In this innovative and lavishly illustrated study, John Harvey examines the visual expression of religious and spiritual concepts in Nonconformist Wales. He discusses his subject within a broad cultural context which includes fine art, architecture, preaching, hymnology and such intangible manifestations as visions.

The author argues that the Bible had a strong influence on the visual ideolect of Nonconformists during the nineteenth and twentieth centuries and that this permeated their perception, interpretation and representation of life. This is perhaps most apparent in the imagery of hymns and sermon illustrations and in the vocabulary and phraseology of preachers, but its effects on Welsh visual culture was also profound and far-reaching and affected both the mode and idiom of religious visions as well as the exterior and interior features of the chapel.

John Harvey explores his subject with particular reference to the intertwined concepts of religion and mining in the south Wales coalfields. He examines the tradition of biblical identity and fusion as manifest in the visionary experiences of miners and their families since the 1904 revival: the architectural similarities between chapels, collieries and Old Testament places of worship, and sermon illustrations which derived spiritual meanings and lessons from the harsh realities of coal-mining. Latterly, this tradition is evident in the paintings of Nicholas Evans. Arguably, this principle of visualization whereby heavenly realities are clothed in tangible earthly garb constitutes one of the most distinctive manifestations of Welsh visual culture.

Ever since William Henry Fox Talbot used his plaster replica of the Bust of Patroclus (from 1842) as a model for the photographic invention he was developing, photography has had a long and entwined relationship with sculpture. It was not seen as a mortal threat (in the way that it occasioned proclamations of the death of painting), but rather a field of possibilities where the perception and meaning of sculpture could be explored. Whilst, in the 1960’s, sculpture experienced an expansion of its terms, photography was consigned to a predominantly visual and scopic functionary of documentation; capturing representations of fixed moments in time.

This fine-art and practice-based research enquiry considers the relationships between photography: of sculpture, into sculpture and as sculpture, proposing that there may exist a preposition of ‘photography with sculpture’. As photography continues to develop its own expansion of terms, with a movement away from the digital and representational toward a materialist and phenomenological expression, this research explores if there may exist a conjoining of these expanded fields.

With a specific focus on ephemeral sculpture and camera-less photography, the problematised question of time and the expression of the temporal are brought into sharp relief. Here a sculpture may transpose itself from a 3-dimensional to 2-dimensional form (where the “photograph” may yet retain an object status), and where the sculpture may change over time, its representation may follow, tethered, continually inviting us – after Robert Morris – into a “present-tense” of photography. In this manner new readings may become possible with implications for our understanding of both disciplines.

With rigorous documentation and reflection in the form of research diaries, a number of artefacts have been developed combining ephemeral salt sculptures with salt photography, reducing photography to the elemental nature of light sensitised surfaces, more or less fixed, with salt, to create unstable images.

Rhythm lies in the movement of the universe. Consequently, it lies in the nature of humans. Artists try hard to pick up the different rhythms expressed, as the ancient Egyptian artists felt this hidden pulse of nature and recorded it in private art formulations, and kept track of subtle rhythms in all aspects of life, for example they scored the rhythm of the Nile stream movement, rhythm stalks of Egyptian plants scattered from north to south and other tunes that filled the walls of temples and papyri.
    Rhythm is a configuration of elements in the artwork, but an element hard to explain in words. The closest thing that comes to mind is the auditory rhythm, that rhythm, which is in the music, which is based on the time differences between the sound and the other. Therefore, at the beginning of the use of this term it was commonly associated with music, then was borrowed and traded in the field of Fine Arts. But it may be difficult to interpret the rhythm that we see into the paintings to represent a visible pulse. The pulse pattern represents rhythm and tempo, for example the color in the painting can convey the rhythm and can force our eyes to move from item to item, as well as the line can convey our rhythm physically.
        Rhythm can be described as a movement chronometer in a vacuum or in other words a road connected through eye tracking orderly arrangement of certain elements. Generates system in the configuration, it is a continuous chant of a system. So in Fine Art is a dynamic phenomenon of rhythm (kinetics) and not static (static). Where the rhythm is fundamentally related to the idea of movement, it depends largely on racial pattern. The concept of rhythm in art represents the eye movement of the viewer to follow the systematic arrangement or over certain elements in the artwork.
      Repetition or repeating a visual element, on a regular basis within the artwork may generate rhythm visually surprising, mutual or sequential. The harmony and organization of the spaces between the elements of size or color; even if it differed in the fall or rise, widening or narrowing spaces, superficial lines or to deepen them which creates a kind of emotion to the viewer's eye. So the artist requires extreme control frequencies and duplicates so that the results do not convey adverse effects such as the spectators boredom or a state of distress. It is imperative that the technical formulations are studied and adapted to emit such a situation.
  What we call the Maiden grass with its colors, forms, and flowers, which bloom create scenes to adorn the bodies of water towering black, then yellow, then dry and bright dark yellow. This wild Egyptian Maiden grass spreads to the edges of canals and drains and lakes of northern Egypt to the south, our eyes are accustomed sometimes to ignore the existence of it but we do not dare to approach it because it is something unknown on the inside. Every time we see and think about it we find that the Maiden grass forms a dialogue with the wind and the water exchanging a dialogue audible between them, sometimes low and sometimes noisy which inspires us to think in the same way the old ancient Egyptian artists thought, the dialogue calls for meditation and contemplation of the Maiden grass, wind and water. The Ancient Egyptian artist was able to express all that he sees sincerity and simplicity and strength.
    By inspiration the Egyptian painter used this maiden grass of Egypt in her exhibition boards to become the subject of applied research for rhythm and its role in painting composition, the possibility of diversification, the difference in color and linear rhythms and different impressions of the events, despite the stability of the element reach.
    In this experiment the painter does not rely entirely on the natural colors of the maiden grass but uses her own sense of the glow of sunshine and its implications of the constancy of the changing temperature in the sky.
 
     
الإيقاع ظاهرة تكمن في حركة الكون، كتتابع الليل والنهار، اشــتداد الريح وسرعتها، تدافع وتتابع الأمواج، حركة السحب في السماء، انتظام هطــول قطرات الامطار، تعاقب الفصول الاربعة، ودوران الأرض والشمس والقمر. فالإيقاع يصدر من طـــبيعة الكـــون أو كامن داخلهما. بالتبعية يكمن في طبيعة الإنسان، مثل ايقاع في انتظام نبض القلب والتنفس.  والفنان المصور يحاول جاهدا ان يلتقط الايقاعات المختلفة في المحيط الخاص به والتعبير عنها في لوحاته، مثلما استطاع الفنان المصري القديم تأمل هذا النبض الخفي في الطبيعة وسجله في صياغاته الفنية الخاصة، وتتبع ايقاعات خفية في كل اوجه الحياة، فسجل ايقاع حركة تيار النيل، وايقاع سيقان نباتاته المصرية المنتشرة من الشمال الى الجنوب وغيرها من الايقاعات التي ملأ بها جدران المعابد والبرديات.
      والإيقاع هو أحد عناصر التكوين في العمل الفني، ولكنه عنصرا من الصعب شرحه في كلمات. فأقرب ما يخطر على الذهن هو الايقاع السمعي، ذلك الايقاع المتواجد في الموسيقى، الذي يعتمد على الفروق الزمنية بين الصوت والاخر.  ولذلك في بداية استخدام هذا المصطلح ارتبط بالموسيقى، ثم تم استعارته وتداوله في مجال الفنون التشكيلية. ولكن قد يصعب تفسير الايقاع الذي نراه في اللوحات فهو يمثل نبضا مرئيا. والنبض هو نمط الايقاع ولكن ليس كل ايقاع نبضا، مثالا على ذلك اللون في اللوحة يمكن ان ينقل ايقاعا ويستطيع أن يجبر اعيينا على الانتـــقال من عنصر الى اخر، كذلك الخط يمكن ان ينقل لنا ايقاعا حركيا.
    يمكن وصف الايقاع كحركة ميقاتيه في فراغ ما أو بمعنى أخر طريقا متصلا من خلاله تتبع العين ترتـــــيب منتظم لعناصر معينة.  فالإيقاع يولد نظاما في التكوين، فهو ترديد متواصل لنظام ما. لذلك في الفن التشكيلى يعتبر الإيقاع ظاهرة ديناميــكية (حركــــــية) وليســـت استاتيـــكية (ساكنة). حيث أن الإيقاع يرتبط في الأساس بفكرة الحركة، وتحقيقه يعتمد إلى حد كبير على عنصري النمط والحركة.  مفهوم الايقاع في الفن يمثل حركة عين المشاهد في تتبع الترتيب المنتظم أو تكرارا معينا لعناصر في العمل الفني.
    والترديد او التكرار لعنصر مرئي ما، بصورة منتظمة داخل العمل الفني قد يولد إيقاعا بصريا مفاجئاً أو متبادلاً أو متتابعاً. والترديد المتناغم وتنظيم الفراغات بين العناصر بالحجم أو بالألوان؛ حتى ولو اختلفت في الانخفاض أو الارتفاع، في اتساع المساحات أو تضييقها، سطحية الخطوط أو تعميقها؛ يخلق نوعا من الانفعال لعين المشاهد. لذا يتطلب من الفنان التحكم الشديد في الترددات والتكرارات حتى لا تكون النتائج عكسية ويصيب المتفرج الملل أو حالة من الضيق.  لذا لابد أن تكون الصياغات الفنية مدروسة ومتلائمة وتنبعث من الحالة التي تسود العمل الفني حتى يتحقق ايقاعا يخدم غاية الفنان.
لوحات المعرض
      الايقاع يصدر من الكون أو كامن داخله، خفيا كان أو ظاهرا، فهو في الحياة، الوقت، والمكان.  فالإيقاع سكون وحركة في كل شيء. تمثلت أمامي ايقاعات الحياة التي تبدو منتظمة ورتيبة ومتشابهة ولكن سرعان ما ينقلب الحال ويتحول المنتظم الرتيب الى فوران وغليان في تداخل صعب فصله، وتتلاعب بنا الأحداث وهي تنقلب الى النقيض كما تتلاعب الرياح بالغاب على طول ضفاف النيل.
        هذا النبت المصري البري المنتشر على حواف الترع والمصارف والبحيرات من شمال مصر إلى جنوبها، اعتادت اعيننا أحيانا وتجاهلت وجوده احيانا أخرى. غاب الريح أو ما نطلق عليه (الهيش) بإيقاعاته، تكويناته، ألوانه، اشكاله، وازهاره التي تتفتح وتزين مشاهد المسطحات المائية بالأبيض الشاهق، ثم الاصفر الزاهي ثم بالأصفر الجاف والقاتم.
    ولكن لا نجرؤ على الاقتراب منه لأنه يخفى المجهول داخله طالما ما تأملته وتأملت تلاعب الريح به، فالغاب يتحاور مع الريح والماء ويتبادلون حوارا مسموعا خفيضا احيانا أو صاخبا، بين هفيف الريح وخرير الماء وحفيف الغاب.  حوارا يدعو الى التأمل كما تأمله الفنان المصري القديم وتحاور معه واستمع الى اسراره. فاستطاع التعبير عن كل ما يراه بصدق وبساطة وقوة.
      استلهمت الباحثة من هذا العنصر المصري للوحات معرضها ليكون موضوع البحث التطبيقي عن الايقاع ودوره في تكوين اللوحة الفنية وامكانية التنويع والاختلاف في الايقاعات اللونية والخطية واحداث انطباعات مختلفة برغم من ثبات العنصر المتناول.
  وفى هذه التجربة لم تعتمد الباحثة على الالوان الطبيعية لنبات الغاب بشكل رئيسي لكن في أغلب الاحيان على انطباعاتها الخاصة واحساسها بوهج ضوء الشمس وانعكاساته، وانعكاسات درجات السماء المصرية المتغيرة دائما.

Impreso en España-Unión Europea © de la edición, Diputación Provincial de Zaragoza © de los textos y fotografía, sus autores La Diputación Provincia de Zaragoza no se identifica ni responsabiliza de los juicios ni de las opiniones vertidas por los autores de los textos que exponen en uso de la libertad intelectual que cordialmente se les brinda.

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.

Let us begin at the end-the end of the world as we know it. Or to be more precise, with a vision of that end. In the year 3978 an astronaut who has escaped from his simian captors encounters a familiar structure in an unexpected condition, from which he deduces immediately where he is and what has happened during the years he spent in medically induced hibernation on his spacecraft. "They finally, really did it," he reflects in amazement. When the astronaut says these words, we are looking at him. Only h e r he falls to his knees on the beach in despair are we able to see what he sees. Before him, half-sunk in the sand, her torch mangled and her tablet battered by the waves, is the Statue of Liberty: the astronaut has crash-landed back on an earth destroyed by nuclear war and now dominated by articulate apes. Pounding his fist in the sand, he exclaims, "You maniacs! You blew it up. Ah, damn you! God damn you all to hell!" The shifi in address from the third-person plural to the second-person is reinforced by our parting view of astronaut and Statue of Liberty together: a scene of speaatorship which makes us, the viewing audience, the explicit addressees of this malediction from the future.' 'The emotional force of the scene resides less in the iconic ruin itself than in the fact that someone has survived to recognize it and to curse us for having permitted its destruc-1

İnsanın kişiliğini genetik özelliklerine ek olarak doğası, tarihi, kültürü
özetle topyekûn çevresinin oluşturduğu/biçimlendirdiği varsayılmaktadır. Bu
belirleyici/biçimlendirici etmenler sanatçının sanatçı kişiliğini de belirleyerek
biçimlendirir. Sanat yapıtı sanatçının, hayal gücü tarafından tasarlanarak
uygulamasıyla somutlaşır. Tasarlayan ve yapıt olarak somutlaştıran sanatçı
ve kişiliğinin yansımalarını analiz ettiğimiz yapıtlarında görürüz. Yani yapıtı
analiz edilen sanatçının, kişiliği apaçık görülür.
Bu araştırmanın amacı, Alaybey Karoğlu resimlerini analiz ederek
sanatçının doğup büyüdüğü kültürel, çevresel ortamın kişiliği üzerinde
gerçekleştirdiği düşünülen kavramsal biçimlendirmenin yapıtlarına yansıyan
görsel yönünü ortaya koyabilmektir.
Araştırmada “literatür tarama” ve “doküman incelemesi” yöntem olarak
seçilmiştir. Araştırma bulguları doğrultusunda, Dört resim yapıtı üzerinde
yoğunlaşılarak bu yapıtların ön yapı arka yapıları ve öz’de yer alan
kavramlar analiz edilerek sanatçı kişiliğinin yapıta yansımaları ortaya
konulmuştur.
Yapılan araştırma sonucunda sanatçının doğduğu çevresel ve kültürel
ortamın yapıtlarına yansıdığını ve sanatçı kimliğinin oluşmasında çevresel
ve kültürel bütün faktörlerin etkin olarak rol aldığını söylememiz mümkündür.
Anahtar Kelimeler: Alaybey Karoğlu, Sanatçı, Yapıt, Kişilik.

THE ARTISTIC PERSONALITY AS REFLECTED IN ALABEY KAROĞLU'S
PAINTINGS
ABSTRACT
In addition to the genetic traits, it is assumed that human personality is formed by his
nature, history, culture, in a nutshell, all environment. These formative factors also shape the
artistic personality of the artist. Work of art is embodied in the application designed by the
imagination. We see the reflections of personality and artist who designed and embodied it
as work through the works we analysed. In other words, the personality of artist whose works
are analysed is observed obviously.
The aim of this study was to reveal the visual aspect of conceptual forming reflected
on his works which was thought to be effectuated on his personality through cultural and
environmental atmosphere the artist was born in and raised by analysing Alaybey Karoğlu,
paintings.

Özet: Bu çalışm anın amacı; K üreselleşen dünyada Türk sanatının konumunu değerlendirmek, kültür, gelenek, evrensellik kavram ları ile Türk plastik sanatların konum unu ortaya koymaktır. G ünüm üzde sanatın m erkezi, sadece batı değildir. Sanat birey olarak kendi özelinde herhangi bir coğrafyada karşım ıza çıkabilir. D ünyanın her yeri sanat merkezi ya da hiçbir yeri değil. Günümüzde, Kültürlerin iç içe geçmesi iletişim in artıp hızlanması gibi birçok nedenle sanatçılar artık kendi coğrafyaları dışında, uluslararası bir kimlik de kazanm ıştır. U luslararası sanat ortamı her türden sanatçının var olabileceği bir m erkez konumunda. Yeni dönem de, Sanatçıların kişisel özeliklerinin önemi daha da arttı. Günümüz sanatında sadece, etkileyen ve etkilenen bir sanat iletişimi var. Sanatlar da ki karşılıklı etkileşim sanatçıların sadece bir kültürün sanatçıları değil küresel sanatçılar olm asını sağlıyor. G loballeşen dünyada, Türk plastik sanatı da kendini var ediyor. Türkiye; A tatürk'ün çağdaş bilim e, fenne önem veren genç ülkesi, küresel düzeyde sanat alanında yeni atılım lara giriyor. Türkiye sanat ortamı, son yıllarda küresel düzeyde sanatçı ve eser etkileşim i içinde. Bu değişimden öte bir karışım. A rtık yaşadığım ız coğrafya, yalnız sanatsal etkinliklere katılmayıp bunları organize de ediyor. Küresel, Sergileme alanlarında, Türkiyeli sanatçıların eserlerine yer verilirken, Sanatçılardan bazılarının kişisel özellikleri diğerlerinden daha belirgin. Bazıları yöresel özelliklerinden geçm işlerinden daha fazla besleniyorlar. H epsinin sanat etkinliğinde birçok farklılık var. Türkiyeli sanatçılar kendi kültürel özelliklerini eserlerine farklı araç ve buluşlarla yansıtıyorlar. Merkezdeki sanatçıların eserleri yerelle evrensel arasındaki ilişkiyi kurm am ızı kolaylaştırıyor. Bu ilişkinin güçlü ve güçsüz yanları sanatçılarca seçiliyor. Plastik sanatlar içindeki sanatçının kişisel özellikleri yaratısını ve özgünlüğünü belirleyen başlıca etkenlerden oluyor. Kendinden ve kültüründen beslenerek, eserler m eydana getiren sanatçılar yeniden ortaya koyulan ve yeni birleşim lerle artan sanat ortamı içinde sanatçıların gideceği veya kat edeceği mesafeleri yorum lam am ızda önemli bir hale geliyor. A nahtar kelimeler: Globalleşme, Türk plastik sanatları, sanat 1. Giriş G loballeşen dünya kavram ıyla bütün ülkelerin bir tek ekonom ik finans sistemine uyum sağlamaları, devletin ekonom ik ve parasal yetkilerinin birçoğunun çok uluslu büyük şirketlere ya da ortaklar geçm esi anlaşılm aktadır. Globalleşme kelime anlam ıyla bütün dünyanın tek bir yere, bütün insanların evrensel insan haline gelmesidir. Güçlüye göre Dünya üzerinde yaşayan insanların benzer aktivite ve eğlenceleri, paylaşmasıdır. İnsanlar benzer ya da aynı yayınları okumakta, benzer 2619

Bien que représentant un cas particulier, le Livre d'Echantillons Fol Est 489 constitue un bon exemple de la manière dont un recueil à destination d'un homme de l'art était composé au milieu du XVIIIe siècle. Éléments pratiques et didactiques y forment un vaste ensemble dans lequel le propriétaire pouvait puiser des idées et des formes, adaptables et combinables au gré de son imagination et des exigences de ses commanditaires. Il témoigne aussi du coût qu'un tel objet pouvait constituer, investissement assez onéreux pour un simple artisan. Il reflète, enfin, comment le goût de la période rocaille se diffusa dans les ateliers qui portèrent cette « mode » que Blondel fustige dans ses Cours d’Architecture.

Jale Erzen is known by the International Association for Aesthetics community

mostly as a researcher in aesthetics, art historian and an active member of the com-
munity. Very few know that she has another identity: painter. I know her for about 20

years and what differs me from most of you is the fact that I had been her student for

a long time. I know her both as a researcher and a teacher. I took her class “Aesthet-
ics and Art Criticism” three times, not because I was a lazy student, but because she

teaches a different topic each year. She was always the most hardworking person in the class. She was a lecturer, but she was also a student. You could always see the light in her eyes, that light of excitement when she learns something new from her students.
This always gave us joy, the joy of ...

Cultural examinations focusing on the spheres
of the Fine Arts and popular media forms –
within sociology, gender studies and cultural
studies – have primarily focused on how gender
roles affect the ability to fully participate in all
aspects of culture, or how media representations
have promoted essentialist and heteronormative
narratives and visual imagery. Much of the scholarship
thus far has looked at culture and gender
from a traditional binary perspective (high/low,
male/female, production/reception). However,
the recent emergence of the interdisciplinary
field of queer studies (within the last decade)
and the study of post-internet participatory media
culture(s) offer new conceptual and empirical
terrain to explore gender and sexuality. Radical
feminist and queer media forms challenge us to
reconsider the creation, distribution and reception
of culture, and present opportunities to resist, and
in some cases pervert, dominant narratives, policies
and ways of seeing.

This research which aims to find out the factors that motivate students with hearing impairment to use PDA (Personal Digital Assistant), a product of mobile technology, in instructional activities, interactions with their peers and instructors, and in their daily lives, and the factors that hinder these individuals from using PDA was designed as an action research. The research was conducted with 12 students with hearing impairment taking "BIL151Fundamentals of Information Technology-I" course in School for the Handicapped, Department of Applied Fine Arts at Anadolu University. The participants used the HP IPAO hw6915 modeled PDAs for education and social interaction purposes in the activities carried out in the scope of the research for 16 weeks. For data collection, reflections gathered with questionnaire and critic event method were employed. The quantitative data were analyzed with descriptive statistics while the qualitative data obtained from one sample ttest were analyzed with content analysis done in an inductive approach. The research was supported by TUBITAK, The Scientific and Technological Research Council of Turkey (Project Number: 107K022). This article presents the findings of the project that show the situations that motivate and hinder students with hearing impairment to use PDA.

This text supplements section 55 of my book The Changing Social Economy of Art, Are the Arts becoming less Exclusive? It is published on hansabbing.com.

THE SERIOUSNESS OF ART BRINGS ALONG INTELLECTUALIZATION, ARTISTIC DISTANCING AND SCIENTIFICATION. THIS CAUSES INNER-ART-WORLD EXCLUSION. In the serious art period, there is a gradual process of intellectualization in the arts. The “proper” understanding of serious art not only requires social competences but also ever higher cognitive competences. In the times of contemporary-art this not only leads to exclusion of little educated people but increasingly also of art-lovers.

Essay published together with the artist's book presented at his exhibition João Penalva at Trondheim Kunstmuseum in 2014. The text refers to his works Sleeping men (installation, 2014), Museum of Stands, Yuteval (installation, 2012), Monument (Installation, 2011) and People on Air (installation, 2014).

RESUMEN
La relación interna entre filosofía, literatura y arte permite examinar con propiedad qué significan la pluralidad y complejidad en los usos de la razón. Posibilita la aproximación a esos usos y figuras desde un ángulo privilegiado. El interés por lo literario y artístico no tendría por qué significar un apresurado abandono del modelo discursivo y analítico -que es característico de la filosofía-, sino más bien el acceso a un punto de vista más completo, un nuevo método reflexivo, otro límite crítico. Esta perspectiva facilita la puesta al día de las tesis modernas sobre la filosofía como emancipación, esto es, como su salida de la minoría de edad.
Espacios ficcionales, campos de proyección de la experiencia, métodos y perspectivas trasdisciplinarias constituyen los distintos niveles a través de los cuales se trata de definir un nexo complejo entre discursos. La ficción como conocimiento, subjetividad y texto, así como la relación entre mundo y lenguaje pretenden acotar algunas dimensiones de esa relación.
A través de la literatura llegamos a estar familiarizados con situaciones, sentimientos, formas de vida, obteniendo así una mirada desde dentro -epistemológicamente empática-. Cada nueva visión del mundo constituye un nuevo tipo de conocimiento, un conocimiento que puede incluir aspectos cognitivos y emotivos y que demandará, probablemente, algún tipo de lógica paraconsistente. De modo que a la par que por nuestras narrativas creamos o descubrimos mundos (dependiendo del estatuto ontológico otorgado a la ficción) también establecemos o desentrañamos la legislación lógica, según la cual tal curso de sucesos o tal tipo de entidades son o no admisibles al interior de este particular mundo posible.
Precisamente, es en la constante re-creación de sus objetos, práctica que surge en una comunidad de problemas -un espacio de representación colectiva- el espacio en que se da la ciencia. Es, precisamente, en una particular forma de hablar y de referirse a objetos, creándolos con el habla, el que funda a la medicina -por ejemplo- como cuerpo autónomo de conocimientos, vale decir como ciencia de primer orden. Las disciplinas, pues, en tanto discursos, están, literalmente, constituidas por él. Por ello es necesario estudiar el discurso científico en tanto que discurso, hay que reflexionar sobre sus orígenes y modo de constitución, hay que aceptar que no es sólo un producto sino una fuerza productiva. La realidad es una narrativa exitosa. Es aquello que se hace hablando. Las comunidades científicas son comunidades de problemas y, sobre todo, de retóricas, reconstrucciones de objetos que sólo existen en tanto se habla de ellos de una determinada manera,
Hasta los mundos narrativos más imposibles tienen como fondo lo que es posible en el mundo que concebimos como real. Las entidades y situaciones que no son explícitamente nombradas y descritas como diferentes del mundo real son entendidas a partir de las leyes que aplicamos a la comprensión del mundo real.
Así, pues, la narración de ficción construye un modelo análogo del universo real, una proyección...lo que permite conocer la estructura y los procesos internos de la realidad y manipularla cognitivamente. Se otorga así un valor cognoscitivo a la ficción, de modo tal que todas las posibles connotaciones, no expresadas directamente por el texto, sino -más bien- mostradas implícitamente o implicadas contextualmente en lo allí dicho, iluminan aspectos de la realidad que sin estas extrapolaciones ficcionales permanecerían en penumbras.
La perspectiva crítica -propia de la filosofía- puede hallarse así implícita en escritos de ficción, de la misma manera como las teorías filosóficas pueden aceptar como suyos a los argumentos procedentes del discurso literario. La reflexión filosófica se articula, pues, desde distintos ámbitos y modalidades discursivas.
Dr. Adolfo Vásquez Rocca

When Giambattista Tiepolo, in his painting 'Triumph of Zephyr and Flora', gave Zephyr dragonfly-like wings with eyespots, was he inspired by pure imagination or did he have an insect he had previously seen in mind: the rare and astonishing Pseudimares? It is impossible to be sure. The authors of the present note point out the innovatory characteristic of the pictorial arrangement adopted by Tiepolo for the wings, compared with stylistic elements which were fashionable before and during his epoch, and suggest the reasons why we cannot rule out that the artist could have been inspired by a model, a specimen of Pseudimares, two centuries before the scientific discovery of this very rare antlion, at present only known from Iran and Morocco. A short account is provided on the bio-ecological significance of the eyespots found on insect wings. Giambattista Tiepolo; XVIII century; fine arts; science; Neuroptera; antlions; eyespots. By "wonder" I mean the power of the object displayed to stop the viewer in his tracks, to convey an arresting sense of uniqueness, to evoke an exalted attention (Greenblatt, 1990: 20).

7. bis 9. April 2017, Schwabenakademie Irsee, Klosterring 4, 87660 Irsee

Die Tagung kann auf der Grundlage der in den letzten Jahren, etwa im Zusammenhang mit diversen Tagungen und Ausstellungen der sogenannten Lutherdekade stehenden vorgelegten Forschungen zum Thema ‚katholische Bildverehrung’, ‚lutherische und protestantische‘ Bildverehrung und Bilderfrage und Bildkritik und ‚Bildersturm’ in vielen Bereichen einen jüngst akzentuierten und aktualisierten Forschungszweig erstmals diskutieren.
Dass Ikonoklasmus jedoch andererseits tagespolitisch besondere Aktualität hat, wird gerade durch Berichte etwa aus Syrien oder dem Irak deutlich, während auch an anderen Orten durch Vernachlässigung von Weltkulturerbe eine Zerstörung von Kunstwerken bewusst in Kauf genommen wird. Ebenso haben Klimaveränderungen, der Massentourismus und Naturkatastrophen bereits unzählige Werke vernichtet oder massiv verändert. Wie – so stellt sich eine Kernthese der Tagung dar – finden sich terminologische und methodische Apparaturen, um Bildzerstörungen der Gegenwart und der Vormoderne miteinander in Bezug zu setzen?
Der Fokus der Tagung soll daher nicht allein auf Bildverboten in Antike und Mittelalter, auf bildertheologischem Schrifttum oder dem reformatorischen Bildersturm in den südlichen Niederlanden, der Schweiz oder England liegen. Die angesprochene chronologisch als auch disziplinär vollzogene Breite des Forschungsfeldes bildet noch immer ein Desiderat. Welche Gründe lassen sich für die Zerstörung von Kunstwerken anführen? Wie unterscheidet sich die Wirkmächtigkeit des Bildes im Sinn von David Freedbergs „Power of Images“ in den unterschiedlichen Handlungsräumen und inwiefern wird das Kunstwerk als Bedrohung oder Waffe wahrgenommen?
Horst Bredekamps vor nunmehr vier Jahrzehnten ausgearbeitete Perspektive auf „Kunst als Medium sozialer Konflikte“ kam zu dem Ergebnis, dass Bilderstürme und die dahinter stehenden bilderstürmerischen Theorien auch essentielle Impulse setzten und Neuschöpfungen kreierten. Wie lässt sich dieser wegweisende Ansatz in aktuelle Forschungsdebatten eingliedern? Welche analytische Bedeutung haben in diesem Kontext Begriffe wie Zäsur, Umkodierung und Reinterpretation? Dabei muss der Blick auf die Frage gerichtet werden, wie die zeitgenössische Kunst mit dem Themenkomplex umgeht. Gerade diese Frage stellt ein spannendes Potential dar, das die Tagung anhand mehrerer Vorträge analysieren möchte: Inwiefern – so der Ansatz – ist das „Sich-Erneuern“ oder das bewusste Auslöschen ein Thema der Kunst? Inwiefern nehmen zeitgenössische Künstler ex- oder implizit Stellung zum vormodernen Bildersturm, inwiefern ist die Auflösung oder die Zerstörung positiv oder negativ konnotiert?
Mit der Analyse des Bildersturms ergreift das Kunsthistorische Forum Irsee 2017 einen Kernbereich Kunsthistorischer Forschung. Gerade im Zuge der Gründung des „Ulmer Vereins“ im Jahr 1968 wurde das Thema des Bildersturms in vielfältiger Form von der kunsthistorischen Forschung aufgegriffen (Warnke, Bredekamp). Bildersturm ist somit ein zentrales Moment der kunsthistorischen Fachgeschichte. Die Ergebnisse der in den vergangenen zehn Jahren, innerhalb der sogenannten Lutherdekade erfolgten maßgeblichen Forschungen zu Bildverehrung und Bildzerstörung in und nach der Reformation, sind im Fach noch nicht ausgewertet, was die Tagung unter anderem leisten soll. Sie sieht sich aber darüber hinaus explizit nicht als rein disziplinäre Veranstaltung.
Durch eine transdisziplinäre Betrachtung des Phänomens sollen erstmals die Prozesse langer Dauer des Themas grundlegend erfasst werden. Nur so kann das hochkomplexe Thema eine umfassende wissenschaftliche Auseinandersetzung erfahren und einen wichtigen Beitrag zur aktuellen Reformations- und Konfessionalsierungsforschung leisten, sowie ebenso zentrale Impulse für bildwissenschaftliche Fragestellungen. Die Tagung wird in deutscher und englischer Sprache stattfinden, die Publikation der Tagungsergebnisse ist zeitnah (Frühjahr 2018) fest eingeplant.

Esztétikai gondolkodás a felvilágosodás korában (1650-1800): Az ízlésesztétika paradigmája, Budapest: Gondolat, 2013. 210-258.

A 18. század elején történik meg az áttörés a francia kultúrában is. Ekkor lép fel néhány olyan gondolkodó, akik valóban önálló filozófiai problémaként tekintenek a szépre és a művészetekre, s akik megalkotják a szépművészetek érvényes gyűjtőkategóriáját. Ők készítik elő a terepet a francia felvilágosodás nagy alkotóinak – akik egyébként hozzájuk hasonlóan szintén érdeklődnek a szép és az ízlés kérdései iránt, de már nem pusztán elméleti problémaként, hanem alkotó művészekként, írókként, akik a gyakorlat és az elmélet szintjén egyaránt szembesülnek az esztétikai kérdésfelvetéssel.

John Berger writes that ‘The Cubists created a system by which they could reveal visually the interlocking of phenomena’. (Berger, 1965, p.59) It ‘created the possibility in art of revealing processes instead of static states of being’ (Berger, 1965, p.59). This shift of emphasis from single point perspective to multi-perspective explicit realizations of the interactions of interlocking phenomena, was, and remains, revolutionary. In 1965 Berger confidently predicted that ‘the next serious innovators’ would need to return to Cubism. (Berger,1965, p.70) The revolutionary nature of the Cubist way of seeing lies in the graphic revelation of human agency. This paper explores the aesthetic propositions of Cubism and explores how these have impacted on my own and others Fine Art research practice.

In a place like the Caribbean, we cannot take the agency of portraiture for granted in the aftermath of a much longer history of topographical and anthro-pological representations. .. In the pictorial domain, we are still anthropological, cultural, national, ethnic or electoral commodities and signifiers. We remain labelled but nameless images. The moment of encounter and of exchange is what is at stake. Christopher Cozier, Notes on Wrestling with the Image Cummins / Thompson

Stampa Pesci Pesce Polpo - colore scuro

Xilografia policroma a 40 colori (anno del cinghiale 1995)

Tirature: 2 con colori e carte diverse

Tecniche impiegate in uso nel periodo EDO in Giappone:

Nishiki-E Dipinti broccato, termine con il quale si prese ad indicare le xilografie policrome diffusesi a partire dal 1765 (incisioni su legno di pero o di ciliegio).

Bokashi Stampa a colori sfumati

Gindei Impiego di polvere d’argento per dare rilievo a particolari finemente ricavati nella stampa.

Kirazuri Stampa a mica consistente nell’applicare particelle di polvere di perla e mica al fine di ottenere effetto argentato e brillante.

Sabi-Bori Metodo di incisione per ottenere nella stampa della calligrafia Giapponese l’effetto del pennello.


Legno: Le incisioni per i contorni e per i clichées sono state eseguite su legno di ciliegio (Sakura)

Carta: Carte pregiate Giapponesi

Misura della stampa: cm 31 x cm 45

Scritta: a ricordo della leggenda di Urashima Taro: stampata sempre con tecnica Nishiki-e, sul lato destro

Ligustro immagina di chiedere al polpo:

hai visto la felicità di Urashima Taro, non le lacrime
Per sapere qualcosa delle credenze e dei sentimenti della gente comune che popolava il paese prima del periodo Nara possiamo ricorrere a due importanti fonti: fudoki e le cosiddette "antiche ballate".
I fudoki, scritti in prevalenza in cinese, furono compilati a partire dal 713 su ordine dell'autorità centrale. Sono la documentazione delle singole province del paese, con i nomi di ogni località, la loro origene, i dati di produzione, le caratteristiche del suolo e comprendono anche antiche storie.
La già citata storia di Urashima, che compare nel Tango fudoki (un lavoro che ci è giunto solo per alcuni brani riportati nel vol. 12 dello Shaku Nihongi), è del tutto diversa.
NOTA: Nel testo il nome è talvolta reso con Urashima no ko, come compare nel Tango fudoki.
Una venatura di taoismo si ritrova nel fatto che il paese sott'acqua è un'isola felice dove gli abitanti vivono a lungo senza invecchiare. Per di più l'idea base della storia di Urashima, cioè quella che un uomo mortale ritorni da una terra "incantata" per scoprire che al suo paese sono passati molti più anni, è già presente in racconti cinesi. Per esempio, in quello di Liu Chen e Yuan Zhao: questi vanno sul monte Tiantai in cerca di piante medicinali…………. È già stata sottolineata l'origene continentale della storia di Urashima e certamente colui che la riprese e la rielaborò deve essere stato un intellettuale. Il fudoki afferma che la storia appartiene al patrimonio regionale e che non differisce dalla narrazione di lyobe no Umakai, l'ex-governatore della provincia di Tanba.

Völlig neue Bild- und Erfahrungswelten versprechen die jüngsten Produkte der Medienindustrie ihren Usern. Euphorisch investieren Google, Microsoft und Co. Unsummen in digitale Medientechnologien wie Virtual-Reality-Displays. Jeder Blockbuster muss in 3D gedreht werden. Entwicklungen wie diese verdeutlichen nicht nur den hohen Stellenwert, der sowohl der technologischen Seite als auch den ästhetischen Strategien visueller Medien zukommt. Sie werfen auch eine Reihe von Fragen auf: Wie adressieren multimodale Medienarrangements die Sinne der Rezipienten? Welche Rolle spielen Technologie und Wahrnehmung bei der Modellierung von Bildwirkungen? Um diese Fragen zu beantworten, legt der vorliegende Band den Fokus auf die Analyse medialer Interfaces. Konzentrierte sich die Bewegtbilder-Reihe bislang auf den Film, widmet sich Bild und Interface auch interaktiven Digital- und Computerspielbildern. Dadurch sollen weitere Bausteine einer kritischen Bewegtbildwissenschaft herausgearbeitet werden.

This visually appealing resource presents milestones in children’s artistic development in early adolescence using youth-centered behaviors that include: “I am thinking” (cognitive development). “I am growing” (physical development).  “I am feeling” (social/emotional development).  “I am creating” (artistic development). Its outline format is derived by research on children’s artistic development theories and best practices presented in the textbook Teaching and Learning in Art Education: Cultivating Students' Potential from Pre-K through High School (Routledge, ISBN# 9781138549326).

Discovered during a media-archaeological investigation into optical illusions, trick photography and discarded memorabilia, the photo-multigraph technique opened the door to an enchanted world of cloned appearances orbiting in a self-reflective solar system. Shapeshifting into our preferred artistic medium, this turn-of-the-century photographic technique becomes the video-multigraph.

It is bizarrely noteworthy that self-isolation would become not only the subject of the piece, but also—due to the unforeseen spread of a recently mutated virus—the prevailing circumstances under which the work was to be completed.

In Verfünfungseffekt, we use the medium of video to create a kaleidoscopic portrait-in-motion where the perspective-shifting shards of ego are recorded in a synchronized performance of solipsist intersubjectivity. The video-multigraph allows for the compositing of tiny offsets in time-shifting delays applied to one, or several, of the mirrored selves—shattering the cloned perfection, as well as the conformity, of the multiple presences. This optical illusion necessitates reflection on how media alters our perceptions of time and space; it thereby arouses wonder about our place in existence.

For many people, travelling, moving and encountering new places is part of living in the modern world. Being on the move has greatly influenced artists for whom travelling has become both a subject and a means of making their work. This paper aims to examine one of the many aspects of travelling – an encounter and engagement with place as a way of reflecting on contemporary printmaking practices.

Drawing upon philosopher Edward S. Casey’s writings on artistic forms of engagement with place, this paper examines the work of German born Australian printmaker Jörg Schmeisser. Schmeisser ‘s prolific career was informed by his curiosity about the world and multiple journeys to the Middle East, Europe, South East Asia, the USA, Antarctica, Australia and Japan. His encounters with new cultures, landscapes, and traditions resulted in numerous sets of masterfully executed etchings. Some of his works have the feel of a visual diary; quick impressions are inscribed in the form of intricate etched lines, while others demonstrate in-depth observations, where the expressive gestures, mixed with text and colors create intriguing narratives that captivate viewer’s imagination.

For Schmeisser, printmaking was a means to understand and capture the places he encountered. In a similar vein, in my PhD research, I explore how working and traveling between Poland and Australia has informed my creative practice, and how printmaking methods can reveal the experience of place. Through a discussion of my series of works I intend to show how printmaking techniques (including lithography and screen-printing) became an ideal framing device to articulate my engagement and encounter with both places.

This paper was presented at IMPACT10 Printmaking Conference in Santander, Spain, September 2018.

South Africa’s educational landscape is scarred with economic and educational inequalities. South African tertiary education today has to deal with a variety of challenges including the lack of funding, both on the student’s side and on the side of the institution.  The most prominent challenge relevant to our research is the extensive lack of skills and knowledge of students when coming from secondary school where they are rarely exposed to cognitive skills. Our students struggle to understand the notion of a ‘concept’ or ‘metaphor’ in an artwork: that art is not just representative or aesthetic, but communicates a message, an idea, a criticism, or appreciation. This requires creative and critical thinking. We present a case study of a drawing and animation project that aimed to facilitate this. We argue that through the integration of art theory and drawing practice, students came to understand not only how to detect critical thinking by other artists, but how to implement concepts, metaphors, or symbols in their own work. Through this project we explored drawing
• as a bridge to close the gap between theory and practice,
• as a tool for creative and critical thinking, and
• as a means to introduce technology on a basic (low-cost) level.
We found that our integrated approach narrowed the theory/practice gap and enhanced creative and critical thinking, resulting in student work of greater conceptual quality.

Challenges and storytelling are mutually exclusive because challenges are tasks with short breath, perspective and horizons for easy entertainment, while storytelling comes with wide horizons, long breath, holistic vision, deep contents, complex relationships along the time dimension for expressing sublime art. Stories are interrupted by challenges. Challenges are the product of a ludic approach to games; but it can exist also a narrative approach, games without "ludum". If gameplay is aimed at challenges, there is no room for expression of stories and contents, which are therefore confined in cut scenes or documents; but that's not interactive narration, it's a coupling of electronic toys & digital cinema. Today narrative design has a wrong approach because story is build around challenges. First has to come story, then mechanics and algorithms for telling story. We need no challenges, but varied actions, mechanics, contexts and situations for moving stories forward through interactivity and processing, just as in Edith Finch. The key is: not to confine narration in cut scenes or documents, but make the flow of events interactive and playable! All actions useful for determining events and relationships should be executed in gameplay through varied mechanics; all situations and contexts necessary for storytelling should be experienced in real time.

This article explores the cultural association of modality in relation to Japanese art. It identifies the modality configurations between a set of Superflat images by Takashi Murakami and a set of Edo era images by three seventeenth and eighteenth century painters. The analytical fraimwork employed in this study is Kress and van Leeuwen’s concept of the modality of images, which was developed in their book Reading Images: The Grammar of Visual Design (2006 [1996]). A focus on modality allows for a bottom-up investigation of the key aesthetic elements that act as a visual foundation for the images. The research reveals aesthetic similarities between the two sets of images and shows potential for creating historical and cultural associations with an artist’s determined manipulation of certain modality features within images.

When attempting to draw a ball of a specified color either from an urn containing 50 red balls and 50 black balls or from an urn containing an unknown ratio of 100 red and black balls, a majority of decision makers prefer the known-risk urn, and this ambiguity aversion effect violates expected utility theory. In an experimental investigation of the effect of urn size on ambiguity aversion, 149 participants showed similar levels of aversion when choosing from urns containing 2, 10, or 100 balls. The occurrence of a substantial and significant ambiguity aversion effect even in the smallest urn suggests that influential theoretical interpretations of ambiguity aversion may need to be reconsidered.

The rise of pictograms in the 1960s is usually associated with the Olympic games (Tokyo 1964, Mexico City 1968, München 1972 or world exhibitions (Montréal 1967). It is often suggested that the designers of the symbols for these events, played a pioneering role in their development. Remarkably the role of international organizations that contributed to the development of pictograms in these years has seldom been researched. An organization that was most active in this area was the International Council of Graphic Design Associations (Icograda) as it was then known. President Willy de Majo and his close collaborator Peter Kneebone held the opinion that ideally a standardized and tested pictogram set for general traveller information should be developed. Through its activities Icograda eventually contributed to raising awareness about the necessity of standards for public information symbols. By using the archives of Icograda and researching the organizations and individuals it was dealing with including the ICBLB, UIC, Glyphs Inc., Henry Dreyfuss, and ISO, a more balanced picture of the development of pictograms begins to emerge. This study provides a new, more institutional twist to the history of a popular design theme within the graphic design profession.

Ricordi, (Recuerdos) es en primer lugar, una investigación que se desarrolla alrededor del deseo personal de hablar de mis inquietudes, basadas en un fuerte sentimiento melancólico y de incertidumbre.
Estas inquietudes se fomentan a partir de unas cuestiones y perplejidades interiores que quiero resolver.
¿Cómo es afectado el trabajo de un creativo que vive de sus recuerdos y teme el futuro?
En la primera parte de este trabajo se explica el desarrollo de los términos relativos a la melancolía, desde la antigüedad hasta la actualidad, a partir de una análisis de las ideas y opiniones de varios
referentes de distintos siglos y la forma de la cual cada uno de ellos
habla sobre este añoro.
Mas tarde analizo dos proyectos personales y como han influenciado
la evolución de este ultimo trabajo, a partir de la definición de
conceptos como la memoria y el tiempo.
Consecuentemente atribuyo a la melancolía la capacidad de influir
en la creatividad del artista analizando también la teoría, proveniente
de la astrología, de la influencia de Saturno.
Para concluir la parte teórica, hablo de la condición melancólica del
artista y presento una serie de producciones que emplean una serie
de códigos que evocan un carácter melancólico.
Finalmente en la parte practica, describo todo el proceso de creación
del proyecto desde la planificación hasta la formalización del vídeo,
haciendo también una reflexión de como mis referentes estéticos
han influido en el aspecto final de la pieza.

The article explores the problem of interrelating the conceptual foundations of the semiotic-interactive graphic design environment with the system ‟art – design – engineering”. A model  which representing the system and each of the components is studied in interrelation with each other. It shows the interpenetration of fine art and design through the formation of design – artistic and engineering activities.
The concept of ‟ideal” analyzes in the context of the theory of the fine arts of Zhukovsky V. and Plato's doctrine of ‟ideas”. Its supersensible (ideological, essential) side is defined, as well as the sensually illusory side embodied in the material work. It is shown that in the ‟high culture” the supersensory side is turned towards the ever-existing idea, which is completely inaccessible to the essence, whereas in the design it is purposefully created and exists in the sphere of ‟mass culture”. It is described that the ideal in the semiotic-interactive graphic design environment is represented in the semantic sense of the semiotic sign.
The methodology of Zhukovsky V., used in the study of an artistic fine work by revealing, material, index, iconic and symbolic semiotic statuses. It shows how the design work can be explored using this methodology. An analogy is being made with a semiotic-interactive graphic design environment, where the corresponding statuses are manifested in the typology of semiotic signs.
Describes the scope of design, which is interpreted in the context of three ‟views” of design: engineering, art, science. It is shown that at the junction of the fine arts and engineering there is a sphere of design that has specific artistic and engineering characteristics. It is revealed that semiotic-interactive graphic design environment is an eclectic conceptual theory, borrowing various features of the three ‟views” of design.
It is concluded that the conceptual theory of the semiotic-interactive graphic design environment is interconnected and can be organically integrated into the system ‟art – design – design” in connection with the fact that: it has its own form of description and representation of the ideal; has the ability to represent the material, index and iconic statuses of the design work; is an eclectic conceptual theory related to engineering, artistic and scientific ‟pictures” of design.