post-nuclear landscapes and architecture of the Bikini Atoll (Marshall Islands) and Semipalatinsk (Kazakhstan). Visual content comprises four major photo series, sculptural and video works, and expedition documentation, featuring compelling images of ruined concrete bunkers, sunken battleships, apocalyptic sunsets and decaying infrastructure while contributions by leading thinkers provide historic, geographic and intellectual context. Second Suns offers readers access to notorious geographical zones shrouded in fantasy and tragedy and provides the most comprehensive visual engagement with each site published to date. ","downloadable_attachments":[{"id":59046781,"asset_id":38944936,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6362266,"first_name":"Dehlia","last_name":"Hannah","domain_name":"ku-dk","page_name":"DehliaHannah","display_name":"Dehlia Hannah","profile_url":"https://ku-dk.academia.edu/DehliaHannah?f_ri=8927","photo":"https://0.academia-photos.com/6362266/2590145/120729495/s65_dehlia.hannah.png"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=8927","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=8927","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=8927","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=8927","nofollow":false},{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies?f_ri=8927"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=8927"},{"id":3651,"name":"Cold War and Culture","url":"https://www.academia.edu/Documents/in/Cold_War_and_Culture?f_ri=8927"},{"id":8414,"name":"Gaston Bachelard","url":"https://www.academia.edu/Documents/in/Gaston_Bachelard?f_ri=8927"},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927"},{"id":12585,"name":"Environmental Art","url":"https://www.academia.edu/Documents/in/Environmental_Art?f_ri=8927"},{"id":15749,"name":"Art Criticism","url":"https://www.academia.edu/Documents/in/Art_Criticism?f_ri=8927"},{"id":18845,"name":"Environmental Sustainability","url":"https://www.academia.edu/Documents/in/Environmental_Sustainability?f_ri=8927"},{"id":25613,"name":"Philosophy of Nature","url":"https://www.academia.edu/Documents/in/Philosophy_of_Nature?f_ri=8927"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=8927"},{"id":96985,"name":"Fieldwork in Philosophy","url":"https://www.academia.edu/Documents/in/Fieldwork_in_Philosophy?f_ri=8927"},{"id":149474,"name":"Anthropocene","url":"https://www.academia.edu/Documents/in/Anthropocene?f_ri=8927"},{"id":197933,"name":"Ólafur Elíasson","url":"https://www.academia.edu/Documents/in/%C3%93lafur_El%C3%ADasson?f_ri=8927"},{"id":996031,"name":"Nuclear Tests","url":"https://www.academia.edu/Documents/in/Nuclear_Tests?f_ri=8927"},{"id":1788180,"name":"Art and the Anthropocene","url":"https://www.academia.edu/Documents/in/Art_and_the_Anthropocene?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40031450" data-work_id="40031450" 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/40031450/Understanding_the_impact_of_new_technologies_on_the_creative_process_in_the_21st_Century_Professional_Dance">Understanding the impact of new technologies on the creative process in the 21st Century Professional Dance</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Currently Art and Science, the two main fields of the human knowledge, are interacting more intensely developing new connections between them. Throughout the last three decades we are witnessing a great acceleration of scientific and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40031450" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Currently Art and Science, the two main fields of the human knowledge, are interacting more intensely developing new connections between them. Throughout the last three decades we are witnessing a great acceleration of scientific and technological progress, which has permeated our society so deeply, that some people say that we have entered a new era: The digital era. "Dance, like any other social activity, cannot be disconnected from technological advances. Thus, the new technologies are incorporated into the range of resources that the choreographer uses in different aspects and moments of the creative process" (Preciado-Azanza, 2018). The creators, regardless of their scope, not only use them but explore them and invent new ways of using them. Also, the scientific and technological progress influences the experiences, knowledge, objects and images of our unconscious (personal and collective) used to create a piece of dance. To achieve the connection with the viewers, it is crucial they understand the meaning of the choreographic work, at which point the imaginary or personal aesthetics are united to the collective. Throughout the XXI Century, the new technologies also have changed this connection. We cannot talk about viewer, the current society claims greater participation of the spectator/ user and the globalization of the creation. This research presents the impact of new technologies on the creative process of the dance pieces developed in this century focusing on: How mental imaginery and aesthetics had changed and which technological tools have been incorporated in the scenic space design. The utility of new technologies during the choreographic process (Creating or exploring new movements, improving technical aspects or the coordination between dancers) incorporated these aspects in professional work.</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/40031450" 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="b0ec0d503f85b5a11f0fc2d5b0119265" rel="nofollow" data-download="{"attachment_id":66217891,"asset_id":40031450,"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/66217891/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="55221977" href="https://ieiop.academia.edu/GonzaloPreciadoAzanza">Gonzalo Preciado-Azanza</a><script data-card-contents-for-user="55221977" type="text/json">{"id":55221977,"first_name":"Gonzalo","last_name":"Preciado-Azanza","domain_name":"ieiop","page_name":"GonzaloPreciadoAzanza","display_name":"Gonzalo Preciado-Azanza","profile_url":"https://ieiop.academia.edu/GonzaloPreciadoAzanza?f_ri=8927","photo":"https://0.academia-photos.com/55221977/14555007/69626974/s65_gonzalo.preciado-azanza.png"}</script></span></span></li><li class="js-paper-rank-work_40031450 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40031450"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40031450, container: ".js-paper-rank-work_40031450", }); 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Throughout the last three decades we are witnessing a great acceleration of scientific and technological progress, which has permeated our society so deeply, that some people say that we have entered a new era: The digital era. \"Dance, like any other social activity, cannot be disconnected from technological advances. Thus, the new technologies are incorporated into the range of resources that the choreographer uses in different aspects and moments of the creative process\" (Preciado-Azanza, 2018). The creators, regardless of their scope, not only use them but explore them and invent new ways of using them. Also, the scientific and technological progress influences the experiences, knowledge, objects and images of our unconscious (personal and collective) used to create a piece of dance. To achieve the connection with the viewers, it is crucial they understand the meaning of the choreographic work, at which point the imaginary or personal aesthetics are united to the collective. Throughout the XXI Century, the new technologies also have changed this connection. We cannot talk about viewer, the current society claims greater participation of the spectator/ user and the globalization of the creation. This research presents the impact of new technologies on the creative process of the dance pieces developed in this century focusing on: How mental imaginery and aesthetics had changed and which technological tools have been incorporated in the scenic space design. The utility of new technologies during the choreographic process (Creating or exploring new movements, improving technical aspects or the coordination between dancers) incorporated these aspects in professional work.","downloadable_attachments":[{"id":66217891,"asset_id":40031450,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":55221977,"first_name":"Gonzalo","last_name":"Preciado-Azanza","domain_name":"ieiop","page_name":"GonzaloPreciadoAzanza","display_name":"Gonzalo Preciado-Azanza","profile_url":"https://ieiop.academia.edu/GonzaloPreciadoAzanza?f_ri=8927","photo":"https://0.academia-photos.com/55221977/14555007/69626974/s65_gonzalo.preciado-azanza.png"}],"research_interests":[{"id":1751,"name":"Creativity","url":"https://www.academia.edu/Documents/in/Creativity?f_ri=8927","nofollow":false},{"id":5676,"name":"Choreography","url":"https://www.academia.edu/Documents/in/Choreography?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=8927","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19781789" data-work_id="19781789" 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/19781789/C_Colligan_M_Linley_eds_Media_Technology_and_Literature_in_the_Nineteenth_Century_Image_Sound_Touch_Surrey_Ashgate_2011">C. Colligan; M. Linley (eds.): Media, Technology, and Literature in the Nineteenth Century. Image, Sound, Touch. Surrey: Ashgate, 2011</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/19781789" 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="ecee0c327952422737836dc9e48c0bcf" rel="nofollow" data-download="{"attachment_id":40841622,"asset_id":19781789,"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/40841622/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="1103569" href="https://uib-es.academia.edu/SonsolesHernandezBarbosa">Sonsoles Hernandez Barbosa</a><script data-card-contents-for-user="1103569" type="text/json">{"id":1103569,"first_name":"Sonsoles","last_name":"Hernandez Barbosa","domain_name":"uib-es","page_name":"SonsolesHernandezBarbosa","display_name":"Sonsoles Hernandez Barbosa","profile_url":"https://uib-es.academia.edu/SonsolesHernandezBarbosa?f_ri=8927","photo":"https://0.academia-photos.com/1103569/389637/473511/s65_sonsoles.hernandez_barbosa.jpg"}</script></span></span></li><li class="js-paper-rank-work_19781789 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19781789"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19781789, container: ".js-paper-rank-work_19781789", }); 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Colligan; M. Linley (eds.): Media, Technology, and Literature in the Nineteenth Century. Image, Sound, Touch. Surrey: Ashgate, 2011","created_at":"2015-12-22T03:27:32.962-08:00","url":"https://www.academia.edu/19781789/C_Colligan_M_Linley_eds_Media_Technology_and_Literature_in_the_Nineteenth_Century_Image_Sound_Touch_Surrey_Ashgate_2011?f_ri=8927","dom_id":"work_19781789","summary":null,"downloadable_attachments":[{"id":40841622,"asset_id":19781789,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1103569,"first_name":"Sonsoles","last_name":"Hernandez Barbosa","domain_name":"uib-es","page_name":"SonsolesHernandezBarbosa","display_name":"Sonsoles Hernandez Barbosa","profile_url":"https://uib-es.academia.edu/SonsolesHernandezBarbosa?f_ri=8927","photo":"https://0.academia-photos.com/1103569/389637/473511/s65_sonsoles.hernandez_barbosa.jpg"}],"research_interests":[{"id":5130,"name":"History of the Senses","url":"https://www.academia.edu/Documents/in/History_of_the_Senses?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":29113,"name":"Nineteenth-Century Literature and Culture","url":"https://www.academia.edu/Documents/in/Nineteenth-Century_Literature_and_Culture?f_ri=8927","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_15201634" data-work_id="15201634" 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/15201634/K%C3%BChne_Wanderer_auf_Abwegen_Kulturwisenschaftliche_%C3%9Cberlegungen_zum_Abseitigen_in_Berliner_Bl%C3%A4tter_68_2015_S_7_16">Kühne Wanderer auf Abwegen. Kulturwisenschaftliche Überlegungen zum Abseitigen, in: Berliner Blätter 68, 2015, S. 7-16.</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/15201634" 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="f6c491d798125ef943ac4d1dac4c6ed8" rel="nofollow" data-download="{"attachment_id":40168669,"asset_id":15201634,"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/40168669/download_file?st=MTczMjc3Mzg4OSw4LjIyMi4yMDguMTQ2&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="10820084" href="https://hu-berlin.academia.edu/SilvyChakkalakal">Silvy Chakkalakal</a><script data-card-contents-for-user="10820084" type="text/json">{"id":10820084,"first_name":"Silvy","last_name":"Chakkalakal","domain_name":"hu-berlin","page_name":"SilvyChakkalakal","display_name":"Silvy Chakkalakal","profile_url":"https://hu-berlin.academia.edu/SilvyChakkalakal?f_ri=8927","photo":"https://0.academia-photos.com/10820084/3381442/11340053/s65_silvy.chakkalakal.jpg"}</script></span></span></li><li class="js-paper-rank-work_15201634 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15201634"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15201634, container: ".js-paper-rank-work_15201634", }); 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$(".js-view-count[data-work-id=15201634]").text(description); $(".js-view-count-work_15201634").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_15201634").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="15201634"><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="2170" href="https://www.academia.edu/Documents/in/Ethnography">Ethnography</a>, <script data-card-contents-for-ri="2170" type="text/json">{"id":2170,"name":"Ethnography","url":"https://www.academia.edu/Documents/in/Ethnography?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3499" href="https://www.academia.edu/Documents/in/Social_and_Cultural_Anthropology">Social and Cultural Anthropology</a>, <script data-card-contents-for-ri="3499" type="text/json">{"id":3499,"name":"Social and Cultural Anthropology","url":"https://www.academia.edu/Documents/in/Social_and_Cultural_Anthropology?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a>, <script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="121221" href="https://www.academia.edu/Documents/in/Writings_from_the_Margins">Writings from the Margins</a><script data-card-contents-for-ri="121221" type="text/json">{"id":121221,"name":"Writings from the Margins","url":"https://www.academia.edu/Documents/in/Writings_from_the_Margins?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=15201634]'), work: {"id":15201634,"title":"Kühne Wanderer auf Abwegen. 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SchattenTrilogie. Mit Texten von Yoko Tawada, Hartmut Böhme, Gabriele Brandstetter und Adam Czirak</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Mit ihrer SchattenTrilogie, die die Installationsperformances "Die Scheinwerferin" (2011), "Absolute Helligkeit" (2012) und "Unverinnerlicht" (2015) umfasst, hat sich die an den Grenzen von bildender Kunst und szenischer... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32918084" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Mit ihrer SchattenTrilogie, die die Installationsperformances "Die Scheinwerferin" (2011), "Absolute Helligkeit" (2012) und "Unverinnerlicht" (2015) umfasst, hat sich die an den Grenzen von bildender Kunst und szenischer Installationskunst agierende Naoko Tanaka nicht nur im gesamten Bundesgebiet (mit Vorstellungen u.a. in Berlin, Leipzig, Essen, Hannover, Düsseldorf) einen Namen gemacht, sondern auch auf internationaler Ebene (mit Gastspielen u.a. in Japan, Frankreich, Belgien, Österreich, Schweiz, Italien, Serbien, Polen, Portugal). Die SchattenTrilogie vereint drei eigenständige und doch aufeinander bezogene, objekt- und bildbasierte, atmosphärisch dichte Auseinandersetzungen mit Licht und Schatten, die die Künstlerin als technisch-mediale Phänomene ebenso interessieren wie als Sinnbild für existenzielle Fragen. Um die Performances kreisen wie Satelliten Skizzen und Zeichnungen, Vorarbeiten der Künstlerin, Fotografien, die Einblicke in die Vorbereitung und Einrichtung der Szene und die Anfertigung der Objekte geben, sowie ein poetischer Text von Yoko Tawada und wissenschaftliche Essays von Hartmut Böhme, Gabriele Brandstetter und Adam Czirak, die sich als Angebote verstehen, mit Tanakas Arbeiten ins Gespräch zu kommen.<br />Das Buch erscheint zunächst auf Deutsch, im Herbst 2017 auch in einer englischen und in einer japanischen Ausgabe.</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/32918084" 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="d75c25ef806050d05b4fcc4b4a5940b2" rel="nofollow" data-download="{"attachment_id":53484524,"asset_id":32918084,"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/53484524/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="11865654" href="https://humanistisch.academia.edu/AstridHackel">Astrid Hackel</a><script data-card-contents-for-user="11865654" type="text/json">{"id":11865654,"first_name":"Astrid","last_name":"Hackel","domain_name":"humanistisch","page_name":"AstridHackel","display_name":"Astrid Hackel","profile_url":"https://humanistisch.academia.edu/AstridHackel?f_ri=8927","photo":"https://0.academia-photos.com/11865654/3440414/19426264/s65_astrid.hackel.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-32918084">+1</span><div class="hidden js-additional-users-32918084"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://fu-berlin.academia.edu/AdamCzirak">Adam Czirak</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-32918084'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-32918084').html(); 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SchattenTrilogie. Mit Texten von Yoko Tawada, Hartmut Böhme, Gabriele Brandstetter und Adam Czirak","created_at":"2017-05-09T00:59:39.342-07:00","url":"https://www.academia.edu/32918084/Naoko_Tanaka_SchattenTrilogie_Mit_Texten_von_Yoko_Tawada_Hartmut_B%C3%B6hme_Gabriele_Brandstetter_und_Adam_Czirak?f_ri=8927","dom_id":"work_32918084","summary":"Mit ihrer SchattenTrilogie, die die Installationsperformances \"Die Scheinwerferin\" (2011), \"Absolute Helligkeit\" (2012) und \"Unverinnerlicht\" (2015) umfasst, hat sich die an den Grenzen von bildender Kunst und szenischer Installationskunst agierende Naoko Tanaka nicht nur im gesamten Bundesgebiet (mit Vorstellungen u.a. in Berlin, Leipzig, Essen, Hannover, Düsseldorf) einen Namen gemacht, sondern auch auf internationaler Ebene (mit Gastspielen u.a. in Japan, Frankreich, Belgien, Österreich, Schweiz, Italien, Serbien, Polen, Portugal). Die SchattenTrilogie vereint drei eigenständige und doch aufeinander bezogene, objekt- und bildbasierte, atmosphärisch dichte Auseinandersetzungen mit Licht und Schatten, die die Künstlerin als technisch-mediale Phänomene ebenso interessieren wie als Sinnbild für existenzielle Fragen. Um die Performances kreisen wie Satelliten Skizzen und Zeichnungen, Vorarbeiten der Künstlerin, Fotografien, die Einblicke in die Vorbereitung und Einrichtung der Szene und die Anfertigung der Objekte geben, sowie ein poetischer Text von Yoko Tawada und wissenschaftliche Essays von Hartmut Böhme, Gabriele Brandstetter und Adam Czirak, die sich als Angebote verstehen, mit Tanakas Arbeiten ins Gespräch zu kommen.\nDas Buch erscheint zunächst auf Deutsch, im Herbst 2017 auch in einer englischen und in einer japanischen Ausgabe.","downloadable_attachments":[{"id":53484524,"asset_id":32918084,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11865654,"first_name":"Astrid","last_name":"Hackel","domain_name":"humanistisch","page_name":"AstridHackel","display_name":"Astrid 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Gedächtnis","url":"https://www.academia.edu/Documents/in/Kulturelles_Gedachtnis?f_ri=8927"},{"id":1030942,"name":"Katastrophen","url":"https://www.academia.edu/Documents/in/Katastrophen?f_ri=8927"},{"id":1165984,"name":"Phantasie","url":"https://www.academia.edu/Documents/in/Phantasie?f_ri=8927"},{"id":1291291,"name":"Erinnerungsorte","url":"https://www.academia.edu/Documents/in/Erinnerungsorte?f_ri=8927"},{"id":1389132,"name":"Selbstreflexion","url":"https://www.academia.edu/Documents/in/Selbstreflexion?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_15168886" data-work_id="15168886" 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/15168886/Digital_Self_How_We_Became_Binary">Digital Self: How We Became Binary</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">SUMMARY The ubiquitous use of digital technology in all aspects of daily life has opened up unprecedented possibilities such as immediate access to information, (tele)presence at any place on the planet, multiplication and modification... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_15168886" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">SUMMARY <br />The ubiquitous use of digital technology in all aspects of daily life has opened up unprecedented possibilities such as immediate access to information, (tele)presence at any place on the planet, multiplication and modification of identity, as well as rearticulation and reconstruction of embodiment. In cyberpunk literature, new media art practices, cyber theories, SF films and comic books, and scientific research, there is often a tendency to leave the mortal physical body, behind in order to upload the immortal mind into the vast realm of the digital where one can be whatever or whomever s/he wants. In relation to modern technology, <br />the biological body is often regarded as obsolete for not being “equipped” to cope with the exponential speed of technological development. Hence, it is not surprising that many studies ignore the problem of embodiment by focusing more on the issues of identity, consciousness and disembodiment in digital worlds. Therefore, this book will attempt to highlight those theories that focus on embodiment in technologically mediated environments, thus reintegrating the physical body into discussions of new media phenomena and the ways they affect social reality today. In this book I will start from the hypothesis that without the physical body there is no virtual or real. The aim is to underline the significance of physical body in biotechnological interfaces, and to discuss and analyze the <br />ways in which the role of body and embodiment changes in ubiquitous virtual environments, as well as to map the ways in which technology alters bodily functions thus affecting ontological survival of humans as biological species. <br />The issues of constructing identities and identification processes will be observed through an anti-essentialist theoretical framework and mapped through two different but mutually intertwined phases in the evolution of global networks – Web 1.0 and Web 2.0 platforms. While Web 1.0 platforms were based on textual representations and identity play allowing us to become everything we are not <br />and can never be in the physical reality, Web 2.0 platforms that are specific to social networking delegate identities of physical reality in the virtual domain. However, presumed “real” identities manifest themselves as constructs in a virtual environment since they are based on a selective representation of an idealized self. Through feedback loops, this phenomenon further highlights the question of not only the quality of interpersonal relationships and communication, but also the way that we perceive and define ourselves in the physical environment. Dispersion <br />of boundaries between real and virtual, private and public, entails a fundamental question that this book will attempt to answer: What does it mean to be human in today’s world of digitalization when the explosion of digital imagery and interactions into the physical environment has so profoundly affected social, cultural and political activities, interventions and subversions, turning both the distinction between “real” and “virtual” spaces and dualistic ways of defining the self into rather obsolete concepts. Is anything at all “virtual” in cyberspace, i.e. can cyberspace be defined as virtual at all when, for example, because of an activity such as posting on Facebook, one can lose a job or has to let corporations dictate and define what is and what is not appropriate in the one’s digitally constructed identity? Nevertheless, we are still comforted by the illusion that our screen as an interface separates the real and the virtual, functioning as the boundary or line marking the end of real and the beginning of virtual. Everything situated on the other side of the screen, like a distorted mirror, allows us to rationalize and simplify the existence of the boundary between what defines us in physical reality and what we are as constructs in online interactions. However, what happens when the screen, that black mirror, breaks into pieces, thus enabling the body as interface to become responsible for the other Self or the digital alter ego? In this regard, special attention will be given to the concept of abandoning the screen and turning to the emerging new interfaces that rearticulate the relation between corporeality and virtuality. Gestural interfaces as a new “mouse” or a new touch screen without a screen will, coupled up with holographic projections that have already found their way into the physical public spaces, open up a multitude of far-reaching questions of psychosomatic nature: If, for example, we are present/telepresent to one another via holograms animated via corporeal gestures, would it mean the differentiation of degree of corporeality in terms of valuation and hierarchy of embodiment? How will we be able to determine what is more valuable, more present and real – projection or materiality of the body? And finally, will there be any difference at all between gesturally manipulated projection and the real body that is already deeply caught in the process of cyborgization? In William Gibson’s words, the future is already here - it is just not very evenly distributed.</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/15168886" 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="ff6386e2d2b567b307c5bf5a01104daa" rel="nofollow" data-download="{"attachment_id":38566030,"asset_id":15168886,"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/38566030/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="470447" href="https://bg.academia.edu/JelenaGuga">Jelena Guga</a><script data-card-contents-for-user="470447" type="text/json">{"id":470447,"first_name":"Jelena","last_name":"Guga","domain_name":"bg","page_name":"JelenaGuga","display_name":"Jelena Guga","profile_url":"https://bg.academia.edu/JelenaGuga?f_ri=8927","photo":"https://0.academia-photos.com/470447/156900/12365370/s65_jelena.guga.jpg"}</script></span></span></li><li class="js-paper-rank-work_15168886 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15168886"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15168886, container: ".js-paper-rank-work_15168886", }); 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$(".js-view-count[data-work-id=15168886]").text(description); $(".js-view-count-work_15168886").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_15168886").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="15168886"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="933" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="972" href="https://www.academia.edu/Documents/in/Self_and_Identity">Self and Identity</a>, <script data-card-contents-for-ri="972" type="text/json">{"id":972,"name":"Self and Identity","url":"https://www.academia.edu/Documents/in/Self_and_Identity?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1032" href="https://www.academia.edu/Documents/in/Cyborg_Theory">Cyborg Theory</a>, <script data-card-contents-for-ri="1032" type="text/json">{"id":1032,"name":"Cyborg Theory","url":"https://www.academia.edu/Documents/in/Cyborg_Theory?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" 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=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=15168886]'), work: {"id":15168886,"title":"Digital Self: How We Became Binary","created_at":"2015-08-25T05:45:04.400-07:00","url":"https://www.academia.edu/15168886/Digital_Self_How_We_Became_Binary?f_ri=8927","dom_id":"work_15168886","summary":"SUMMARY\r\nThe ubiquitous use of digital technology in all aspects of daily life has opened up unprecedented possibilities such as immediate access to information, (tele)presence at any place on the planet, multiplication and modification of identity, as well as rearticulation and reconstruction of embodiment. In cyberpunk literature, new media art practices, cyber theories, SF films and comic books, and scientific research, there is often a tendency to leave the mortal physical body, behind in order to upload the immortal mind into the vast realm of the digital where one can be whatever or whomever s/he wants. In relation to modern technology,\r\nthe biological body is often regarded as obsolete for not being “equipped” to cope with the exponential speed of technological development. Hence, it is not surprising that many studies ignore the problem of embodiment by focusing more on the issues of identity, consciousness and disembodiment in digital worlds. Therefore, this book will attempt to highlight those theories that focus on embodiment in technologically mediated environments, thus reintegrating the physical body into discussions of new media phenomena and the ways they affect social reality today. In this book I will start from the hypothesis that without the physical body there is no virtual or real. The aim is to underline the significance of physical body in biotechnological interfaces, and to discuss and analyze the\r\nways in which the role of body and embodiment changes in ubiquitous virtual environments, as well as to map the ways in which technology alters bodily functions thus affecting ontological survival of humans as biological species.\r\nThe issues of constructing identities and identification processes will be observed through an anti-essentialist theoretical framework and mapped through two different but mutually intertwined phases in the evolution of global networks – Web 1.0 and Web 2.0 platforms. While Web 1.0 platforms were based on textual representations and identity play allowing us to become everything we are not\r\nand can never be in the physical reality, Web 2.0 platforms that are specific to social networking delegate identities of physical reality in the virtual domain. However, presumed “real” identities manifest themselves as constructs in a virtual environment since they are based on a selective representation of an idealized self. Through feedback loops, this phenomenon further highlights the question of not only the quality of interpersonal relationships and communication, but also the way that we perceive and define ourselves in the physical environment. Dispersion\r\nof boundaries between real and virtual, private and public, entails a fundamental question that this book will attempt to answer: What does it mean to be human in today’s world of digitalization when the explosion of digital imagery and interactions into the physical environment has so profoundly affected social, cultural and political activities, interventions and subversions, turning both the distinction between “real” and “virtual” spaces and dualistic ways of defining the self into rather obsolete concepts. Is anything at all “virtual” in cyberspace, i.e. can cyberspace be defined as virtual at all when, for example, because of an activity such as posting on Facebook, one can lose a job or has to let corporations dictate and define what is and what is not appropriate in the one’s digitally constructed identity? Nevertheless, we are still comforted by the illusion that our screen as an interface separates the real and the virtual, functioning as the boundary or line marking the end of real and the beginning of virtual. Everything situated on the other side of the screen, like a distorted mirror, allows us to rationalize and simplify the existence of the boundary between what defines us in physical reality and what we are as constructs in online interactions. However, what happens when the screen, that black mirror, breaks into pieces, thus enabling the body as interface to become responsible for the other Self or the digital alter ego? In this regard, special attention will be given to the concept of abandoning the screen and turning to the emerging new interfaces that rearticulate the relation between corporeality and virtuality. Gestural interfaces as a new “mouse” or a new touch screen without a screen will, coupled up with holographic projections that have already found their way into the physical public spaces, open up a multitude of far-reaching questions of psychosomatic nature: If, for example, we are present/telepresent to one another via holograms animated via corporeal gestures, would it mean the differentiation of degree of corporeality in terms of valuation and hierarchy of embodiment? How will we be able to determine what is more valuable, more present and real – projection or materiality of the body? And finally, will there be any difference at all between gesturally manipulated projection and the real body that is already deeply caught in the process of cyborgization? In William Gibson’s words, the future is already here - it is just not very evenly distributed.","downloadable_attachments":[{"id":38566030,"asset_id":15168886,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":470447,"first_name":"Jelena","last_name":"Guga","domain_name":"bg","page_name":"JelenaGuga","display_name":"Jelena Guga","profile_url":"https://bg.academia.edu/JelenaGuga?f_ri=8927","photo":"https://0.academia-photos.com/470447/156900/12365370/s65_jelena.guga.jpg"}],"research_interests":[{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=8927","nofollow":false},{"id":972,"name":"Self and Identity","url":"https://www.academia.edu/Documents/in/Self_and_Identity?f_ri=8927","nofollow":false},{"id":1032,"name":"Cyborg Theory","url":"https://www.academia.edu/Documents/in/Cyborg_Theory?f_ri=8927","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=8927","nofollow":false},{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=8927"},{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism?f_ri=8927"},{"id":4289,"name":"Cyberpunk","url":"https://www.academia.edu/Documents/in/Cyberpunk?f_ri=8927"},{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=8927"},{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_?f_ri=8927"},{"id":5425,"name":"Embodied Mind and Cognition","url":"https://www.academia.edu/Documents/in/Embodied_Mind_and_Cognition?f_ri=8927"},{"id":5673,"name":"Augmented Reality","url":"https://www.academia.edu/Documents/in/Augmented_Reality?f_ri=8927"},{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction?f_ri=8927"},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927"},{"id":10444,"name":"Postmodernism","url":"https://www.academia.edu/Documents/in/Postmodernism?f_ri=8927"},{"id":11119,"name":"User Interface","url":"https://www.academia.edu/Documents/in/User_Interface?f_ri=8927"},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=8927"},{"id":21809,"name":"Human Enhancement","url":"https://www.academia.edu/Documents/in/Human_Enhancement?f_ri=8927"},{"id":21842,"name":"Virtual Worlds","url":"https://www.academia.edu/Documents/in/Virtual_Worlds?f_ri=8927"},{"id":29128,"name":"Cybercultures","url":"https://www.academia.edu/Documents/in/Cybercultures?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11958766" data-work_id="11958766" 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/11958766/Sketching_from_nature_Art_Science_Both_Botanical_drawings_of_Charles_Rennie_and_Margaret_Macdonald_Mackintosh">Sketching from nature. Art? Science? Both? Botanical drawings of Charles Rennie and Margaret Macdonald Mackintosh</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 connection between art and science in observation drawing has mostly been referenced concerning scientific illustration. The botanical drawings of Charles Rennie Mackintosh (1868- 1928) and Margaret Macdonald (1864-1933) have also... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11958766" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The connection between art and science in observation drawing has mostly been referenced concerning scientific illustration. The botanical drawings of Charles Rennie Mackintosh (1868- 1928) and Margaret Macdonald (1864-1933) have also been referenced as examples linking art and science. These drawings are catalogued and the majority of the botanical specimens are identified. Previous studies have mainly focused on a more individualized descriptive approach of the drawings themselves or a biographical perspective towards Mackintosh’s interest in botany. Nevertheless, a more profound formal study of these drawings as a whole, has not yet been done as to clearly identify their artistic and their scientific features and assess their potential contributions to both art and science. With this in mind, we have analysed 70 botanical drawings owned by the Hunterian Museum and Art Gallery and the National Library of Ireland. We compared their features toy botanical illustrations, photographic records from the present time, real live plants and with both artists’ stylized plant forms. This study should contribute to the dialogue between art and science and, ultimately the appreciation of the natural world and biodiversity. <br /> <br />Title: Arts and Sciences in Dialogue – Proceedings of the International Conference <br />Editors: Isabel Ponce de Leão, Maria do Carmo Mendes & Sérgio Lira <br />Publisher: Green Lines Instituto para o Desenvolvimento Sustentável <br />eBook ISBN: 978-989-8734-04-4</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/11958766" 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="36fd8ad497319b2ec394f3bcd584d5a0" rel="nofollow" data-download="{"attachment_id":37315019,"asset_id":11958766,"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/37315019/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="2693833" href="https://fcsh-unl.academia.edu/SandraSantos">Sandra Santos</a><script data-card-contents-for-user="2693833" type="text/json">{"id":2693833,"first_name":"Sandra","last_name":"Santos","domain_name":"fcsh-unl","page_name":"SandraSantos","display_name":"Sandra Santos","profile_url":"https://fcsh-unl.academia.edu/SandraSantos?f_ri=8927","photo":"https://0.academia-photos.com/2693833/863226/2651616/s65_sandra.santos.jpg"}</script></span></span></li><li class="js-paper-rank-work_11958766 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11958766"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11958766, container: ".js-paper-rank-work_11958766", }); });</script></li><li class="js-percentile-work_11958766 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 = 11958766; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_11958766"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_11958766 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="11958766"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11958766; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11958766]").text(description); $(".js-view-count-work_11958766").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11958766").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="11958766"><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="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a>, <script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12974" href="https://www.academia.edu/Documents/in/Drawing">Drawing</a>, <script data-card-contents-for-ri="12974" type="text/json">{"id":12974,"name":"Drawing","url":"https://www.academia.edu/Documents/in/Drawing?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="36097" href="https://www.academia.edu/Documents/in/Art_of_Botanical_Illustration">Art of Botanical Illustration</a>, <script data-card-contents-for-ri="36097" type="text/json">{"id":36097,"name":"Art of Botanical Illustration","url":"https://www.academia.edu/Documents/in/Art_of_Botanical_Illustration?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="51563" href="https://www.academia.edu/Documents/in/Charles_Rennie_Mackintosh">Charles Rennie Mackintosh</a><script data-card-contents-for-ri="51563" type="text/json">{"id":51563,"name":"Charles Rennie Mackintosh","url":"https://www.academia.edu/Documents/in/Charles_Rennie_Mackintosh?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11958766]'), work: {"id":11958766,"title":"Sketching from nature. Art? Science? Both? Botanical drawings of Charles Rennie and Margaret Macdonald Mackintosh","created_at":"2015-04-15T08:04:08.071-07:00","url":"https://www.academia.edu/11958766/Sketching_from_nature_Art_Science_Both_Botanical_drawings_of_Charles_Rennie_and_Margaret_Macdonald_Mackintosh?f_ri=8927","dom_id":"work_11958766","summary":"The connection between art and science in observation drawing has mostly been referenced concerning scientific illustration. The botanical drawings of Charles Rennie Mackintosh (1868- 1928) and Margaret Macdonald (1864-1933) have also been referenced as examples linking art and science. These drawings are catalogued and the majority of the botanical specimens are identified. Previous studies have mainly focused on a more individualized descriptive approach of the drawings themselves or a biographical perspective towards Mackintosh’s interest in botany. Nevertheless, a more profound formal study of these drawings as a whole, has not yet been done as to clearly identify their artistic and their scientific features and assess their potential contributions to both art and science. With this in mind, we have analysed 70 botanical drawings owned by the Hunterian Museum and Art Gallery and the National Library of Ireland. We compared their features toy botanical illustrations, photographic records from the present time, real live plants and with both artists’ stylized plant forms. This study should contribute to the dialogue between art and science and, ultimately the appreciation of the natural world and biodiversity.\r\n\r\nTitle: Arts and Sciences in Dialogue – Proceedings of the International Conference\r\nEditors: Isabel Ponce de Leão, Maria do Carmo Mendes \u0026 Sérgio Lira\r\nPublisher: Green Lines Instituto para o Desenvolvimento Sustentável\r\neBook ISBN: 978-989-8734-04-4","downloadable_attachments":[{"id":37315019,"asset_id":11958766,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2693833,"first_name":"Sandra","last_name":"Santos","domain_name":"fcsh-unl","page_name":"SandraSantos","display_name":"Sandra Santos","profile_url":"https://fcsh-unl.academia.edu/SandraSantos?f_ri=8927","photo":"https://0.academia-photos.com/2693833/863226/2651616/s65_sandra.santos.jpg"}],"research_interests":[{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":12974,"name":"Drawing","url":"https://www.academia.edu/Documents/in/Drawing?f_ri=8927","nofollow":false},{"id":36097,"name":"Art of Botanical Illustration","url":"https://www.academia.edu/Documents/in/Art_of_Botanical_Illustration?f_ri=8927","nofollow":false},{"id":51563,"name":"Charles Rennie Mackintosh","url":"https://www.academia.edu/Documents/in/Charles_Rennie_Mackintosh?f_ri=8927","nofollow":false},{"id":437255,"name":"Margaret Macdonald Mackintosh","url":"https://www.academia.edu/Documents/in/Margaret_Macdonald_Mackintosh?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4194548" data-work_id="4194548" 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/4194548/Matematica_e_conservazione_del_patrimonio_artistico">Matematica e conservazione del patrimonio artistico</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/4194548" 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="ea17dd9db3a66984cff1f1dc067b7c36" rel="nofollow" data-download="{"attachment_id":31690923,"asset_id":4194548,"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/31690923/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="813542" href="https://independent.academia.edu/MarcoFulvioBarozzi">Marco Fulvio Barozzi</a><script data-card-contents-for-user="813542" type="text/json">{"id":813542,"first_name":"Marco Fulvio","last_name":"Barozzi","domain_name":"independent","page_name":"MarcoFulvioBarozzi","display_name":"Marco Fulvio Barozzi","profile_url":"https://independent.academia.edu/MarcoFulvioBarozzi?f_ri=8927","photo":"https://0.academia-photos.com/813542/889415/1111213/s65_marco_fulvio.barozzi.jpg"}</script></span></span></li><li class="js-paper-rank-work_4194548 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4194548"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4194548, container: ".js-paper-rank-work_4194548", }); 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$(".js-view-count[data-work-id=4194548]").text(description); $(".js-view-count-work_4194548").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_4194548").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="4194548"><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="305" href="https://www.academia.edu/Documents/in/Applied_Mathematics">Applied Mathematics</a>, <script data-card-contents-for-ri="305" type="text/json">{"id":305,"name":"Applied Mathematics","url":"https://www.academia.edu/Documents/in/Applied_Mathematics?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a><script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4194548]'), work: {"id":4194548,"title":"Matematica e conservazione del patrimonio artistico","created_at":"2013-08-07T18:50:24.719-07:00","url":"https://www.academia.edu/4194548/Matematica_e_conservazione_del_patrimonio_artistico?f_ri=8927","dom_id":"work_4194548","summary":null,"downloadable_attachments":[{"id":31690923,"asset_id":4194548,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":813542,"first_name":"Marco Fulvio","last_name":"Barozzi","domain_name":"independent","page_name":"MarcoFulvioBarozzi","display_name":"Marco Fulvio Barozzi","profile_url":"https://independent.academia.edu/MarcoFulvioBarozzi?f_ri=8927","photo":"https://0.academia-photos.com/813542/889415/1111213/s65_marco_fulvio.barozzi.jpg"}],"research_interests":[{"id":305,"name":"Applied Mathematics","url":"https://www.academia.edu/Documents/in/Applied_Mathematics?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5968814" data-work_id="5968814" 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/5968814/_Heads_of_State_Profiles_and_Politics_in_Jeffersonian_America_in_New_Media_1740_1915_eds_Lisa_Gitelman_and_Geoffrey_P_Pingree_Cambridge_Mass_MIT_Press_2003_31_59">“Heads of State: Profiles and Politics in Jeffersonian America,” in New Media, 1740-1915, eds. Lisa Gitelman and Geoffrey P. Pingree (Cambridge, Mass: MIT Press, 2003), 31-59 </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/5968814" 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="fef40b6b7049e664d10cd4f62751d72c" rel="nofollow" data-download="{"attachment_id":47053264,"asset_id":5968814,"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/47053264/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="8899631" href="https://udel.academia.edu/WendyBellion">Wendy Bellion</a><script data-card-contents-for-user="8899631" type="text/json">{"id":8899631,"first_name":"Wendy","last_name":"Bellion","domain_name":"udel","page_name":"WendyBellion","display_name":"Wendy Bellion","profile_url":"https://udel.academia.edu/WendyBellion?f_ri=8927","photo":"https://0.academia-photos.com/8899631/2917623/3411497/s65_wendy.bellion.jpg"}</script></span></span></li><li class="js-paper-rank-work_5968814 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5968814"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5968814, container: ".js-paper-rank-work_5968814", }); 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Lisa Gitelman and Geoffrey P. Pingree (Cambridge, Mass: MIT Press, 2003), 31-59 ","created_at":"2014-02-05T23:21:12.035-08:00","url":"https://www.academia.edu/5968814/_Heads_of_State_Profiles_and_Politics_in_Jeffersonian_America_in_New_Media_1740_1915_eds_Lisa_Gitelman_and_Geoffrey_P_Pingree_Cambridge_Mass_MIT_Press_2003_31_59?f_ri=8927","dom_id":"work_5968814","summary":null,"downloadable_attachments":[{"id":47053264,"asset_id":5968814,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8899631,"first_name":"Wendy","last_name":"Bellion","domain_name":"udel","page_name":"WendyBellion","display_name":"Wendy Bellion","profile_url":"https://udel.academia.edu/WendyBellion?f_ri=8927","photo":"https://0.academia-photos.com/8899631/2917623/3411497/s65_wendy.bellion.jpg"}],"research_interests":[{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=8927","nofollow":false},{"id":876,"name":"Print Culture","url":"https://www.academia.edu/Documents/in/Print_Culture?f_ri=8927","nofollow":false},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=8927","nofollow":false},{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=8927","nofollow":false},{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=8927"},{"id":2326,"name":"Nineteenth Century Studies","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_Studies?f_ri=8927"},{"id":2473,"name":"Material Culture Studies","url":"https://www.academia.edu/Documents/in/Material_Culture_Studies?f_ri=8927"},{"id":3798,"name":"Physiognomy","url":"https://www.academia.edu/Documents/in/Physiognomy?f_ri=8927"},{"id":6375,"name":"Thomas Jefferson","url":"https://www.academia.edu/Documents/in/Thomas_Jefferson?f_ri=8927"},{"id":7372,"name":"Early American Republic","url":"https://www.academia.edu/Documents/in/Early_American_Republic?f_ri=8927"},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927"},{"id":9645,"name":"Nineteenth-century Art","url":"https://www.academia.edu/Documents/in/Nineteenth-century_Art?f_ri=8927"},{"id":13491,"name":"Early Republic--American History","url":"https://www.academia.edu/Documents/in/Early_Republic--American_History?f_ri=8927"},{"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=8927"},{"id":19133,"name":"Print media","url":"https://www.academia.edu/Documents/in/Print_media?f_ri=8927"},{"id":108743,"name":"Arts and Sciences","url":"https://www.academia.edu/Documents/in/Arts_and_Sciences?f_ri=8927"},{"id":272273,"name":"Philadelphia","url":"https://www.academia.edu/Documents/in/Philadelphia?f_ri=8927"},{"id":564751,"name":"Charles Willson Peale","url":"https://www.academia.edu/Documents/in/Charles_Willson_Peale?f_ri=8927"},{"id":967321,"name":"Silhouettes","url":"https://www.academia.edu/Documents/in/Silhouettes?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_52973263" data-work_id="52973263" 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/52973263/Kunst_and_Natur_Bioart">Kunst & Natur = Bioart</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 ihrem 2005 veröffentlichten Buch „Kunst aus dem Labor“ thematisiert die Medientheoretikerin Ingeborg Reichle die engen Verbindungen zwischen Kunst und Naturwissenschaften. Standen lange vor allem technische Medien im Zentrum... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_52973263" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In ihrem 2005 veröffentlichten Buch „Kunst aus dem Labor“ thematisiert die Medientheoretikerin Ingeborg Reichle die engen Verbindungen zwischen Kunst und Naturwissenschaften. Standen lange vor allem technische Medien im Zentrum medientheoretischer Erkundungen, so gehören heute biologische dazu: In der BioArt und der Transgenic Art wenden Künstler*innen Methoden der Molekularbiologie an, um genetische Codes zu manipulieren; in der Robotic / Artificial Life Art wird mit computerbasierten Simulationsmodellen gearbeitet. Künstler*innen kooperieren eng mit Naturwissenschaftler*innen, überführen Laborsituationen in den Ausstellungskontext, experimentieren mit gentechnisch manipulierten Organismen und thematisieren in Techno- science die Auswirkungen der Forschungen auf unser Leben.</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/52973263" 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="22d38a3fa13bcb0cd6ce9339ce2f9ea7" rel="nofollow" data-download="{"attachment_id":69976393,"asset_id":52973263,"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/69976393/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="5321873" href="https://dieangewandte.academia.edu/IngeborgReichle">Ingeborg Reichle</a><script data-card-contents-for-user="5321873" type="text/json">{"id":5321873,"first_name":"Ingeborg","last_name":"Reichle","domain_name":"dieangewandte","page_name":"IngeborgReichle","display_name":"Ingeborg Reichle","profile_url":"https://dieangewandte.academia.edu/IngeborgReichle?f_ri=8927","photo":"https://0.academia-photos.com/5321873/2338277/2726681/s65_ingeborg.reichle.jpg"}</script></span></span></li><li class="js-paper-rank-work_52973263 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="52973263"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 52973263, container: ".js-paper-rank-work_52973263", }); 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$(".js-view-count[data-work-id=52973263]").text(description); $(".js-view-count-work_52973263").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_52973263").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="52973263"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1386" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5398" href="https://www.academia.edu/Documents/in/Biotechnology">Biotechnology</a>, <script data-card-contents-for-ri="5398" type="text/json">{"id":5398,"name":"Biotechnology","url":"https://www.academia.edu/Documents/in/Biotechnology?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6580" href="https://www.academia.edu/Documents/in/Global_Justice">Global Justice</a><script data-card-contents-for-ri="6580" type="text/json">{"id":6580,"name":"Global Justice","url":"https://www.academia.edu/Documents/in/Global_Justice?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=52973263]'), work: {"id":52973263,"title":"Kunst \u0026 Natur = Bioart","created_at":"2021-09-20T03:58:14.249-07:00","url":"https://www.academia.edu/52973263/Kunst_and_Natur_Bioart?f_ri=8927","dom_id":"work_52973263","summary":"In ihrem 2005 veröffentlichten Buch „Kunst aus dem Labor“ thematisiert die Medientheoretikerin Ingeborg Reichle die engen Verbindungen zwischen Kunst und Naturwissenschaften. Standen lange vor allem technische Medien im Zentrum medientheoretischer Erkundungen, so gehören heute biologische dazu: In der BioArt und der Transgenic Art wenden Künstler*innen Methoden der Molekularbiologie an, um genetische Codes zu manipulieren; in der Robotic / Artificial Life Art wird mit computerbasierten Simulationsmodellen gearbeitet. Künstler*innen kooperieren eng mit Naturwissenschaftler*innen, überführen Laborsituationen in den Ausstellungskontext, experimentieren mit gentechnisch manipulierten Organismen und thematisieren in Techno- science die Auswirkungen der Forschungen auf unser Leben.\n","downloadable_attachments":[{"id":69976393,"asset_id":52973263,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5321873,"first_name":"Ingeborg","last_name":"Reichle","domain_name":"dieangewandte","page_name":"IngeborgReichle","display_name":"Ingeborg Reichle","profile_url":"https://dieangewandte.academia.edu/IngeborgReichle?f_ri=8927","photo":"https://0.academia-photos.com/5321873/2338277/2726681/s65_ingeborg.reichle.jpg"}],"research_interests":[{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=8927","nofollow":false},{"id":3051,"name":"Contemporary 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Challenges","url":"https://www.academia.edu/Documents/in/Global_Challenges?f_ri=8927"},{"id":1744493,"name":"Science and Technology Studies","url":"https://www.academia.edu/Documents/in/Science_and_Technology_Studies?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_23497507" data-work_id="23497507" 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/23497507/New_Publishing_Option_for_Art_Historians_">New Publishing Option for Art Historians!</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Bloomsbury Acquisitions Editor Margaret Michniewicz (formerly with Ashgate) is welcoming book and series proposals for Bloomsbury's new research monograph program in art history and the visual arts, emphasizing cutting-edge scholarship... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23497507" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Bloomsbury Acquisitions Editor Margaret Michniewicz (formerly with Ashgate) is welcoming book and series proposals for Bloomsbury's new research monograph program in art history and the visual arts, emphasizing cutting-edge scholarship and high standards in production values.</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/23497507" 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="2745f062f02e86f29011f041e4cf6ea1" rel="nofollow" data-download="{"attachment_id":43933424,"asset_id":23497507,"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/43933424/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="33074492" href="https://ashgate.academia.edu/MargaretMichniewicz">Margaret Michniewicz</a><script data-card-contents-for-user="33074492" type="text/json">{"id":33074492,"first_name":"Margaret","last_name":"Michniewicz","domain_name":"ashgate","page_name":"MargaretMichniewicz","display_name":"Margaret Michniewicz","profile_url":"https://ashgate.academia.edu/MargaretMichniewicz?f_ri=8927","photo":"https://0.academia-photos.com/33074492/9994531/31695191/s65_margaret.michniewicz.jpg"}</script></span></span></li><li class="js-paper-rank-work_23497507 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23497507"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23497507, container: ".js-paper-rank-work_23497507", }); });</script></li><li class="js-percentile-work_23497507 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 = 23497507; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_23497507"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_23497507 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="23497507"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 23497507; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " 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data-has-card-for-ri="2473" href="https://www.academia.edu/Documents/in/Material_Culture_Studies">Material Culture Studies</a>, <script data-card-contents-for-ri="2473" type="text/json">{"id":2473,"name":"Material Culture Studies","url":"https://www.academia.edu/Documents/in/Material_Culture_Studies?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3225" href="https://www.academia.edu/Documents/in/Visual_Culture">Visual Culture</a>, <script data-card-contents-for-ri="3225" type="text/json">{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5247" href="https://www.academia.edu/Documents/in/Critical_Race_Theory">Critical Race Theory</a><script data-card-contents-for-ri="5247" type="text/json">{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=23497507]'), work: {"id":23497507,"title":"New Publishing Option for Art Historians!","created_at":"2016-03-20T17:32:47.936-07:00","url":"https://www.academia.edu/23497507/New_Publishing_Option_for_Art_Historians_?f_ri=8927","dom_id":"work_23497507","summary":"Bloomsbury Acquisitions Editor Margaret Michniewicz (formerly with Ashgate) is welcoming book and series proposals for Bloomsbury's new research monograph program in art history and the visual arts, emphasizing cutting-edge scholarship and high standards in production values.","downloadable_attachments":[{"id":43933424,"asset_id":23497507,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33074492,"first_name":"Margaret","last_name":"Michniewicz","domain_name":"ashgate","page_name":"MargaretMichniewicz","display_name":"Margaret Michniewicz","profile_url":"https://ashgate.academia.edu/MargaretMichniewicz?f_ri=8927","photo":"https://0.academia-photos.com/33074492/9994531/31695191/s65_margaret.michniewicz.jpg"}],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=8927","nofollow":false},{"id":2473,"name":"Material Culture Studies","url":"https://www.academia.edu/Documents/in/Material_Culture_Studies?f_ri=8927","nofollow":false},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=8927","nofollow":false},{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927"},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=8927"},{"id":14546,"name":"Modernism (Art History)","url":"https://www.academia.edu/Documents/in/Modernism_Art_History_?f_ri=8927"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=8927"},{"id":61730,"name":"Art and Cultural Theory, Postcolonialism, Gender and Feminism","url":"https://www.academia.edu/Documents/in/Art_and_Cultural_Theory_Postcolonialism_Gender_and_Feminism?f_ri=8927"},{"id":916798,"name":"Art and Feminism","url":"https://www.academia.edu/Documents/in/Art_and_Feminism?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_16788130" data-work_id="16788130" 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/16788130/%D0%A4%D1%80%D0%B0%D0%BD%D1%86%D1%83%D0%B7%D1%81%D0%BA%D0%BE%D0%B5_%D0%BE%D1%80%D0%B3%D0%B0%D0%BD%D0%BD%D0%BE%D0%B5_%D0%B8%D1%81%D0%BA%D1%83%D1%81%D1%81%D1%82%D0%B2%D0%BE_%D0%91%D0%B0%D1%80%D0%BE%D0%BA%D0%BA%D0%BE_%D0%9C%D1%83%D0%B7%D1%8B%D0%BA%D0%B0_%D0%9E%D1%80%D0%B3%D0%B0%D0%BD%D0%BE%D1%81%D1%82%D1%80%D0%BE%D0%B5%D0%BD%D0%B8%D0%B5_%D0%98%D1%81%D0%BF%D0%BE%D0%BB%D0%BD%D0%B8%D1%82%D0%B5%D0%BB%D1%8C%D1%81%D1%82%D0%B2%D0%BE">Французское органное искусство Барокко: Музыка, Органостроение, Исполнительство</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 French Baroque Organ Art: Musique, Organ building, Performance >> / << L’Art d’orgue Baroque français : Musique, Facture, Interprétation >> [ Аннотация: ] Настоящая монография представляет собой первое в российском... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_16788130" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden"><< The French Baroque Organ Art: Musique, Organ building, Performance >> / <br /><< L’Art d’orgue Baroque français : Musique, Facture, Interprétation >> <br /> <br />[ Аннотация: ] Настоящая монография представляет собой первое в российском музыковедении исследование, в центре которого — французское органное искусство Барокко как комплексное явление, объединяющее музыку, органостроение и исполнительство. <br />Опираясь на свой разносторонний опыт, автор выступает одновременно в роли учёного, исполнителя и органного эксперта. В книге впервые предлагаются в переводе на русский язык и анализируются основополагающие документы французского органного Барокко, принадлежащие перу композиторов, органных мастеров, музыкальных мыслителей и учёных. <br />В результате анализа трёх составляющих французского органного искусства Барокко, рассматриваемого в контексте той эпохи — эстетическом, стилистическом и музыкально-теоретическом (гармония и музыкальная форма), — в книге выявляются сущностные критерии французского органного искусства Барокко и определяются его хронологические рамки. <br />/// <br />[ Abstract: ] The present monograph is the first research in the Russian musical science which focuses on the French Baroque Organ Art as a complex phenomenon involving Music, Organ building and Performance. <br />Drawing on her rich professional experiences, the author acts in triple role: as a musicologist, concert organist and organ expert. In this book, she presents and analyses the fundamental French Baroque organ documents, which belong to composers, organ builders, philosophers and scientists. <br />As a result of her analysis of three components of French Baroque Organ Art, placed in the context of that time — aesthetic, stylistic, theoretical and musical (harmony and musical form) —, Marina Tchebourkina reveals an essential and unique character of the French Baroque Organ Art, demonstrates its evolution and determines its chronological limits. <br />/// <br />[ Résumé : ] La présente monographie est le premier ouvrage dans la science musicale russe qui concentre son attention sur l’art d’orgue Baroque français en tant que phénomène complexe réunissant musique, facture et interprétation. <br />Fort de ses expériences professionnelles, l’auteur agit à la fois en tant que musicologue, organiste et expert d’orgue. Dans le livre sont présentés et analysés les documents fondamentaux dans le domaine de l’orgue Baroque français qui appartiennent aux compositeurs, facteurs d’orgue, philosophes et scientifiques. <br />À l’issue de l’analyse des trois composantes de l’art d’orgue Baroque français, placées dans le contexte de l’époque — esthétique, stylistique, théorique et musical (harmonie et forme) —, Marina Tchebourkina révèle le caractère essentiel et unique de l’art d’orgue Baroque français, démontre son évolution et détermine ses limites chronologiques.</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/16788130" 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="d08fdcaa7fe207f50d71acf3b3c922f8" rel="nofollow" data-download="{"attachment_id":42392887,"asset_id":16788130,"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/42392887/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="36082100" href="https://univ-paris1.academia.edu/MarinaTchebourkina">Marina Tchebourkina</a><script data-card-contents-for-user="36082100" type="text/json">{"id":36082100,"first_name":"Marina","last_name":"Tchebourkina","domain_name":"univ-paris1","page_name":"MarinaTchebourkina","display_name":"Marina Tchebourkina","profile_url":"https://univ-paris1.academia.edu/MarinaTchebourkina?f_ri=8927","photo":"https://0.academia-photos.com/36082100/10477054/11690381/s65_marina.tchebourkina.jpg"}</script></span></span></li><li class="js-paper-rank-work_16788130 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16788130"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16788130, container: ".js-paper-rank-work_16788130", }); });</script></li><li class="js-percentile-work_16788130 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 = 16788130; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_16788130"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_16788130 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="16788130"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 16788130; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=16788130]").text(description); $(".js-view-count-work_16788130").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_16788130").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="16788130"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">24</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="945" href="https://www.academia.edu/Documents/in/Performing_Arts">Performing Arts</a>, <script data-card-contents-for-ri="945" type="text/json">{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a><script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=16788130]'), work: {"id":16788130,"title":"Французское органное искусство Барокко: Музыка, Органостроение, Исполнительство","created_at":"2015-10-14T10:16:21.888-07:00","url":"https://www.academia.edu/16788130/%D0%A4%D1%80%D0%B0%D0%BD%D1%86%D1%83%D0%B7%D1%81%D0%BA%D0%BE%D0%B5_%D0%BE%D1%80%D0%B3%D0%B0%D0%BD%D0%BD%D0%BE%D0%B5_%D0%B8%D1%81%D0%BA%D1%83%D1%81%D1%81%D1%82%D0%B2%D0%BE_%D0%91%D0%B0%D1%80%D0%BE%D0%BA%D0%BA%D0%BE_%D0%9C%D1%83%D0%B7%D1%8B%D0%BA%D0%B0_%D0%9E%D1%80%D0%B3%D0%B0%D0%BD%D0%BE%D1%81%D1%82%D1%80%D0%BE%D0%B5%D0%BD%D0%B8%D0%B5_%D0%98%D1%81%D0%BF%D0%BE%D0%BB%D0%BD%D0%B8%D1%82%D0%B5%D0%BB%D1%8C%D1%81%D1%82%D0%B2%D0%BE?f_ri=8927","dom_id":"work_16788130","summary":"\u003c\u003c The French Baroque Organ Art: Musique, Organ building, Performance \u003e\u003e / \r\n\u003c\u003c L’Art d’orgue Baroque français : Musique, Facture, Interprétation \u003e\u003e \r\n\r\n[ Аннотация: ] Настоящая монография представляет собой первое в российском музыковедении исследование, в центре которого — французское органное искусство Барокко как комплексное явление, объединяющее музыку, органостроение и исполнительство. \r\nОпираясь на свой разносторонний опыт, автор выступает одновременно в роли учёного, исполнителя и органного эксперта. В книге впервые предлагаются в переводе на русский язык и анализируются основополагающие документы французского органного Барокко, принадлежащие перу композиторов, органных мастеров, музыкальных мыслителей и учёных. \r\nВ результате анализа трёх составляющих французского органного искусства Барокко, рассматриваемого в контексте той эпохи — эстетическом, стилистическом и музыкально-теоретическом (гармония и музыкальная форма), — в книге выявляются сущностные критерии французского органного искусства Барокко и определяются его хронологические рамки. \r\n/// \r\n[ Abstract: ] The present monograph is the first research in the Russian musical science which focuses on the French Baroque Organ Art as a complex phenomenon involving Music, Organ building and Performance. \r\nDrawing on her rich professional experiences, the author acts in triple role: as a musicologist, concert organist and organ expert. In this book, she presents and analyses the fundamental French Baroque organ documents, which belong to composers, organ builders, philosophers and scientists. \r\nAs a result of her analysis of three components of French Baroque Organ Art, placed in the context of that time — aesthetic, stylistic, theoretical and musical (harmony and musical form) —, Marina Tchebourkina reveals an essential and unique character of the French Baroque Organ Art, demonstrates its evolution and determines its chronological limits. \r\n/// \r\n[ Résumé : ] La présente monographie est le premier ouvrage dans la science musicale russe qui concentre son attention sur l’art d’orgue Baroque français en tant que phénomène complexe réunissant musique, facture et interprétation. \r\nFort de ses expériences professionnelles, l’auteur agit à la fois en tant que musicologue, organiste et expert d’orgue. Dans le livre sont présentés et analysés les documents fondamentaux dans le domaine de l’orgue Baroque français qui appartiennent aux compositeurs, facteurs d’orgue, philosophes et scientifiques. \r\nÀ l’issue de l’analyse des trois composantes de l’art d’orgue Baroque français, placées dans le contexte de l’époque — esthétique, stylistique, théorique et musical (harmonie et forme) —, Marina Tchebourkina révèle le caractère essentiel et unique de l’art d’orgue Baroque français, démontre son évolution et détermine ses limites chronologiques.\r\n","downloadable_attachments":[{"id":42392887,"asset_id":16788130,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":36082100,"first_name":"Marina","last_name":"Tchebourkina","domain_name":"univ-paris1","page_name":"MarinaTchebourkina","display_name":"Marina Tchebourkina","profile_url":"https://univ-paris1.academia.edu/MarinaTchebourkina?f_ri=8927","photo":"https://0.academia-photos.com/36082100/10477054/11690381/s65_marina.tchebourkina.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=8927","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=8927","nofollow":false},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":8967,"name":"Musical acoustics","url":"https://www.academia.edu/Documents/in/Musical_acoustics?f_ri=8927"},{"id":9721,"name":"Music Aesthetics","url":"https://www.academia.edu/Documents/in/Music_Aesthetics?f_ri=8927"},{"id":10604,"name":"History of Music Theory","url":"https://www.academia.edu/Documents/in/History_of_Music_Theory?f_ri=8927"},{"id":10606,"name":"French Baroque Music","url":"https://www.academia.edu/Documents/in/French_Baroque_Music?f_ri=8927"},{"id":17551,"name":"Organ (pipe)","url":"https://www.academia.edu/Documents/in/Organ_pipe_?f_ri=8927"},{"id":35137,"name":"Historically Informed Performance (HIP)","url":"https://www.academia.edu/Documents/in/Historically_Informed_Performance_HIP_?f_ri=8927"},{"id":58850,"name":"Historical Musicology","url":"https://www.academia.edu/Documents/in/Historical_Musicology?f_ri=8927"},{"id":66363,"name":"Organ Music","url":"https://www.academia.edu/Documents/in/Organ_Music?f_ri=8927"},{"id":108743,"name":"Arts and Sciences","url":"https://www.academia.edu/Documents/in/Arts_and_Sciences?f_ri=8927"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=8927"},{"id":193435,"name":"Authentic Performance","url":"https://www.academia.edu/Documents/in/Authentic_Performance?f_ri=8927"},{"id":301646,"name":"Music and Science","url":"https://www.academia.edu/Documents/in/Music_and_Science?f_ri=8927"},{"id":376092,"name":"Pipe-Organ Building","url":"https://www.academia.edu/Documents/in/Pipe-Organ_Building?f_ri=8927"},{"id":588878,"name":"Musical Style","url":"https://www.academia.edu/Documents/in/Musical_Style?f_ri=8927"},{"id":1013140,"name":"Music and Performing Arts","url":"https://www.academia.edu/Documents/in/Music_and_Performing_Arts?f_ri=8927"},{"id":1207204,"name":"Musical Sciences","url":"https://www.academia.edu/Documents/in/Musical_Sciences?f_ri=8927"},{"id":1922414,"name":"Russian music theory","url":"https://www.academia.edu/Documents/in/Russian_music_theory?f_ri=8927"},{"id":2180030,"name":"French Baroque Organ","url":"https://www.academia.edu/Documents/in/French_Baroque_Organ?f_ri=8927"},{"id":2180653,"name":"French Organ Music","url":"https://www.academia.edu/Documents/in/French_Organ_Music?f_ri=8927"},{"id":2180870,"name":"Historical Organs, France","url":"https://www.academia.edu/Documents/in/Historical_Organs_France?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7531875" data-work_id="7531875" 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/7531875/Dramaturgia_engranaje_y_racionalidades_La_experiencia_de_las_compa%C3%B1%C3%ADas_teatrales_Teatro_de_Chile_y_versi%C3%B3n_oficial_en_el_programa_de_Residencias_de_Matucana_100_%C3%81lvaro_Aguilar_y_Camila_Moyano">Dramaturgia, engranaje y racionalidades. La experiencia de las compañías teatrales Teatro de Chile y versión oficial en el programa de Residencias de Matucana 100. Álvaro Aguilar y Camila Moyano.</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/7531875" 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="7c40e75d7234314d1a8a8884f8803cdf" rel="nofollow" data-download="{"attachment_id":34096659,"asset_id":7531875,"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/34096659/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="4581643" href="https://uc-cl.academia.edu/CamilaMoyano">Camila Moyano</a><script data-card-contents-for-user="4581643" type="text/json">{"id":4581643,"first_name":"Camila","last_name":"Moyano","domain_name":"uc-cl","page_name":"CamilaMoyano","display_name":"Camila Moyano","profile_url":"https://uc-cl.academia.edu/CamilaMoyano?f_ri=8927","photo":"https://0.academia-photos.com/4581643/1906101/2259143/s65_camila.davila.jpg"}</script></span></span></li><li class="js-paper-rank-work_7531875 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7531875"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7531875, container: ".js-paper-rank-work_7531875", }); });</script></li><li class="js-percentile-work_7531875 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 = 7531875; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_7531875"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_7531875 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="7531875"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7531875; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7531875]").text(description); $(".js-view-count-work_7531875").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_7531875").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="7531875"><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="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a><script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7531875]'), work: {"id":7531875,"title":"Dramaturgia, engranaje y racionalidades. La experiencia de las compañías teatrales Teatro de Chile y versión oficial en el programa de Residencias de Matucana 100. Álvaro Aguilar y Camila Moyano.","created_at":"2014-07-02T05:04:08.225-07:00","url":"https://www.academia.edu/7531875/Dramaturgia_engranaje_y_racionalidades_La_experiencia_de_las_compa%C3%B1%C3%ADas_teatrales_Teatro_de_Chile_y_versi%C3%B3n_oficial_en_el_programa_de_Residencias_de_Matucana_100_%C3%81lvaro_Aguilar_y_Camila_Moyano?f_ri=8927","dom_id":"work_7531875","summary":null,"downloadable_attachments":[{"id":34096659,"asset_id":7531875,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4581643,"first_name":"Camila","last_name":"Moyano","domain_name":"uc-cl","page_name":"CamilaMoyano","display_name":"Camila Moyano","profile_url":"https://uc-cl.academia.edu/CamilaMoyano?f_ri=8927","photo":"https://0.academia-photos.com/4581643/1906101/2259143/s65_camila.davila.jpg"}],"research_interests":[{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7815409" data-work_id="7815409" 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/7815409/Portraiture_Finding_the_Valid_Fragment">Portraiture - Finding the Valid Fragment</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 paper deals with the concepts of fragmentation and reconstruction in the field of portraiture. Taking a portrait as a large fragment of information, we look into ways in which it can be optimised and reduced such that it remains valid... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7815409" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The paper deals with the concepts of fragmentation and reconstruction in the field of portraiture. Taking a portrait as a large fragment of information, we look into ways in which it can be optimised and reduced such that it remains valid but becomes more efficient. The paper commences by exploring the concept of the fragment from various facets, including historically, especially from the modernist point of view, and goes forth to investigate various techniques from practices both adjunct and outside of the field of art in order to inform the portraiture process itself on how information can be collected, optimised and presented to the viewer.</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/7815409" 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="24bc066ffa10a463149d119c11a09cd9" rel="nofollow" data-download="{"attachment_id":34318473,"asset_id":7815409,"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/34318473/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="3309536" href="https://malta.academia.edu/SergioMuscat">Sergio Muscat</a><script data-card-contents-for-user="3309536" type="text/json">{"id":3309536,"first_name":"Sergio","last_name":"Muscat","domain_name":"malta","page_name":"SergioMuscat","display_name":"Sergio Muscat","profile_url":"https://malta.academia.edu/SergioMuscat?f_ri=8927","photo":"https://0.academia-photos.com/3309536/1103310/49101913/s65_sergio.muscat.jpg"}</script></span></span></li><li class="js-paper-rank-work_7815409 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7815409"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7815409, container: ".js-paper-rank-work_7815409", }); 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$(".js-view-count[data-work-id=7815409]").text(description); $(".js-view-count-work_7815409").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_7815409").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="7815409"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">38</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1" href="https://www.academia.edu/Documents/in/Creative_Writing">Creative Writing</a>, <script data-card-contents-for-ri="1" type="text/json">{"id":1,"name":"Creative Writing","url":"https://www.academia.edu/Documents/in/Creative_Writing?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8" href="https://www.academia.edu/Documents/in/Critical_Theory">Critical Theory</a>, <script data-card-contents-for-ri="8" type="text/json">{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="873" href="https://www.academia.edu/Documents/in/Photographs">Photographs</a><script data-card-contents-for-ri="873" type="text/json">{"id":873,"name":"Photographs","url":"https://www.academia.edu/Documents/in/Photographs?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=7815409]'), work: {"id":7815409,"title":"Portraiture - Finding the Valid Fragment","created_at":"2014-07-29T18:55:27.457-07:00","url":"https://www.academia.edu/7815409/Portraiture_Finding_the_Valid_Fragment?f_ri=8927","dom_id":"work_7815409","summary":"The paper deals with the concepts of fragmentation and reconstruction in the field of portraiture. Taking a portrait as a large fragment of information, we look into ways in which it can be optimised and reduced such that it remains valid but becomes more efficient. 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Identity","url":"https://www.academia.edu/Documents/in/Self_and_Identity?f_ri=8927"},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=8927"},{"id":1258,"name":"Romanticism","url":"https://www.academia.edu/Documents/in/Romanticism?f_ri=8927"},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=8927"},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=8927"},{"id":2499,"name":"Digital Photography","url":"https://www.academia.edu/Documents/in/Digital_Photography?f_ri=8927"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=8927"},{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=8927"},{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_?f_ri=8927"},{"id":5359,"name":"Visual perception","url":"https://www.academia.edu/Documents/in/Visual_perception?f_ri=8927"},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927"},{"id":9581,"name":"The Self","url":"https://www.academia.edu/Documents/in/The_Self?f_ri=8927"},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=8927"},{"id":10796,"name":"Portraiture","url":"https://www.academia.edu/Documents/in/Portraiture?f_ri=8927"},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=8927"},{"id":14546,"name":"Modernism (Art History)","url":"https://www.academia.edu/Documents/in/Modernism_Art_History_?f_ri=8927"},{"id":15296,"name":"Philosophy of Photography","url":"https://www.academia.edu/Documents/in/Philosophy_of_Photography?f_ri=8927"},{"id":16767,"name":"Modernism","url":"https://www.academia.edu/Documents/in/Modernism?f_ri=8927"},{"id":20079,"name":"History of photography","url":"https://www.academia.edu/Documents/in/History_of_photography?f_ri=8927"},{"id":21189,"name":"Fine Art Photography","url":"https://www.academia.edu/Documents/in/Fine_Art_Photography?f_ri=8927"},{"id":21592,"name":"NLP","url":"https://www.academia.edu/Documents/in/NLP?f_ri=8927"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=8927"},{"id":27665,"name":"Photography (Visual Studies)","url":"https://www.academia.edu/Documents/in/Photography_Visual_Studies_?f_ri=8927"},{"id":43349,"name":"Fine Arts","url":"https://www.academia.edu/Documents/in/Fine_Arts?f_ri=8927"},{"id":44006,"name":"Identity","url":"https://www.academia.edu/Documents/in/Identity?f_ri=8927"},{"id":46858,"name":"Memory","url":"https://www.academia.edu/Documents/in/Memory?f_ri=8927"},{"id":51380,"name":"Visual Art","url":"https://www.academia.edu/Documents/in/Visual_Art?f_ri=8927"},{"id":53233,"name":"Post-modernism","url":"https://www.academia.edu/Documents/in/Post-modernism?f_ri=8927"},{"id":88295,"name":"Fine Art","url":"https://www.academia.edu/Documents/in/Fine_Art?f_ri=8927"},{"id":136928,"name":"Criminal profiling","url":"https://www.academia.edu/Documents/in/Criminal_profiling?f_ri=8927"},{"id":151848,"name":"Fragmentation","url":"https://www.academia.edu/Documents/in/Fragmentation?f_ri=8927"},{"id":321147,"name":"Self Concept","url":"https://www.academia.edu/Documents/in/Self_Concept?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4695712" data-work_id="4695712" 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/4695712/La_transformaci%C3%B3n_de_la_mirada_a_trav%C3%A9s_de_la_tecnolog%C3%ADa_y_su_aplicaci%C3%B3n_en_la_pr%C3%A1ctica_art%C3%ADstica_contemporanea">La transformación de la mirada a través de la tecnología y su aplicación en la práctica artística contemporanea</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/4695712" 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="da6ad76c19c5c02acad819a46a3abd06" rel="nofollow" data-download="{"attachment_id":32027569,"asset_id":4695712,"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/32027569/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="2281989" href="https://independent.academia.edu/SalimMalla">Salim Malla</a><script data-card-contents-for-user="2281989" type="text/json">{"id":2281989,"first_name":"Salim","last_name":"Malla","domain_name":"independent","page_name":"SalimMalla","display_name":"Salim Malla","profile_url":"https://independent.academia.edu/SalimMalla?f_ri=8927","photo":"https://0.academia-photos.com/2281989/725312/900645/s65_salim.gutierrez.jpg"}</script></span></span></li><li class="js-paper-rank-work_4695712 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4695712"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4695712, container: ".js-paper-rank-work_4695712", }); });</script></li><li class="js-percentile-work_4695712 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 = 4695712; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_4695712"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_4695712 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="4695712"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4695712; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4695712]").text(description); $(".js-view-count-work_4695712").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_4695712").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="4695712"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="821" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2870" href="https://www.academia.edu/Documents/in/Art_Practice_as_Research">Art Practice as Research</a><script data-card-contents-for-ri="2870" type="text/json">{"id":2870,"name":"Art Practice as Research","url":"https://www.academia.edu/Documents/in/Art_Practice_as_Research?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4695712]'), work: {"id":4695712,"title":"La transformación de la mirada a través de la tecnología y su aplicación en la práctica artística contemporanea","created_at":"2013-10-06T19:33:14.150-07:00","url":"https://www.academia.edu/4695712/La_transformaci%C3%B3n_de_la_mirada_a_trav%C3%A9s_de_la_tecnolog%C3%ADa_y_su_aplicaci%C3%B3n_en_la_pr%C3%A1ctica_art%C3%ADstica_contemporanea?f_ri=8927","dom_id":"work_4695712","summary":null,"downloadable_attachments":[{"id":32027569,"asset_id":4695712,"asset_type":"Work","always_allow_download":false},{"id":32027515,"asset_id":4695712,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2281989,"first_name":"Salim","last_name":"Malla","domain_name":"independent","page_name":"SalimMalla","display_name":"Salim Malla","profile_url":"https://independent.academia.edu/SalimMalla?f_ri=8927","photo":"https://0.academia-photos.com/2281989/725312/900645/s65_salim.gutierrez.jpg"}],"research_interests":[{"id":821,"name":"Philosophy of Science","url":"https://www.academia.edu/Documents/in/Philosophy_of_Science?f_ri=8927","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=8927","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=8927","nofollow":false},{"id":2870,"name":"Art Practice as Research","url":"https://www.academia.edu/Documents/in/Art_Practice_as_Research?f_ri=8927","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=8927"},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927"},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=8927"},{"id":18204,"name":"Georeferencing","url":"https://www.academia.edu/Documents/in/Georeferencing?f_ri=8927"},{"id":60507,"name":"New Technologies","url":"https://www.academia.edu/Documents/in/New_Technologies?f_ri=8927"},{"id":152110,"name":"Artists","url":"https://www.academia.edu/Documents/in/Artists?f_ri=8927"},{"id":883321,"name":"Cartography, Old Maps, Cultural History","url":"https://www.academia.edu/Documents/in/Cartography_Old_Maps_Cultural_History?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_610807" data-work_id="610807" 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/610807/Quicker_Faster_Darker_Changes_in_Hollywood_Film_Over_75_Years">Quicker, Faster, Darker: Changes in Hollywood Film Over 75 Years</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">It is obvious to any seasoned moviegoer that contemporary popular films are different than those of earlier times. We measured 160 English-language films released from 1935 to 2010 and addressed four changes concerning shots, motion,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_610807" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">It is obvious to any seasoned moviegoer that contemporary popular films are different than those of earlier times. We measured 160 English-language films released from 1935 to 2010 <br />and addressed  four changes concerning shots, motion, and  luminance. Perhaps  the most obvious change is that shot lengths have gotten shorter, and others have also documented this trend. Perhaps also apparent is that contemporary films have more motion and movement than those of the Hollywood studio era. Less apparent, however, is the relation between shot lengths and motion. In contemporary films shorter shots also have proportionately more motion than longer shots in the same film, whereas  in older  films  the shots of different  length are not dis tinguished by their relative  amount  of  their  motion.  And  finally  films  have  gotten  darker.  That  is,  the  mean luminance value of frames across  the  lengths  of  a  film  has  decreased  over  time.  We  discuss psychological effects associated with these four changes, including harnessing viewer attention through narrative pacing and the enhancement of the viewing experience.</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/610807" 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="e76e7a739f6d7ed91b6abb1f81b74123" rel="nofollow" data-download="{"attachment_id":3258648,"asset_id":610807,"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/3258648/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="136798" href="https://cornell.academia.edu/JordanDeLong">Jordan DeLong</a><script data-card-contents-for-user="136798" type="text/json">{"id":136798,"first_name":"Jordan","last_name":"DeLong","domain_name":"cornell","page_name":"JordanDeLong","display_name":"Jordan DeLong","profile_url":"https://cornell.academia.edu/JordanDeLong?f_ri=8927","photo":"https://0.academia-photos.com/136798/146667/170431/s65_jordan.delong.jpg"}</script></span></span></li><li class="js-paper-rank-work_610807 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="610807"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 610807, container: ".js-paper-rank-work_610807", }); });</script></li><li class="js-percentile-work_610807 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 = 610807; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_610807"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_610807 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="610807"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 610807; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=610807]").text(description); $(".js-view-count-work_610807").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_610807").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="610807"><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="1555" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a><script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=610807]'), work: {"id":610807,"title":"Quicker, Faster, Darker: Changes in Hollywood Film Over 75 Years","created_at":"2011-05-23T22:54:27.336-07:00","url":"https://www.academia.edu/610807/Quicker_Faster_Darker_Changes_in_Hollywood_Film_Over_75_Years?f_ri=8927","dom_id":"work_610807","summary":" It is obvious to any seasoned moviegoer that contemporary popular films are different than those of earlier times. We measured 160 English-language films released from 1935 to 2010 \nand addressed four changes concerning shots, motion, and luminance. Perhaps the most obvious change is that shot lengths have gotten shorter, and others have also documented this trend. Perhaps also apparent is that contemporary films have more motion and movement than those of the Hollywood studio era. Less apparent, however, is the relation between shot lengths and motion. In contemporary films shorter shots also have proportionately more motion than longer shots in the same film, whereas in older films the shots of different length are not dis tinguished by their relative amount of their motion. And finally films have gotten darker. That is, the mean luminance value of frames across the lengths of a film has decreased over time. We discuss psychological effects associated with these four changes, including harnessing viewer attention through narrative pacing and the enhancement of the viewing experience.","downloadable_attachments":[{"id":3258648,"asset_id":610807,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":136798,"first_name":"Jordan","last_name":"DeLong","domain_name":"cornell","page_name":"JordanDeLong","display_name":"Jordan DeLong","profile_url":"https://cornell.academia.edu/JordanDeLong?f_ri=8927","photo":"https://0.academia-photos.com/136798/146667/170431/s65_jordan.delong.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35613887" data-work_id="35613887" 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/35613887/Ikaroszt%C3%B3l_a_holdra_sz%C3%A1ll%C3%A1sig_A_rep%C3%BCl%C3%A9s_%C3%A9s_a_rep%C3%BCl%C5%91_g%C3%A9pek_mot%C3%ADvuma_Kondor_B%C3%A9la_m%C5%B1v%C3%A9szet%C3%A9ben_From_Icarus_to_the_Landing_on_the_Moon_Flying_Machines_and_the_Motif_of_Flight_in_Kondors_oeuvre_in_Hungarian_In_Neve_korszakot_jel%C3%B6l_Tanulm%C3%A1nyok_Kondor_B%C3%A9la_m%C5%B1v%C3%A9szet%C3%A9r%C5%91l_Budapest_2017_42_73">Ikarosztól a holdra szállásig. A repülés és a repülő gépek motívuma Kondor Béla művészetében [From Icarus to the Landing on the Moon. Flying Machines and the Motif of Flight in Kondor's oeuvre - in Hungarian]. In: Neve korszakot jelöl. Tanulmányok Kondor Béla művészetéről. Budapest, 2017, 42-73.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Kondor was an apostle of flying: a group of about hundred works in the oeuvre deals with a certain topic from the long history of flight and flying machines. From ornithopters, which imitated the flight of birds, and the figure of Louis... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35613887" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Kondor was an apostle of flying: a group of about hundred works in the oeuvre deals with a certain topic from the long history of flight and flying machines. From ornithopters, which imitated the flight of birds, and the figure of Louis Blériot, who was the first to cross the English Channel, to the landing on the Moon, he created a wide range of works that reflected on the beautiful and frightening idea of conquering gravity. The study argues that there were three substantially different approaches, and they can be mapped onto three roughly consequent periods of Kondor’s career: (1) Images of tradition: in the early period, flight was associated with mythological stories, the history of flight, and the history of art (for example, works related to Icarus, Leonardo, or Blériot). (2) Images of destruction: from around the mid-1960s, Kondor  began to depict horrifying accidents and frightening machines. In the second, middle phase of his art, destruction prevailed in flight-related themes. Not independently from his childhood experiences, these works are dominated by war catastrophes, flight accidents, and military aircraft. (3) Images of construction: in parallel with the rapid development of astronautics and airliner’s technology, the last phase of Kondor’s art became more constructive. He produced small airplane models, created photo series using these models, and illustrated science fiction. These artworks were influenced by the new, flight-related visual language found in contemporary popular media.</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/35613887" 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="5ea0c8acc0a01431b9e4d27e24d7deac" rel="nofollow" data-download="{"attachment_id":55481780,"asset_id":35613887,"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/55481780/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="2124521" href="https://eastanglia.academia.edu/Gy%C3%B6ngyv%C3%A9rHorv%C3%A1th">Gyöngyvér Horváth</a><script data-card-contents-for-user="2124521" type="text/json">{"id":2124521,"first_name":"Gyöngyvér","last_name":"Horváth","domain_name":"eastanglia","page_name":"GyöngyvérHorváth","display_name":"Gyöngyvér Horváth","profile_url":"https://eastanglia.academia.edu/Gy%C3%B6ngyv%C3%A9rHorv%C3%A1th?f_ri=8927","photo":"https://0.academia-photos.com/2124521/689734/2992682/s65_gy_ngyv_r.horv_th.jpg"}</script></span></span></li><li class="js-paper-rank-work_35613887 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35613887"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35613887, container: ".js-paper-rank-work_35613887", }); });</script></li><li class="js-percentile-work_35613887 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 = 35613887; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35613887"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35613887 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35613887"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35613887; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35613887]").text(description); $(".js-view-count-work_35613887").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35613887").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="35613887"><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="382" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4950" href="https://www.academia.edu/Documents/in/Modern_Art">Modern Art</a>, <script data-card-contents-for-ri="4950" type="text/json">{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8730" href="https://www.academia.edu/Documents/in/Flight_Mechanics">Flight Mechanics</a><script data-card-contents-for-ri="8730" type="text/json">{"id":8730,"name":"Flight Mechanics","url":"https://www.academia.edu/Documents/in/Flight_Mechanics?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35613887]'), work: {"id":35613887,"title":"Ikarosztól a holdra szállásig. A repülés és a repülő gépek motívuma Kondor Béla művészetében [From Icarus to the Landing on the Moon. Flying Machines and the Motif of Flight in Kondor's oeuvre - in Hungarian]. In: Neve korszakot jelöl. Tanulmányok Kondor Béla művészetéről. Budapest, 2017, 42-73.","created_at":"2018-01-08T16:00:40.810-08:00","url":"https://www.academia.edu/35613887/Ikaroszt%C3%B3l_a_holdra_sz%C3%A1ll%C3%A1sig_A_rep%C3%BCl%C3%A9s_%C3%A9s_a_rep%C3%BCl%C5%91_g%C3%A9pek_mot%C3%ADvuma_Kondor_B%C3%A9la_m%C5%B1v%C3%A9szet%C3%A9ben_From_Icarus_to_the_Landing_on_the_Moon_Flying_Machines_and_the_Motif_of_Flight_in_Kondors_oeuvre_in_Hungarian_In_Neve_korszakot_jel%C3%B6l_Tanulm%C3%A1nyok_Kondor_B%C3%A9la_m%C5%B1v%C3%A9szet%C3%A9r%C5%91l_Budapest_2017_42_73?f_ri=8927","dom_id":"work_35613887","summary":"Kondor was an apostle of flying: a group of about hundred works in the oeuvre deals with a certain topic from the long history of flight and flying machines. From ornithopters, which imitated the flight of birds, and the figure of Louis Blériot, who was the first to cross the English Channel, to the landing on the Moon, he created a wide range of works that reflected on the beautiful and frightening idea of conquering gravity. The study argues that there were three substantially different approaches, and they can be mapped onto three roughly consequent periods of Kondor’s career: (1) Images of tradition: in the early period, flight was associated with mythological stories, the history of flight, and the history of art (for example, works related to Icarus, Leonardo, or Blériot). (2) Images of destruction: from around the mid-1960s, Kondor began to depict horrifying accidents and frightening machines. In the second, middle phase of his art, destruction prevailed in flight-related themes. Not independently from his childhood experiences, these works are dominated by war catastrophes, flight accidents, and military aircraft. (3) Images of construction: in parallel with the rapid development of astronautics and airliner’s technology, the last phase of Kondor’s art became more constructive. He produced small airplane models, created photo series using these models, and illustrated science fiction. These artworks were influenced by the new, flight-related visual language found in contemporary popular media. ","downloadable_attachments":[{"id":55481780,"asset_id":35613887,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2124521,"first_name":"Gyöngyvér","last_name":"Horváth","domain_name":"eastanglia","page_name":"GyöngyvérHorváth","display_name":"Gyöngyvér Horváth","profile_url":"https://eastanglia.academia.edu/Gy%C3%B6ngyv%C3%A9rHorv%C3%A1th?f_ri=8927","photo":"https://0.academia-photos.com/2124521/689734/2992682/s65_gy_ngyv_r.horv_th.jpg"}],"research_interests":[{"id":382,"name":"Eastern European Studies","url":"https://www.academia.edu/Documents/in/Eastern_European_Studies?f_ri=8927","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=8927","nofollow":false},{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=8927","nofollow":false},{"id":8730,"name":"Flight Mechanics","url":"https://www.academia.edu/Documents/in/Flight_Mechanics?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927"},{"id":14546,"name":"Modernism (Art History)","url":"https://www.academia.edu/Documents/in/Modernism_Art_History_?f_ri=8927"},{"id":21265,"name":"Art and technology","url":"https://www.academia.edu/Documents/in/Art_and_technology?f_ri=8927"},{"id":37490,"name":"Modern and Contemporary Art","url":"https://www.academia.edu/Documents/in/Modern_and_Contemporary_Art-1?f_ri=8927"},{"id":108743,"name":"Arts and Sciences","url":"https://www.academia.edu/Documents/in/Arts_and_Sciences?f_ri=8927"},{"id":163773,"name":"Airplanes","url":"https://www.academia.edu/Documents/in/Airplanes?f_ri=8927"},{"id":178555,"name":"Airplane Design","url":"https://www.academia.edu/Documents/in/Airplane_Design?f_ri=8927"},{"id":912266,"name":"Postmodernism Visual Culture Fine Art","url":"https://www.academia.edu/Documents/in/Postmodernism_Visual_Culture_Fine_Art?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45484797" data-work_id="45484797" 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/45484797/Performing_astronomy_The_orrery_as_model_theatre_and_experience">Performing astronomy The orrery as model, theatre and experience</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Kurt Vanhoutte discusses the history of human orreries, in which individuals take the place of the celestial bodies, re-enacting the motions of the orbiting planets. Going back at least to the eighteenth century, Vanhoutte traces the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45484797" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Kurt Vanhoutte discusses the history of human orreries, in which individuals take the place of the celestial bodies, re-enacting the motions of<br />the orbiting planets. Going back at least to the eighteenth century,<br />Vanhoutte traces the history of the orrery as an inherently theatrical<br />device, and demonstrates that the main purpose of a human orrery is to<br />enact the dynamics of the universe by playing the role of the planets,<br />“walking the orrery” as it were, in a scale model laid out across the landscape. Enacting the orrery in  lockstep, Vanhoutte argues, makes users<br />immediately experience the planets moving at different speeds. This<br />dynamic interactive map of the solar system gives users the opportunity,<br />through performance and play, to cognitively map one’s sense of presence<br />and direction in space.</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/45484797" 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="34e0a0201836616c3e50ef6c2f01eb2f" rel="nofollow" data-download="{"attachment_id":65982996,"asset_id":45484797,"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/65982996/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="65592718" href="https://antwerp.academia.edu/KurtVanhoutte">Kurt Vanhoutte</a><script data-card-contents-for-user="65592718" type="text/json">{"id":65592718,"first_name":"Kurt","last_name":"Vanhoutte","domain_name":"antwerp","page_name":"KurtVanhoutte","display_name":"Kurt Vanhoutte","profile_url":"https://antwerp.academia.edu/KurtVanhoutte?f_ri=8927","photo":"https://0.academia-photos.com/65592718/17089358/17267387/s65_kurt.vanhoutte.jpg"}</script></span></span></li><li class="js-paper-rank-work_45484797 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45484797"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45484797, container: ".js-paper-rank-work_45484797", }); 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Going back at least to the eighteenth century,\nVanhoutte traces the history of the orrery as an inherently theatrical\ndevice, and demonstrates that the main purpose of a human orrery is to\nenact the dynamics of the universe by playing the role of the planets,\n“walking the orrery” as it were, in a scale model laid out across the landscape. Enacting the orrery in lockstep, Vanhoutte argues, makes users\nimmediately experience the planets moving at different speeds. This\ndynamic interactive map of the solar system gives users the opportunity,\nthrough performance and play, to cognitively map one’s sense of presence\nand direction in space.","downloadable_attachments":[{"id":65982996,"asset_id":45484797,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":65592718,"first_name":"Kurt","last_name":"Vanhoutte","domain_name":"antwerp","page_name":"KurtVanhoutte","display_name":"Kurt Vanhoutte","profile_url":"https://antwerp.academia.edu/KurtVanhoutte?f_ri=8927","photo":"https://0.academia-photos.com/65592718/17089358/17267387/s65_kurt.vanhoutte.jpg"}],"research_interests":[{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=8927","nofollow":false},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=8927","nofollow":false},{"id":6861,"name":"New Media Performance and Installation","url":"https://www.academia.edu/Documents/in/New_Media_Performance_and_Installation?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":47599,"name":"Astronomy","url":"https://www.academia.edu/Documents/in/Astronomy?f_ri=8927"},{"id":596241,"name":"Orrery","url":"https://www.academia.edu/Documents/in/Orrery?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45273833" data-work_id="45273833" 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/45273833/_Ars_sive_natura_Art_nature_et_puissance_d_imagination_chez_Odilon_Redon_in_Laura_Bossi_ed_Les_Origines_du_monde_L_invention_de_la_nature_au_XIXe_si%C3%A8cle_exhib_cat_mus%C3%A9e_d_Orsay_Paris_mus%C3%A9e_des_Beaux_Arts_de_Montr%C3%A9al_Paris_mus%C3%A9e_d_Orsay_Gallimard_2020_pp_267_279">“Ars sive natura. Art, nature et ‘puissance d’imagination’ chez Odilon Redon”, in Laura Bossi, ed., Les Origines du monde. L’invention de la nature au XIXe siècle, exhib. cat. (musée d’Orsay, Paris ; musée des Beaux-Arts de Montréal), Paris, musée d’Orsay / Gallimard, 2020, pp. 267-279</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/45273833" 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="394f84e9000c6b4135b21f9f52a45efc" rel="nofollow" data-download="{"attachment_id":65833821,"asset_id":45273833,"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/65833821/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="41543198" href="https://gfri.academia.edu/DarioGamboni">Dario Gamboni</a><script data-card-contents-for-user="41543198" type="text/json">{"id":41543198,"first_name":"Dario","last_name":"Gamboni","domain_name":"gfri","page_name":"DarioGamboni","display_name":"Dario Gamboni","profile_url":"https://gfri.academia.edu/DarioGamboni?f_ri=8927","photo":"https://0.academia-photos.com/41543198/11254465/12557130/s65_dario.gamboni.jpg"}</script></span></span></li><li class="js-paper-rank-work_45273833 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45273833"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45273833, container: ".js-paper-rank-work_45273833", }); 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$(".js-view-count[data-work-id=45273833]").text(description); $(".js-view-count-work_45273833").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45273833").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="45273833"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a>, <script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="70735" href="https://www.academia.edu/Documents/in/Odilon_Redon">Odilon Redon</a>, <script data-card-contents-for-ri="70735" type="text/json">{"id":70735,"name":"Odilon Redon","url":"https://www.academia.edu/Documents/in/Odilon_Redon?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="170124" href="https://www.academia.edu/Documents/in/Evolutionism">Evolutionism</a><script data-card-contents-for-ri="170124" type="text/json">{"id":170124,"name":"Evolutionism","url":"https://www.academia.edu/Documents/in/Evolutionism?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45273833]'), work: {"id":45273833,"title":"“Ars sive natura. Art, nature et ‘puissance d’imagination’ chez Odilon Redon”, in Laura Bossi, ed., Les Origines du monde. L’invention de la nature au XIXe siècle, exhib. cat. (musée d’Orsay, Paris ; musée des Beaux-Arts de Montréal), Paris, musée d’Orsay / Gallimard, 2020, pp. 267-279","created_at":"2021-03-01T03:03:37.341-08:00","url":"https://www.academia.edu/45273833/_Ars_sive_natura_Art_nature_et_puissance_d_imagination_chez_Odilon_Redon_in_Laura_Bossi_ed_Les_Origines_du_monde_L_invention_de_la_nature_au_XIXe_si%C3%A8cle_exhib_cat_mus%C3%A9e_d_Orsay_Paris_mus%C3%A9e_des_Beaux_Arts_de_Montr%C3%A9al_Paris_mus%C3%A9e_d_Orsay_Gallimard_2020_pp_267_279?f_ri=8927","dom_id":"work_45273833","summary":null,"downloadable_attachments":[{"id":65833821,"asset_id":45273833,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":41543198,"first_name":"Dario","last_name":"Gamboni","domain_name":"gfri","page_name":"DarioGamboni","display_name":"Dario Gamboni","profile_url":"https://gfri.academia.edu/DarioGamboni?f_ri=8927","photo":"https://0.academia-photos.com/41543198/11254465/12557130/s65_dario.gamboni.jpg"}],"research_interests":[{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":70735,"name":"Odilon Redon","url":"https://www.academia.edu/Documents/in/Odilon_Redon?f_ri=8927","nofollow":false},{"id":170124,"name":"Evolutionism","url":"https://www.academia.edu/Documents/in/Evolutionism?f_ri=8927","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37104103 coauthored" data-work_id="37104103" 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/37104103/Applying_the_Environmental_Humanities">Applying the Environmental Humanities.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Environmental issues require answers from science, society, and culture. How can we apply the humanities and arts to these issues while cultivating methodologies that value context-dependence, multiperspectivity, relativism, and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37104103" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Environmental issues require answers from science, society, and culture. How can we apply the humanities and arts to these issues while cultivating methodologies that value context-dependence, multiperspectivity, relativism, and subjectivity?</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/37104103" 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="97016e3669a2c93e6fc51b90b68df3c1" rel="nofollow" data-download="{"attachment_id":57055505,"asset_id":37104103,"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/57055505/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="12939050" href="https://ost-ch.academia.edu/ChristophKueffer">Christoph Kueffer</a><script data-card-contents-for-user="12939050" type="text/json">{"id":12939050,"first_name":"Christoph","last_name":"Kueffer","domain_name":"ost-ch","page_name":"ChristophKueffer","display_name":"Christoph Kueffer","profile_url":"https://ost-ch.academia.edu/ChristophKueffer?f_ri=8927","photo":"https://0.academia-photos.com/12939050/4265592/4965308/s65_christoph.kueffer.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-37104103">+1</span><div class="hidden js-additional-users-37104103"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://naturwissenschaften.academia.edu/PhilippeFor%C3%AAt">Philippe C . Forêt</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-37104103'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-37104103').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_37104103 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37104103"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37104103, container: ".js-paper-rank-work_37104103", }); });</script></li><li class="js-percentile-work_37104103 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 = 37104103; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_37104103"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_37104103 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="37104103"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37104103; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37104103]").text(description); $(".js-view-count-work_37104103").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37104103").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="37104103"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="4524" href="https://www.academia.edu/Documents/in/Sustainable_Development">Sustainable Development</a>, <script data-card-contents-for-ri="4524" type="text/json">{"id":4524,"name":"Sustainable Development","url":"https://www.academia.edu/Documents/in/Sustainable_Development?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a>, <script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9697" href="https://www.academia.edu/Documents/in/Applied_Research">Applied Research</a>, <script data-card-contents-for-ri="9697" type="text/json">{"id":9697,"name":"Applied Research","url":"https://www.academia.edu/Documents/in/Applied_Research?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10668" href="https://www.academia.edu/Documents/in/Problem_Based_Learning">Problem Based Learning</a><script data-card-contents-for-ri="10668" type="text/json">{"id":10668,"name":"Problem Based Learning","url":"https://www.academia.edu/Documents/in/Problem_Based_Learning?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37104103]'), work: {"id":37104103,"title":"Applying the Environmental Humanities.","created_at":"2018-07-23T08:41:08.569-07:00","url":"https://www.academia.edu/37104103/Applying_the_Environmental_Humanities?f_ri=8927","dom_id":"work_37104103","summary":"Environmental issues require answers from science, society, and culture. 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Forêt","profile_url":"https://naturwissenschaften.academia.edu/PhilippeFor%C3%AAt?f_ri=8927","photo":"https://0.academia-photos.com/25449/8251/37032044/s65_philippe.for_t.jpg"}],"research_interests":[{"id":4524,"name":"Sustainable Development","url":"https://www.academia.edu/Documents/in/Sustainable_Development?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":9697,"name":"Applied Research","url":"https://www.academia.edu/Documents/in/Applied_Research?f_ri=8927","nofollow":false},{"id":10668,"name":"Problem Based Learning","url":"https://www.academia.edu/Documents/in/Problem_Based_Learning?f_ri=8927","nofollow":false},{"id":23193,"name":"Environmental Humanities","url":"https://www.academia.edu/Documents/in/Environmental_Humanities?f_ri=8927"},{"id":49419,"name":"Problem Solving","url":"https://www.academia.edu/Documents/in/Problem_Solving?f_ri=8927"},{"id":108743,"name":"Arts and Sciences","url":"https://www.academia.edu/Documents/in/Arts_and_Sciences?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30691451 coauthored" data-work_id="30691451" 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/30691451/ART_and_LAW_Seminar_Series">'ART & LAW' Seminar Series</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 University of Cambridge, Department of History of Art Seminar Series on the theme of 'ART & LAW' will take place every Wednesday from 18 January – 8 March 2017 at 5:00pm in the Department of History of Art, 1-5 Scroope Terrace,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30691451" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The University of Cambridge, Department of History of Art Seminar Series on the theme of 'ART & LAW' will take place every Wednesday from 18 January – 8 March 2017 at 5:00pm in the Department of History of Art, 1-5 Scroope Terrace, Cambridge CB2 1PX. Each lecture will be followed by a Q&A session and informal drinks reception. Members of the university and the general public are welcome to attend.<br /><br />If you are interested in joining the speaker and organizers for dinner following a lecture, please contact Sarah Alexis Rabinowe at <a href="mailto:sr572@cam.ac.uk" rel="nofollow">sr572@cam.ac.uk</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/30691451" 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="6de8397574fb6043d89c140d8584831f" rel="nofollow" data-download="{"attachment_id":51623145,"asset_id":30691451,"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/51623145/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="290190" href="https://cambridge.academia.edu/SarahRabinowe">Sarah Rabinowe</a><script data-card-contents-for-user="290190" type="text/json">{"id":290190,"first_name":"Sarah","last_name":"Rabinowe","domain_name":"cambridge","page_name":"SarahRabinowe","display_name":"Sarah Rabinowe","profile_url":"https://cambridge.academia.edu/SarahRabinowe?f_ri=8927","photo":"https://0.academia-photos.com/290190/71563/7425951/s65_sarah.rabinowe.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-30691451">+1</span><div class="hidden js-additional-users-30691451"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://cambridge.academia.edu/LuiseScheidt">Luise Scheidt</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-30691451'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-30691451').html(); 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Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927"},{"id":9031,"name":"Media Arts and Sciences","url":"https://www.academia.edu/Documents/in/Media_Arts_and_Sciences?f_ri=8927"},{"id":17760,"name":"Digital Arts","url":"https://www.academia.edu/Documents/in/Digital_Arts?f_ri=8927"},{"id":18736,"name":"New Media Art","url":"https://www.academia.edu/Documents/in/New_Media_Art?f_ri=8927"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=8927"},{"id":22047,"name":"Digital Media Art","url":"https://www.academia.edu/Documents/in/Digital_Media_Art?f_ri=8927"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43418811" data-work_id="43418811" 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/43418811/The_Faberge_Eggs_A_paradigm_of_wealth_and_power">The Faberge Eggs: A paradigm of wealth and power</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 Fabergé Eggs carry international fame as a symbol of tragedy, wealth and power. The first Fabergé Egg created for the House of Romanov or the Russian royal family was in 1885 when Emperor Alexander III commissioned an Easter Egg as a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43418811" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Fabergé Eggs carry international fame as a symbol of tragedy, wealth and power. The first Fabergé Egg created for the House of Romanov or the Russian royal family was in 1885 when Emperor Alexander III commissioned an Easter Egg as a present for his wife, Empress Maria Feodorovna. That gave the beginning to a series of 50 Imperial Easter Eggs, which ended with the forced abdication of Nicholas II in 1917. <br /> <br />Each Egg was uniquely crafted for each Easter season, following the artistic trends of the day or a notable event. In most cases, the Tsar would leave the decision to be made by the workmasters, with the sole requirement of each egg to have a surprise inside. The eggs are probably the best known and preserved artefact from the Romanov era, and are still a figure in contemporary mainstream stage. <br /> <br />In this paper, the Imperial Coronation Egg will be taken as an example of the master craftsmanship of the Fabergé House. To begin with, I will explore the symbolism laying behind the egg as an object over different cultures. Furthermore, I will examine the materials and techniques used to create the egg, and connect them to the symbolism within Imperial Russia and Eastern Orthodoxy Church. Lastly, I will connect the previous examinations with the current owner of the Imperial Coronation Egg and 8 others, Viktor Vekselberg, and how the ownership and hunt for the most precious Easter eggs is a paradigm of power and wealth</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/43418811" 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="26f403e3e2b98a6cf832675afd5dc695" rel="nofollow" data-download="{"attachment_id":63720231,"asset_id":43418811,"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/63720231/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="99787519" href="https://rug.academia.edu/MKKirilova">Mia Kirilova</a><script data-card-contents-for-user="99787519" type="text/json">{"id":99787519,"first_name":"Mia","last_name":"Kirilova","domain_name":"rug","page_name":"MKKirilova","display_name":"Mia Kirilova","profile_url":"https://rug.academia.edu/MKKirilova?f_ri=8927","photo":"https://0.academia-photos.com/99787519/29655278/103101294/s65_mia.kirilova.jpg"}</script></span></span></li><li class="js-paper-rank-work_43418811 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43418811"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43418811, container: ".js-paper-rank-work_43418811", }); 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The first Fabergé Egg created for the House of Romanov or the Russian royal family was in 1885 when Emperor Alexander III commissioned an Easter Egg as a present for his wife, Empress Maria Feodorovna. That gave the beginning to a series of 50 Imperial Easter Eggs, which ended with the forced abdication of Nicholas II in 1917.\r\n\r\nEach Egg was uniquely crafted for each Easter season, following the artistic trends of the day or a notable event. In most cases, the Tsar would leave the decision to be made by the workmasters, with the sole requirement of each egg to have a surprise inside. The eggs are probably the best known and preserved artefact from the Romanov era, and are still a figure in contemporary mainstream stage. \r\n\r\nIn this paper, the Imperial Coronation Egg will be taken as an example of the master craftsmanship of the Fabergé House. To begin with, I will explore the symbolism laying behind the egg as an object over different cultures. Furthermore, I will examine the materials and techniques used to create the egg, and connect them to the symbolism within Imperial Russia and Eastern Orthodoxy Church. Lastly, I will connect the previous examinations with the current owner of the Imperial Coronation Egg and 8 others, Viktor Vekselberg, and how the ownership and hunt for the most precious Easter eggs is a paradigm of power and wealth\r\n","downloadable_attachments":[{"id":63720231,"asset_id":43418811,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":99787519,"first_name":"Mia","last_name":"Kirilova","domain_name":"rug","page_name":"MKKirilova","display_name":"Mia Kirilova","profile_url":"https://rug.academia.edu/MKKirilova?f_ri=8927","photo":"https://0.academia-photos.com/99787519/29655278/103101294/s65_mia.kirilova.jpg"}],"research_interests":[{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false},{"id":15983,"name":"Meanings Of 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type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5345" href="https://www.academia.edu/Documents/in/Photosynthesis">Photosynthesis</a><script data-card-contents-for-ri="5345" type="text/json">{"id":5345,"name":"Photosynthesis","url":"https://www.academia.edu/Documents/in/Photosynthesis?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5803406]'), work: {"id":5803406,"title":"Edgar Lissel: The Return of 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href="https://www.academia.edu/Documents/in/Critical_Theory">Critical Theory</a>, <script data-card-contents-for-ri="8" type="text/json">{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3189" href="https://www.academia.edu/Documents/in/Experimental_Media_Arts">Experimental Media Arts</a>, <script data-card-contents-for-ri="3189" type="text/json">{"id":3189,"name":"Experimental Media Arts","url":"https://www.academia.edu/Documents/in/Experimental_Media_Arts?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_48895604" data-work_id="48895604" 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/48895604/Od_Bahausu_do_Sztuki_Zamglonego_Antropocenu_%C4%86wiczenie_z_Fabulacji_Spekulatywnej">Od Bahausu do Sztuki Zamglonego Antropocenu. Ćwiczenie z Fabulacji Spekulatywnej</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">W zachodniej humanistyce ostatnich lat mamy do czynienia z rozpowszechnieniem się rozmaitych „fabulacji spekulatywnych” (Haraway) na temat czasów w których żyjemy, zwłaszcza w kontekście trwającej katastrofy ekologicznej. Chodzi tu o... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_48895604" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">W zachodniej humanistyce ostatnich lat mamy do czynienia z rozpowszechnieniem się<br />rozmaitych „fabulacji spekulatywnych” (Haraway) na temat czasów w których żyjemy,<br />zwłaszcza w kontekście trwającej katastrofy ekologicznej. Chodzi tu o powoływane przez<br />badaczy nowe epoki w dziejach Ziemi, takie jak kapitalocen (Moore) termocen (Bonneuil i<br />Fressoz) czy plantacjocen (Tsing), które pozwalają zrozumieć, to co dzieje się z naszą<br />planetą. Proliferacja różnego typu „–cenów” zbiegła się w czasie z obchodami stulecia<br />powstania Bauhausu, prowokując do pytań o to, na ile tradycja tej szkoły pozwala zrozumieć<br />współczesne hybrydy natury, kultury i technologii powstające w obszarze sztuk<br />performatywnych. W niniejszym wystąpieniu pokażę w jaki sposób tradycja Bauhausu<br />pozwala zrozumieć zjawiska zachodzące w zamglonym antropocenie. Chodzi tu o powołaną<br />przeze mnie do istnienia epokę, w której mamy do czynienia tyleż z kryzysem ekologicznym,<br />co poważnym kryzysem epistemologicznym. Zamglony antropocen jest więc spekulacją na<br />temat tego, jak mógłby wyglądać świat, w którym osłabieniu uległa dominacja wzroku jako<br />narzędzia orientacji, czyli tego zmysłu, który – jak chcieli Nowocześni – gwarantuje<br />uzyskanie najpewniejszej wiedzy o świecie. Zestawiając prace Anni Albers ze współczesnymi<br />instalacjami pokażę, co o interesującej mnie epoce może powiedzieć tradycja Bauhausu.</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/48895604" 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="c4a89e9d808822678f60bdf16124c5fc" rel="nofollow" data-download="{"attachment_id":67302421,"asset_id":48895604,"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/67302421/download_file?st=MTczMjc3Mzg5MCw4LjIyMi4yMDguMTQ2&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="26281462" href="https://costam.academia.edu/MateuszChaberski">Mateusz Chaberski</a><script data-card-contents-for-user="26281462" type="text/json">{"id":26281462,"first_name":"Mateusz","last_name":"Chaberski","domain_name":"costam","page_name":"MateuszChaberski","display_name":"Mateusz Chaberski","profile_url":"https://costam.academia.edu/MateuszChaberski?f_ri=8927","photo":"https://0.academia-photos.com/26281462/7244780/12403179/s65_mateusz.chaberski.jpg"}</script></span></span></li><li class="js-paper-rank-work_48895604 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="48895604"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 48895604, container: ".js-paper-rank-work_48895604", }); 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$(".js-view-count[data-work-id=48895604]").text(description); $(".js-view-count-work_48895604").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_48895604").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="48895604"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2080" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" 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=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8927" href="https://www.academia.edu/Documents/in/Art_and_Science">Art and Science</a>, <script data-card-contents-for-ri="8927" type="text/json">{"id":8927,"name":"Art and Science","url":"https://www.academia.edu/Documents/in/Art_and_Science?f_ri=8927","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9846" href="https://www.academia.edu/Documents/in/Ecology">Ecology</a><script data-card-contents-for-ri="9846" type="text/json">{"id":9846,"name":"Ecology","url":"https://www.academia.edu/Documents/in/Ecology?f_ri=8927","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=48895604]'), work: {"id":48895604,"title":"Od Bahausu do Sztuki Zamglonego Antropocenu. 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W niniejszym wystąpieniu pokażę w jaki sposób tradycja Bauhausu\npozwala zrozumieć zjawiska zachodzące w zamglonym antropocenie. Chodzi tu o powołaną\nprzeze mnie do istnienia epokę, w której mamy do czynienia tyleż z kryzysem ekologicznym,\nco poważnym kryzysem epistemologicznym. Zamglony antropocen jest więc spekulacją na\ntemat tego, jak mógłby wyglądać świat, w którym osłabieniu uległa dominacja wzroku jako\nnarzędzia orientacji, czyli tego zmysłu, który – jak chcieli Nowocześni – gwarantuje\nuzyskanie najpewniejszej wiedzy o świecie. Zestawiając prace Anni Albers ze współczesnymi\ninstalacjami pokażę, co o interesującej mnie epoce może powiedzieć tradycja Bauhausu.","downloadable_attachments":[{"id":67302421,"asset_id":48895604,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26281462,"first_name":"Mateusz","last_name":"Chaberski","domain_name":"costam","page_name":"MateuszChaberski","display_name":"Mateusz Chaberski","profile_url":"https://costam.academia.edu/MateuszChaberski?f_ri=8927","photo":"https://0.academia-photos.com/26281462/7244780/12403179/s65_mateusz.chaberski.jpg"}],"research_interests":[{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=8927","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=8927","nofollow":false},{"id":8927,"name":"Art and 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