Art

The symposium “The found Christ” took place in Cervignano del Friuli (Udine) on Saturday, December 3, 2005, within the homonymous multi-year project (coord. scient. S. Blason Scarel and P. Casadio) dedicated to the rediscovery of the "Christ of the Countess", a colossal medieval wooden crucifix preserved in the chapel of St. Cross, the gentilitial oratory of the villa Bresciani in Cervignano. The Conference Proceedings are published two years later, enriched by further updates: in the volume the author outlines – for the first time – the history of the residence founded by the noble Bresciani family in Cervignano (the precious 'background' of the ancient sculpture) and he describes the different buildings, the dependencies and the furnishings including his famous 'guest', suggesting again the proposal that he already put forth at the symposium: that it is to be identified with the "Christ of St. Felix", a gigantic wooden crucifix seen in 1570 by the apostolic visitor Bartolomeo of Porcia & Brugnera inside the Basilica of Sts. Felix e Fortunate in Aquileia, at that time still raised although no more flourishing

Sabato 3 dicembre 2005 a Cervignano si svolse il convegno “Il Cristo ritrovato”, nell’ambito dell’omonimo progetto pluriennale (coordinamento scientifico: S. Blason Scarel - P. Casadio) dedicato alla riscoperta del “Cristo della Contessa”, il colossale crocifisso ligneo medievale conservato nella cappella di S. Croce, l’oratorio gentilizio della villa Bresciani a Cervignano. A due anni di distanza vede la luce il volume degli atti – arricchito da ulteriori aggiornamenti – al cui interno l’autore per la prima volta delinea le vicende storiche della dimora cervignanese fatta costruire dalla nobile famiglia Bresciani (il prezioso ‘sfondo’ dell’antica scultura) e ne descrive i diversi fabbricati, le pertinenze e l’arredo compreso il suo celebre ‘ospite’, riproponendo la proposta già avanzata durante il convegno: che esso sia da identificare con il “Cristo di San Felice”, il gigantesco crocifisso in legno visto dal visitatore apostolico Bartolomeo di Porcia e Brugnera nel 1570 all’interno della basilica aquileiese dei Santi Felice e Fortunato, all’epoca non più fiorente ma ancora in alzato

The review summarizes the main features and contents of the Taruskin/Gibbs music history textbook. While finding the book’s pedagogical aims and general quality to be excellent, the review finds fault with the blurring of distinctions between fact and interpretation.

Una cantidad sustancial de fuentes de archivo de los anos mil novecientos sesenta a setenta revela el trabajo de los pioneros de la produccion de arte experiencial en Puerto Rico. Hasta la fecha, sin embargo, la mayoria de las publicaciones academicas omiten en gran medida su existencia o atribuyen erroneamente su origen a la decada de 1980. En cambio, los ‘textos canonicos’ de la historia de arte de Puerto Rico postulan la construccion de una identidad nacional durante los anos 1960-70, centrada en valores culturales hegemonicos y homogeneizadores. Esta disertacion intenta corregir los conceptos erroneos sobre el arte vanguardista producido en la Isla. A traves de la investigacion, se rescata el trabajo de un grupo de artistas puertorriquenos que, por su inclinacion a los movimientos avant garde internacionales, fueron enfrentados por la resistencia de sus homologos puertorriquenos, quienes favorecian el estilo figurativo del muralismo mexicano. A pesar de que existe una cantidad e...

This chapter implements a neuroscientific approach to the psyche of collectors.  It is by a board certified neurologist and psychiatrist.  The file uploaded is a final proof with minor alternations that were made for the book itself.  They can be provided upon request.

In the last decade or so, Cognitive Poetics has received increasing scholarly interest as a self-standing subfield in cognitive scientific research (Brone 2009; Gavins and Steen 2003; Semino and Culpeper 2002; Stockwell 2002; Tsur 2008). In this field, research along the cross-linguistic dimension has started to gather momentum, but so far limited attention has been given to constructional approaches (e.g. Boas ed. 2010). In view of the existing gap, we propose to examine the form-meaning pairings in a poetic text and its translations. The poem we choose is Jabberwocky by Lewis Carroll, its Ukrainian translations by M. Lukash and V. Korniyenko and by V. Narizhna and its Czech translations by J. Cisař and A. and H. Skoumals, and we focus on only the first stanza. In the current paper, we in particular look at compounding and lexical blending (Kemmer 2003; Renner et.al ed. 2012 and the references therein), a morphological strategy of abridging and combining various lexical roots to fo...

This dissertation pursues a relationship between the changing venues of the Viennese popular theatrical tradition, or Wiener Komddie, and the evolution of the comic figure from the performances of Josef Anton Stranitzky (1676-t726) to Johann Nestroy (1801-1862). This study follows a procedure of reconstructing the major venues associated with the Viennese comic tradition and analyzing the changes in the depiction of the comic character as they relate to the changes in the venues. This presentation of Viennese performance sites and stage characters ultimately explores the relationship between physical space (object of material culture, such as a purpose-built theatre) and theatrical performance (consciousness of place) and addresses such considerations as the following: 1) Do changes in theatrical venues and production facilities lead to changes in character representation on stage? 2) How do the locale and physicality of a site bear upon performance possibilities? 3) Is it possible ...

The text presents an experience report on the vegetable garden of the National Institute ofDeaf Education that is being cultivated by art teachers and deaf students aged between 8 and21 years. Begun in 2015 with a class of 1st year of elementary school, the horta-oca (garden--oca) is configured as a space for coexistence, exchanges, learning and cultivation of ideas.Experienced pedagogical practices and the use of tools such as the hoe, excavator and shovelmade possible the agency and amplification of the corporal and sensory experiences of thechildren and young people according to the principles of education through the experience andpractice from Paulo Freire. The horta-oca, connected to the notion of Agroecology, providesan environment favorable to the revaluation of popular and indigenous traditions and wisdoms,the encounter with the diversity of knowledge and tastes, the connection with the earth and thecycles of nature and the reflection on the relation between science and art...

espanolLa disertacion analiza la revista de propaganda Die Wehrmacht y tambien su materialidad (diseno grafico, publicidad, asi como de las reportajes sobre la guerra). Varios ejemplares y ediciones de la revista fueron investigados en detalle para resaltar las caracteristicas especificas de esta publicacion. Los fotoreportajes sobre los alemanes, sus aliados y enemigos fueron publicadas en la mayor parte cargadas de la ideologia nazi, lo que ayudo a construir estereotipos del eje y de las potencias aliadas para la sociedad alemana. Asi fueron tambien analizados los estereotipos de los alemanes y de sus enemigos en las fotoreportajes, articulos y dibujos de la revista Die Wehrmacht. EnglishThe dissertation analyses the history of propaganda magazine Die Wehrmacht, and also the material aspects of the publication (layout, advertising, war correspondence). Several copies and editions of the magazine were researched in detail to highlight the specific features of this publication. The ...

This is a collection of interviews with contemporary sound artists who use field recording in their work. From its early origins in wildlife sound and in ethnographic research, field recording has expanded over the last few decades into a diverse range of practices which explore and investigate aspects of the lived environment, from the microscopic to the panoramic, through the medium of recorded sound. These conversations explore the fundamental issues that underlie the development of field recording as the core of their activity. Recurring themes include early motivations, aesthetic preferences, the audible presence of the recordist and the nature of the field. This book contains 18 interviews with artists who use field recording as the core of their practice: Andrea Polli, Annea Lockwood, Antye Greie, Budhaditya Chattopadhyay, Christina Kubisch, Davide Tidoni, Felicity Ford, Francisco Lopez, Hildegard Westerkamp, Hiroki Sasajima, Ian Rawes, Jana Winderen, Jez Riley French, Lasse-...

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.

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?

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.

E1 sitio finca 4 se halla situado en el pacifico sur de costa rica, en una zona que fue explotada desde finales de la decada de los treinta por la united fruit company, una de las principales transnacionales dedicadas al cultivo de banano en america. Antes de la llegada de esta compania la zona estaba habitada por indigenas borucas y algunos colonos llegados en busca de tierra. La falta de vias de comunicacion y la lejania de estas tierras con relacion al area central del pais, en la cual ha estado concentrada la mayor parte de la poblacion de costa rica, asi como las duras condiciones climaticas y el denso bosque tropical, mantuvieron a esta parte del pais como una tierra "virgen" hasta mediados de los anos treinta. Con el desarrollo de extensas plantaciones bananeras, la zona sufre un fuerte proceso de transformacion, que llevo a la eliminacion de cientos de hectareas de bosque, a la remocion de grandes cantidades de suelo y la llegada precipitada de contingentes de trab...

El Concilio de Trento estableció que uno de los principales mecanismos con los que desarrollar la reforma de la Iglesia católica habían de ser los obispos, de tal manera que fortaleció su posición. Para emprender su nueva misión pastoral, quisieron apoyarse en la institución eclesiástica que ocupaba el segundo puesto en el organigrama de la diócesis: el cabildo catedral. Sin embargo, para llevar adelante esta tarea era del todo punto imprescindible lograr la plena aceptación del Concilio por parte de los capitulares, lo que implicaba que ellos y la institución a la que pertenecían fueran los primeros a los que había que reformar. No hay mejor ejemplo que el de los superiores. Pronto se vislumbró que no había nada más lejos de la realidad. En efecto, los cabildos hispanos se convirtieron en importantes focos de tensión y las disputas con los prelados se multiplicaron por doquier. En este trabajo, precisamente, se van a estudiar algunas de estas situaciones acaecidas a finales del sig...

Art and Pornography presents a series of essays
which investigate the artistic status and aesthetic
dimension of pornographic pictures, films, and
literature, and explores the distinction, if there is
any, between pornography and erotic art. Is there
any overlap between art and pornography, or are
the two mutually exclusive? If they are, why is
that? If they are not, how might we characterize
pornographic art or artistic pornography, and how
might pornographic art be distinguished, if at all,
from erotic art? Can there be aesthetic experience of
pornography? What are some of the psychological,
social, and political consequences of the creation and
appreciation of erotic art or artistic pornography?
Leading scholars from around the world address these
questions, and more, and bring together different
aesthetic perspectives and approaches to this widely
consumed, increasingly visible, yet aesthetically
underexplored cultural domain. The book, the first
of its kind in philosophical aesthetics, will contribute
to a more accurate and subtle understanding of the
many representations that incorporate explicit sexual
imagery and themes, in both high art and demotic
culture, in Western and non-Western contexts. It is
sure to stir debate, and healthy controversy.

This article introduces how one can design for product longevity through eliciting consumer-product attachment in order to restrain the rate of product replacement. The research disclosed the design tool ”Contexts of Experience” (COE) which combines strategies of consumer–product attachment and associated psychological phenomenon. The COE was disclosed and analyzed through case study.

This thesis is an investigation into the legitimacy and limits of the term “body art” in its vernacular sense, wherein it refers to methods of decorating or ornamenting the body, such as tattooing or piercing. Though the term is widely used and widely understood, it has rarely appeared in any writing which takes an explicitly arthistorical or art‐critical approach, and has never been subjected to any sustained analysis which uses the methodologies deployed by specialists when engaging with other forms of art. If tattooing and its coincident technologies are “body art”, they have not as yet been understood as such by art historians.

The arguments made over the course of this work thus amount to a case for the applicability of art‐historical and art‐theoretical methodologies to body modification practice. The thesis first establishes the existence of a rhetorical yet broadly undefended case for the artistic status of practices which alter the form of the body. This claim is to be found amongst both the contemporary subcultural body modification community and amongst plastic surgeons. With particular reference to theories of art and aesthetics by John Dewey, Richard Shusterman, and Gilles Deleuze and Félix Guattari, the work investigates whether such claims are tenable. In light of these investigations, the thesis then presents a number of problems which immediately arise from such a claim – problems of authorship, ownership, objectivity and value – and attempts to resolve them through detailed analysis of a number of case‐studies.

(The full thesis can be downloaded from the British Library's EThos Service at http://ethos.bl.uk by searching "Lodder" or the thesis' persistent ID, 525734 - registration required)

The soft tuffaceous surface structure, which is the characteristic of Nevsehir region, has made these regions inhabitable since ancient times, being a gift of nature to humanity. Engraved spaces in accordance with the needs paved the way for the emergence of specifically civil architecture (housing), religious architecture (monasteries, churches, mosques and tombs), defense structures and agricultural structures (linseed oil workshops, dovecots, bee yards, wine workshops, warehouses, stables). Being one of these structures, dovecots, which are in fact rare in Anatolia, are frequently found throughout Cappadocia region. There are no specific architecture plans of these dovecots. They can be both single storey and multi storey. They can be carved into a rock block on a slope of a hill or individual fairy chimneys. Rock carved dovecots in Nevsehir region stand out with their painted decorations. The decorations which were painted on a white surface in red, black, blue or green, in some...

This essay discusses the use of abandoned places by photographers. I review this subject from a perspective of remembering and forgetting. Giving examples of artists, especially photographer’s works whose subjects are abandoned places in Izmir and Detroit, I interpret photographs of abandoned places in the context of hauntology and ghost-metaphors.

Disrupting the Gaze is written in three parts. The first chapter Art Intervention and the Tate Gallery investigates contemporary art intervention at the Tate Gallery. It includes artists, art groups and activists: Graham Harwood, Platform, Liberate Tate, IOCOSE, Tamiko Thiel, Mel Evans, Mark McGowan, Mark Wallinger, Damien Hirst and Britart. The second chapter The Power and the Gaze studies the history of the Tate Gallery, its connection with the Millbank Penetentiary and the “Panopticon", Jeremy Bentham’s design and concept for the prison. The third chapter explores different concepts of “the gaze” and includes feminist, societal and media art contexts. Together they form part of a larger study that looks at dissent in the context of contemporary art, technology and social change.
Each artist(s) featured in this chapter delivers his or her own particular unofficial and official mode of art intervention at the Tate Gallery. Whether these interventions concern economic, social or political conditions, they all connect in different ways. Less in their style or genre than as contemporary artistic practitioners exploring their own states of agency in a world where our public interfaces are as much a necessary place of creative engagement, as is the already accepted physical ‘inner’ sanctum of the gallery space. These artists’ and their artworks have become as equally significant (perhaps even more) than, the mainstream art establishment’s franchised celebrities.
In his vindication of those artists hidden away in places where the art establishment’s light rarely shines, Gregory Sholette observes that “when, the excluded are made visible, when they demand visibility, it is always ultimately a matter of politics and rethinking history.”  (Sholette 2011) This draws upon a contemporary art culture and its audiences beyond the mainstream. These artistic discoveries and discourse arise from an independent art culture that is rarely reflected back to us. Instead, we receive more of the same, marketed franchises. The central, mainstream version of contemporary art has found its allies within a global and corporate culture, where business dictates art value. Meanwhile, a spirit of artistic emancipation thrives. It is self styled, self governed and liberated from the restrictive norms that dominate our mediated gaze.

Abbreviations ix Introduction xiii 1.Women in Byzantium 1 2.In Search of Byzantine Women: Three Avenues of Approach 12 3.Women and the Faith in Icons in Early Christianity 38 4.Mothers and Daughters in the Medieval Greek World 80 5."Femina Byzantina": The Council in Trullo on Women 115 6.Public and Private Forms of Religious Commitment among Byzantine Women 133 7.The Imperial Feminine in Byzantium 161 8.Political Power and Christian Faith in Byzantium: The Case of Irene (Regent 780-90, Emperor 797-802) 194 9.Moving Bones: Evidence of Political Burials from Medieval Constantinople 208 10.The Many Empresses of the Byzantine Court (and All Their Attendants) 219 11.Theophano: Considerations on the Education of a Byzantine Princess 238 12.Toleration and Repression in the Byzantine Family: Gender Problems 261 13.The Icon Corner in Medieval Byzantium 281 14.Marriage: A Fundamental Element of Imperial Statecraft 302 Index 321

El imperialismo afecta tanto el ‘aqui’ como el ‘ahi’. Mujeres de clase media y blancas han historicamente salido de su hogar y ganado mas de ‘de si mismas’ siendo buenas ayudantes, tipicamente como maestras y misionarias. En este papel han consolidado el poder del imperio, a veces sin intencion. Hoy en dia el papel de buen ayudante es usado mas ampliamente, no solamente por mujeres blancas, para trabajar en contra del imperio. Pero estas herramientas del amo son toxicas. Puede parecer que estamos trabajando en contra de el, pero en realidad refuerzan los sistemas de dominacion que produce el imperio. Aquellos de nosotros que combatimos el imperio debemos tambien luchar contra el imperialismo dentro de nosotros mismos. Este analisis de las formas en las que descolonizar el trabajo solidario tiene raices en el movimiento para cerrar la Escuela de las Americas (un campo de entrenamiento de los EE UU) y en un proceso de teorizacion en colaboracion con prisioneras de consciencia de clase...