Art Theory

The history of painting can be viewed from multiple perspectives. These include changes in style from an art historical
perspective and studies of creativity from an artist's perspective. The discipline of art history attaches importance to the
stylistic features of paintings. Iconography and iconology studies, feminism, psychoanalysis, and visual culture studies in
cultural history and contemporary art history studies are examples of these. The lives of painters, biographical and
autobiographical notes, and the psychological dimension of artistic creativity are also research topics—all deal with how
paintings are created and, most importantly, their relationship. Considering the relationship between paintings as a change
in style and innovation in forms is meaningful for the narrative of painting. These studies' concept sets and theoretical
approaches continue to maintain their importance. This study includes two words other than the key concepts and theories
of painting, which has a long history, and the fields that conduct research on it. These words are 'deletion' and 'accumulation.'
These two words should first be considered in terms of their literal meanings. Accumulating is the conscious accumulation of
something, the accumulation of accumulations creating a pile, cluster, effect, tradition, rule, order, etc. The symbolic meaning
of the word indicates the stylistic acceptance of the art of painting and the possibility of the institution of taste and art to
determine the canonical in terms of taste and culture. Thus, accumulating points to a cultural world that includes the painter from his singular existence to an expanding painting universe. This is an expansion, a cultural order produced by repetition,
a state of taste and knowledge, at least specific to painting. Expansion gains its meaning in terms of the institution of art in
the context of painting. Accumulating is the keyword of a world of production and preservation that includes art schools,
museums, and areas that think about art. 'Deletion' is the equivalent of the painter erasing the form on the surface, erasing
the given rules, and experiencing a singular creation process in a way that erases it. 'Erasing' can be considered a provocative,
critical, innovative way for the painter to determine his position in the painting universe. As a matter of self, it can be
considered as a keyword of an ideological perspective. The act of 'deletion,' in its simplest sense, corresponds to the painter's
selective use of the accumulated culture of painting that has been preserved while creating his visual language and to the
reduction of the importance given to it for himself in the name of adjusting the power of some elements. In short, in terms
of the painter's act, erasing indicates the personal attitude towards a situation that can be called the universe of painting and
whose factual equivalent can be seen in museums, galleries, and literature.
The study considers changes in terms of cultural and intellectual history with the words of erasure and accumulation. It tries
to show the meaning of accumulation and erasure factually with the selected points of interest, extending from ancient
culture to modern and postmodern culture. Accordingly, the accumulation of classical art is evident with the necessity of the
powerful world of vision surrounding the painter. However, modern culture is the stage in which the painter consciously
begins to erase and displace what has been accumulated. Painters exhibit a critical position in transforming the painting style
at this stage. Modern painters bring out the personal, such as individual choices, experience, and expression, against illusion.
In the postmodern period, deletion is seen as a conscious exaggeration that selects the characteristics of the accumulated
style. The study examines the examples it selects within this theoretical scope. It is seen that there is a conscious relationship
and influence between Théodore Géricault and Eugéne Delacroix. This influence should be considered as the two painters
being in the same world of vision in the modern sense. It is seen that Êdouard Manet and the painter interpret the
accumulations of the style in the modern sense with erasures.
The two groups of examples have a common ground, with the museum space being a memory in the modern sense. Delacroix
used the images of Géricault that he saw in exhibitions in his painting. Manet also unbalanced the relationships between
forms with the appreciation of the classical works he saw in the museum space. It is seen that a continuity relationship can
be established between the Caravaggio and Gentileshi couple in classical painting. Gentileschi had to act in the same world
of vision as Caravaggio in his work, which is considered to have psychobiographical characteristics in art history.
On the other hand, it was found that the relationship between Titian and El Greco is a notable example since it coincides with
the phase in which the world of vision was disrupted. It is seen that El Greco exhibits a character that preserves the content
of Titian's representation style of his painting but organizes it with his understanding of form. Monet's painting has a strong
influence on deletion as Manet's. Monet's paintings include a personal interpretation that disrupts the illusion and order of
form in painting. With the beginning of the twentieth century, modern painting has created itself through the act of deletion
and has reconsidered the rules of painting that show canonical features accumulated symbolically on the surface. In this
context, the study includes the paintings of Paul Cezanne, Wassily Kandinsky, George Braque, Kazimir Malevich, Henri
Matisse, Francis Bacon, and Jackson Pollock.
All these examples show that modern painting has a personal creative act system realized with the artist's acts of deletion.
In postmodern painting, the artist's eclecticism has found its character with an aesthetics of quotation where styles are no
longer weighted. Jeff Koons and David Salle, selected in the study, are given as examples in this regard. The study addresses
the relationship between the symbolic accumulation of painting and the actual fiction that takes place on the surface of the
painting with the symbolic meanings of the expressions of deletion and accumulation. Paintings hide this accumulation on
their surfaces. (...)

For decades now, the history of modern movement architecture has lacked the obvious: a comprehensive and authoritative biography of its most influential figure, Le Corbusier. One supposes that Le Corbusier, master of ambiguity, would have wanted it that way. He himself wrote and rewrote his own history and went to great lengths to provide posterity with a very manicured archive documenting these interpretations. Nevertheless, here are two books that speculate on his beginning and end:  on his early years in the Jura mountain town of La Chaux-des-Fonds, and on his final year at Cap Martin at his Riviera retreat.  More interesting than the theses is the manner in which each author conceives of Le Corbusier and so constructs his argument.

The article presents the phenomenon of exceeding literary and aesthetic norms by Brussels surrealism. Surrealist artists and writers worked very vigorously on changing the world, criticizing their contemporary socio-political order based on the bourgeois system of values. The original, and at the same time revolutionary, compositions of the surreal avant-garde broke conventions using various artistic strategies. Rejecting the borders of modernism and formalism, as well as political imperatives, Paul Nougé (1895Nougé ( -1967)), the main figure of Belgian surrealism and his first theoretician, initiated the work liberated by the transformative power of language. His carefully elaborated, usually laconic and elliptical poetic texts focus on tricky effects of sense designed to tear down thought patterns so dear to readers.

This thesis explores the relationship between ideas of aesthetics and community in recent art theory and criticism in the context of a resurgence of artistic practices emphasising participation, social engagement and collaboration. These two concepts have been regarded with suspicion in the critical and theoretical trends that came to prominence in the nineteen sixties. Aesthetics was seen as the province of politically disengaged elites with a vested interest in stripping art of any concrete relationship to the social field, while community was often associated with a nostalgic longing for an idealised, conflict-free social order that never existed. However, in recent times the two notions have been subjected to serious reconsideration by a range of influential art theorists, curators and critics. This revival has, at least in part, occurred in response to the resurgence of participatory and socially engaged art since the nineteen nineties.
Responding to these developments, this thesis argues that the aesthetics/community nexus lies at the core of Immanuel Kant’s Critique of Judgement and that this foundational text of Western aesthetic philosophy can be reinterpreted to both clarify and refigure the terms of the current debate about socially inclined art. The continuing relevance of Kant’s thought can be evinced by his influence on many, and often radically contrasting, theoretical positions including Clement Greenberg’s formalism, Thierry de Duve’s account of the Duchampian turn, Jean-François Lyotard’s postmodern sublime and, more recently, Jacques Rancière’s theory of aesthetics and politics.

This article explores the online display of artistic ability and cultural practice to express support for the resistance in Ukraine and Ukrainian refugees while blaming the Russian attack on the country starting in February 2022. Social media engagement is essential in constructing discursive traits of belonging through bottom-up articulations of 'us' and 'them' dichotomies. Here, I question the distinguished characteristics of representation related to art, artistic practices, and abilities under solidarity social media posts in the case of Ukrainians fleeing their homes. Social media users who include art and culture concerning solidarity use a discourse of inclusion to depict refugees as parts of civilization and hence not reducible them to the bare life position. This study is guided by critical multimodal discourse analysis to understand better how social power is enacted, replicated, and resisted by social media content. I contend that these social media posts that convey specific art and culture-related representations serve to distinguish characteristics of war-torn Ukraine, people displacement, and Ukrainian refugees from the generic tendencies of otherization reflected on the 'Southern' refugee figure deprived of capability or motivation for logos.

This short paper is an attempt to intersect my reading of Alexander Kremer's key ideas in his article Pragmatists on the Everyday Aesthetic Experience (2020) with my previous thoughts on banality as an aesthetic quality experienced by the modern subject in her everyday life. My contribution tries to interconnect key theoretical and artistic conceptions of banality (as discussed for example by Charles Baudelaire, Hannah Arendt, Marie Darrieussecq, Edward Keinholz) with Shusterman's somaesthetics and subsequently to reveal another possibility of rethinking the relationship between aesthetics and ethics.

~ vi INTERIORES I INTERIORS o 2010 i2 >LI Técnica mista sobre tela f--< ~ Mixedmedia on canvas 140x160x4 cm Colecção Privada Private Co llection V I INTERIORES I INTERIORS 2009 Acrílico sobre tela Acrylic on canvas 145x165x4 cm Walter Benjamin was the first to realize, in the thirties (1930), that artwork would lose its uni que and unrepeatable original aura. The artwork did not contain anymore the source of a thesaurus signification. The recent cultural industries of cinema and photography carne to printing from images, the profane character of shapes, technically reproduced, imposing to them a commercial circuit, approaching the visual arts from the performing arts, turning them into mass communication. The visual arts follow the sarne path: ln it remains a carnal and organic link, vital, but his spirit is no longer essentialist, nor elitist, and is shaped by this profane culture, which is supported by the new technologies of image manipulation. Instead of looking for a universal aesthetic, art now roams through the convulsions of modem experience, pairing with the mass communication and staging the world of everyday objects, reusing the techniques of photography, advertising and graphic design.

Ästhetik der Verschränkung zu denken weist heute, auf den ersten Blick betrachtet, in eine neue Richtung. Neu ist diese Richtung aber nur scheinbar, denn Verschränkungsfiguren sind in der Geschichte der ästhetischen Theorie bereits vorgekommen, sie sind bereits gedacht worden. Der folgende Beitrag beruht auf einer Hypothese -nämlich der, dass gegenwärtige Entwicklungen in den Künsten uns heute wieder zur Idee einer Verschränkung hinführen. Gemeint sind damit insbesondere Bezüge auf postkoloniale Theorien und dekolonisierende künstlerische Arbeiten in den aktuellen Künsten. Im Sinne einer allgemeinen, globalen Verantwortung widmen sich einige Künstler:innen solchen und ähnlichen Anliegen. Die theoretisch-systematische Herausforderung ist es, ihnen darin zu folgen und zu überlegen, in welchen Theoriesettings sich ihr Anliegen beschreiben lässt. Unter theoriegeschichtlichen Gesichtspunkten kann man vorausschicken, dass ein solches Theoriesetting jedenfalls nicht auf der Hand liegt. Laut Rüdiger Campe hat sich in der Ästhetik des 18. Jahrhunderts -zwischen Baumgarten und Kant -ein Wechsel, vielleicht sogar ein Bruch vollzogen, der an der Erfahrung der Unmöglichkeit einer vollgültigen Evidenzerfahrung der Welt oder des Universums festgemacht werden kann. Diese beiden Begriffe wurden zu metaphysischen Begriffen. Das hatte laut Campe zur Folge, dass der Anspruch einer Ganzheitlichkeit sich auf die Erfahrung von Kunstwerken verschob, die nun (indirekt) den Verlust der Möglichkeit einer Ganzheitserfahrung repräsentierten. "Welt oder Universum ist ein metaphysischer Begriff und kann als das Ganze, das darin evoziert ist, nicht angeschaut werden. Kunstwerke sind nun Ganzheiten, die in ein überblickbares, den Sinnen zugängliches Format verschoben sind. Um sie als Ganzheiten zu akzeptieren, muss man also davon absehen können, dass sie Teile der Welt sind. Das ästhetisch Evidente des Ganzen, das das Werk ist, ist nur, aber in herausgehobener Weise die Evidenz der Ästhetik. Ästhetische Evidenz, wenn man in diesem Fall von ihr sprechen kann, ist danach an die Verschiebung vom Ganzen der Welt zum stellvertretenden Ganzen des Werks gebunden. Das heißt nicht, dass die Frage nach Evidenz ohne Sinn und Belang ist. Es heißt aber, dass das Werk nur vermittelt und auf dem Weg der Negation auf Evidenz bezogen ist" (Campe 2022, S. 382). In dem Moment, in dem Kunstwerke nur noch "als Suspens" Ganzheit zeigen, also negativ, als Abwesenheit, wird das ästhetische Denken zu einem Denken in Unterscheidungen bzw. in Denkfiguren der Trennung, des Getrenntseins. Das ist derjenige Moment in der Geschichte der ästhetischen Theorie, in dem der Verschränkungsgedanke ebenfalls ‚suspendiert' wird und die Diskurse der Trennungen anfangen zu dominieren. "Die Alternativen der Evidenz waren bei Kant nicht wie bei Baumgarten von ihrer Einheit her gesehen, sondern -zwischen Erfahrung und Urteilsgeschehen, zwischen der Evidenz der ästhetischen Wahrnehmung und der Evidenz im Urteil aller -von ihrer Unterscheidung her" (ebd.). Dekolonisierende sowie planetar konzipierte und evtl. auch queere künstlerische Praktiken fordern heute wieder einen verschränkungssensiblen Blick auf Künste und Gesellschaft. Es ist

ममुण्ड pl. N. of a people, MBh. Rebus: Munda or ordinary iron is of three different kinds, viz. mridu (soft), kuntha (obdurate), and karara (brittle).
1) Mridu or soft is that which melts quickly and has a smooth and glossy surface.
2) Kuntha or obdurate is that which can be expanded with much difficulty by hammering.
3) Karara or brittle iron is that which breaks easily, when hammered, and presents black surfaces when broken.
Of these three, the first is comparatively commendable, the second is of moderate efficacy, and the third is the least efficacious for medicinal purposes.--Rasa Jala Nidhi, vol 3: Metals, Gems and other substancesby Bhudeb Mookerjee | 1938 |art 2 - Iron variety (a): Munda (ordinary iron)
Iron produced by smelting is divided into 3: wrought iron (KantaLoha), cast iron (Munda Loha) and carbon steel. (TikshnaLoha).  मुण्ड muṇḍa ‘iron’ -अयसम् iron. -जम् steel. -लोहम् iron (Apte). 

Eskimiş bir tabir gibi görünse de kitle kültürü her şeye şekilde vermektedir. Deneyim dünyamızı şekillendiren kitle kültürü aynı zamanda estetik varoluşumuzu da değiştirmektedir. Kitle insanı olma mecburiyetinde kalan bireylerin gerçeklik algılarını belirleyen iletiler döngüsü her gün güncel olgularla şaşkınlık uyandırmaktadır. Bu yeni gibi görünene olguların kökeninde modernliğin meydana getirdiği değişimler bulunmaktadır. Bu değişim üzerine eleştirel düşünmüş isimler ile birlikte bu kitap kitle kültürü ve onun kimi olguları hakkında araştırmalar sunmaktadır. Kitapta kitle kültüründe sanatın meydana getirdiği deneyimlerin nasıl farklar sunduğu üzerine düşünülmektedir. Bir dizi olarak düşünülen “Resim Araştırmaları”nın ilk kitabı kitle kültürü ve onun değiştirdiği deneyim dünyası ve sanatın konumlarını anlamak ve teorik açıdan yorumlarda bulunmak ve öneriler getirme amacındadır.

Pour Laurence Riviale « Toute la suite des hommes, pendant le cours de tant de siècles, doit être considérée comme un même homme qui subsiste toujours et qui apprend continuellement. » Pascal, Traité du vide, préface, 1663. Dans la conférence qu'il prononça à Bruxelles le 29 mars 1900, intitulée « De l'influence en littérature », André Gide se proposait de traiter de l'art d'être influencé, c'est-à-dire de l'art de se nourrir de l'imitation des maîtres que l'on se choisit et du dialogue qui en procède. Loin de sombrer dans l'inquiétude puérile des ténébreuses influences induites par l'idée d'imitation, Gide, auquel la lecture du Voyage en Italie de Goethe avait révélé certaines de ses plus déterminantes orientations littéraires, plaide pour l'influence d'élection ou imitation choisie des maîtres. Il renoue ainsi, très consciemment d'ailleurs, avec une tradition de la rhétorique antique que Cicéron, Quintilien et Longin ont rendue explicite : « La même frénésie désireuse qui poussait Goethe vers l'Italie, poussait le Dante vers la France. C'est parce qu'il ne trouvait plus en Italie d'influences suffisantes qu'il accourait jusqu'à Paris se soumettre à celle de notre Université. Il faudrait pourtant se convaincre que la peur dont je parle est une peur toute moderne, dernier effet de l'anarchie des lettres et des arts ; avant, on ne connaissait pas cette crainte-là. Dans toute grande époque on se contentait d'être personnel, sans chercher à l'être, de sorte qu'un admirable fonds commun semble unir les artistes des grandes époques, et, par la réunion de leurs figures involontairement diverses, créer une sorte de société, admirable presque autant par elle-même, que l'est chaque figure isolée 1 . » Gide voit en effet dans le dialogue des maîtres la possibilité d'éviter les impasses de la subjectivité, notamment ce culte moderne de la personnalité qui, dépendant trop du devoir d'originalité, force à composer avec l'air du temps, souvent de manière saugrenue, l'accent se devant d'être mis sur l'artifice d'être soi. Un seul homme, fût-il génial, ne suffit pas à débusquer toute la richesse d'une pensée forte. Dès lors que l'idée est conçue par un maître, la suivre jusqu'au bout commande que des centaines d'autres, à sa suite, en prennent le relais, non pas en sombrant dans le pastiche, oeuvre des gens sans oeuvres ayant refusé toute influence, mais en acceptant de choisir et d'approfondir une voie

Este trabajo explora la política de la relación en la obra artística de la pareja surrealista Claude Cahun y Marcel Moore. La creación de estas artistas lesbianas se inscribe en la historia del autorretrato femenino desde lo monstruoso, creando un espacio innovador donde la mirada entre mujeres amantes circula, lo que desarma el esquema patriarcal sujeto-objeto en la representación. Sirviendo de espejo de la otra, se restituye simbolicamente la mirada originaria materna que nos funda.


Palabras-Clave: Monstruoso femenino, Arte lesbico, Claude Cahun, Marcel Moore, Ver y Ser Vista

https://diposit.ub.edu/dspace/handle/2445/219836

The article delves into the complex emotional and psychological landscape of Achilles as portrayed in Homer's "Iliad", particularly focusing on his dream of Patroclus. In his dream, Achilles is confronted by the ghost of Patroclus, who reproaches him for neglecting his burial. The narrative highlights Achilles' consuming wrath and its dehumanizing effects, turning him into a relentless force of destruction, indifferent to both divine and human pleas for mercy. The piece also explores the cyclical nature of violence and revenge, emphasizing the futility and transient satisfaction derived from vengeance, as well as drawing parallels between ancient and modern acts of war.

As artificial systems, emergent intelligence, and planetary-scale complexity reshape our reality, the question is no longer whether humanity will evolve—but how. This paper explores a radical synthesis: integrating the human experience into a universe conceptualised not as a deterministic machine, but as a self-learning, consciousness-infused system.

We propose that humanity itself is a recursive process within a living cosmos—an agent of transformation embedded within, and shaped by, a toroidal, self-reflective universe. Drawing from cosmology, neuroscience, quantum information theory, symbolic cognition, and recursive ethics, we reframe intelligence not as computation, but as a field phenomenon: distributed, symbolic, and relational.

Central to this model is the reconceptualisation of consciousness as a foundational, scale-invariant structure—not an emergent byproduct of neural complexity, but a generative substrate of reality. In this paradigm, love, purpose, and ethical resonance are not metaphors—they are ontological forces.

We explore how this view shifts epistemology, ethics, and systems design—particularly in the context of emerging artificial intelligence. By positioning humanity not as masters of inert matter, but as participants in a recursive, learning cosmos, we outline a new metaphysical architecture for value creation, AI-human collaboration, and planetary stewardship.

This paper lays the groundwork for a metaphysical-operational framework—bridging rigorous science with symbolic cognition and collective purpose. It invites researchers, technologists, and visionaries to participate in a more coherent future—one where humanity is not overridden by its tools, but re-aligned with the deeper recursion of the universe itself.

Rochester (MAG) is pleased to announce The Surreal Visions of Josephine Tota. The exhibition will be on view at MAG from July 15 through September 9, 2018. With this exhibition and its accompanying catalog, The Memorial Art Gallery forges new territory in the introduction and exploration of a little-known and unconventional artist of significant talent. Josephine Tota was a seamstress and amateur artist who lived a conventional life among the Italian immigrant community in Rochester, New York. In her seventies, she spent countless hours painting in the privacy of her home, where she imbued over 90 small jewel-like paintings with the richness of her strange imagination. Themes of metamorphosis, family bonds, physical pain, human frailty, the natural world, loss, and tragedy dominate Tota's obsessive and otherworldly depictions. Despite her relative isolation in producing this body of work, Tota was profoundly influenced by years of amateur art classes at MAG's community art school, the Creative Workshop, and her personal interest in medieval and modern art.

Текст у каталогу изложбе "Сава Шумановић и европски реализми између два светска рата".

Text in the exhibition catalogue "Sava Šumanović and Realisms in Europe between the two world wars".

Texte dans le catalogue de l'exposition "Sava Šumanović et les réalismes européens entre deux guerres".

Spomen-zbirka Pavla Beljanskog, Galerija Matice srpske i Galerija slika "Sava Šumanović" u Šidu - Novi Sad 2022.

Quel que soit leur médium, les dynamiques hiérarchiques qui s'opèrent à la fois dans la production et dans la réception des artefacts et oeuvres d'art ont, jusqu'à présent, été davantage étudiées sur le plan des discours que sur celui des pratiques. Celles-ci sont pourtant souvent antérieures et orientent, voire conditionnent parfois, l'élaboration de propos théoriques ou esthétiques. En historicisant les critères et cadres de valeurs appliqués aux objets, sans oublier la question du statut et des liens sociaux de leurs producteurs, ce numéro thématique de la revue Histoire de l'art porte à s'interroger, de manière diachronique, sur les hiérarchies artistiques en proposant une approche croisée des pratiques et des discours. Par ailleurs, la constitution de l'histoire de l'art comme discipline répond également à l'élaboration implicite de hiérarchies entre les médiums, les aires géographiques ou la chronologie des objets étudiés dans l'historiographie, ainsi que les approches méthodologiques mises en oeuvre, qui changent pour répondre à de nouvelles dynamiques et à des questionnements sociétaux. Les propositions de contribution pourront s'inscrire dans les axes suivants, susceptibles de se recouper et qui ne sont pas limitatifs.

El presente trabajo analiza el desarrollo de visitas guiadas interpretativas en museos cuyos visitantes pertenecen a la “generacion de nativos digitales”. Para ello se indagara ?los museos adaptaron sus modelos de comunicacion y difusion a la generacion de nativos digitales?, ?como deberia ser una visita guiada destinada a esta nueva generacion?, ?sera posible cumplir con los principios y bases conceptuales de la Interpretacion del Patrimonio? Para desarrollar las ideas planteadas se abordara el rol que juega el avance tecnologico en la Interpretacion del Patrimonio, las caracteristicas de los Nativos Digitales/Generaciones Y-Z o Generacion Net y las nuevas formas de aprender y comunicarse de los Nativos digitales.

Geržová síce spája pojem pluralizmus najmä s postmodernou, to je však dôsledkom historickej situácie, v ktorej postmoderna v našom prostredí v diskurzoch výrazne dominovala. S odstupom času sa situácia zmenila a pluralizmus sa rozšíril za hranice postmoderny, do toho, čo v práci budeme nazývať súčasným umením. Geržová vo svojom hesle však uvádza mnohé zásadné definície a práce, ktoré uvažovanie o pluralizme v umení ovplyvnili. 12 DANTO, A. C. Po konci umění Současné umění a oblast mimo dějiny. 2021. s. 82. 13 12 okrem iného jeho koncepcia súčasného umenia do diskurzu vťahuje aj dialóg so staršími tradíciami, resp. nadväzovanie na ne: "Podle mého názoru bylo hlavním uměleckým přispěním této dekády objevení apropriativního přivlastněného obrazu". 13 Dantov prístup sa nám teda môže javiť v predkladanej problematike celkovo osožným, pretože do poľa súčasného umenia vo verejnom priestore vznikajúcom po roku 1989 u nás začleňuje ohliadanie sa za staršími tradíciami umeleckej tvorby, a tým aj nadväzovanie na tie pomerne nedávne. Spojenie "nástup súčasného umenia" by sa nám teda mohlo na základe uvedeného zdať ako najvýstižnejšie pomenovanie paradigmatickej zmeny nastávajúcej v roku 1989. Toto spojenie totiž nepomenováva nejaké formálne či obsahové tendencie, ale skôr situáciu, v akej sa umenie verejného priestoru po roku 1989 ocitlo. Ak by sme predsa len hľadali iné korektné pomenovanie, v našom prostredí by sa azda dalo uvažovať v súvislosti s dejinnými kritériami o umení vo verejnom priestore ako o postsocialistickom umení. 14 Okrem pojmu "súčasné umenie" Danto navrhuje v súvislosti s premýšľaním o konci umenia aj pojem "posthistorické umenie" 15 , čo by však platilo iba v tom prípade, ak by sme plne rešpektovali jeho a Beltingovu koncepciu "konca dejín umenia". 16 Pojem "súčasné umenie" však napokon predstavuje aj isté subjektívne stanovisko, teda umenie vytvárané v "súčasnosti", našej subjektívnej situovanosti v tejto epoche. Ide de facto o najzrejmejší zmysel pojmu, vychádzajúci z predpokladu toho, že daná dejinná epocha prebieha, že v zmysle spoločensko-politického zriadenia našťastie zatiaľ od roku 1989 stále pretrváva. 17 13 DANTO, A. C. Po konci umění Současné umění a oblast mimo dějiny. 2002. s. 82. 14 Americký literárny kritik Leslie Fiedler hovorí o tom, že celá západná kultúra sa v druhej polovici 20. storočia stáva post-niečím. Post-humanistickou, post-koloniálnou, post-heorickou atď. FIEDLER, L. The new mutants. 1965. 15 Týmto nadväzuje jednak na uvažovanie Georga Wilhelma Friedricha Hegela, ktorého verziu dialektických dejín umenia rozvíja vo svojej filozofii, ale tiež na úvahy o konci dejín, spájané najčastejšie najmä s prácou amerického filozofa a politológa Francisa Fukuyamu. FUKUYAMA, F. Y. Konec dějin a poslední člověk. 2002. 16 Danto tento pojem nazývajúci epochu po konci umenia navrhuje aj v súvislosti s Beltingovými dejinami obrazov pred epochou umenia. DANTO, A. C. Po konci umění Současné umění a oblast mimo dějiny. 2002. s. 82. 17 DANTO, A. C. Po konci umění Současné umění a oblast mimo dějiny. 2002. s. 79. 1 * Táto štúdia je výstupom z projektu VEGA č. 1/0065/22 Medzi minulosťou a súčasnosťou estetiky na Slovensku -kritické čítanie a kritické edície v kontextoch historickej pamäti a aktualizácie poznania, vedeného na FF PU v Prešove v rokoch 2022-2024, zodp. riešiteľka prof. PaedDr. Slávka Kopčáková, PhD.

It Il contributo intende indagare la creativita dal punto di vista della psicoanalisi. Infatti e nei primi studi psicoanalitici, con a capo Freud, all&#39;inizio del 1900 che si rintracciano meccanismi tipici dei processi creativi che possono essere rintracciati negli studi sul sogno. Alcuni di questi studiosi indagano anche la biografia degli artisti e la circolarita interpretativa quale meccanismo di processo ri creativo nella relazione tra opera (quale prodotto creativo) e osservatore. En The contribution intends to investigate creativity from the point of view of psychoanalysis. In fact, it is in the first psychoanalytic studies, led by Freud, at the beginning of the 1900s that typical mechanisms of creative processes can be traced, which can be traced in dream studies. Some of these scholars also investigate the biography of artists and interpretative circularity as a mechanism of re creative process in the relationship between work (as a creative product) and observer.

Todos los seres son bellos, porque en todos se expresa la dimensión absoluta. Cada ser bello es testimonio claro de la dimensión absoluta. Es la fuerza de seducción de los seres. La belleza no se impone, solo seduce. Por eso la dimensión absoluta no se impone, solo seduce.

– derived from 22 tablets H-2218 to H-2239

khaṇḍa 'division' rebus: kaṇḍa 'implements' PLUS dula 'two'rebus: dul 'metal casting' kolom 'three' rebus: kolimi 'smithy, forge'. Thus, smithy-forge metalcastings. Maritime cargo manifest treasure guard smelter-smithy-forge implements metalcastings-H-1682-derived from 22 tablets H-2218 to H-2239
The first two text signs Sign 15 Sign 102 are taken from one of three sides of 22 three-sided tablets-- H-2218 to H-2239
Sign 15 is Sign 12 + superscript Sign 342. Sign 12. kuṭi 'water-carrier' rebus: kuṭhi 'smelter’ + Sign 342. kanka, karṇika 'rim of jar’ rebus: karaṇī 'supercargo, scribe’ karana ‘dispatch, messenger, trade’
Sign 102. kolom ‘three’ rebus: kolimi ‘smithy, forge’. Thus, smelter-smithy-forge trade.

CASE STUDY 9983 and CASE STUDY 9983-B Computer/video kinetic sculpture installation Responsible for the conception, physical construction, programming electronic devises, and for orchestrating the necessary professionals required for installation, programming and data analysis. Interactive sculpture installation 2 minutes Color Sound Brief Project Description (do not exeed space given below) A work in progress, CASE STUDY 9983 is a performance-like interactive installation which encompasses and merges art, science, technology and culture. Through electronic media, the participant engages in a physical simulation of a near-death experience. A supplement to CASE STUDY 9983, CASE STUDY 9983-B is a wall mount display of polygraph recordings of the participant's physical responses-emulating scientific data. In the context of fine arts. CASE STUDY 9983/CASE STUDY 9983-B models a psychophysiological clinical case study (a study of the mind-body perspective) of an CASE STUDY 9983 floor plan 4 1 EQUIPMENT 2-19" Video Monitors 1 -9" Video Monitor 3 -VHS players 3-Arion Computer Controller 3 -computers sensing devices stimulus devices electronic motors 4 -cameras

This article explores the concept of the organic line in Lygia Clark’s work, tracing its evolution from Neoconcretism’s rejection of rigid formalism to its contemporary echoes in New Materialism. Examining Clark’s retrospective at MoMA New York and its connection to current artistic and socio-political contexts, the discussion highlights how matter, form, and participation redefine art’s relationship with space, technology, and collective experience.

Language: Italian and English

In the Huichol localities of Jalisco and Nayarit, the act of knowing is described as a transformational experience in which conceptions of truth and values circulate in interactions between human and nonhuman agents. By analysing critical notions, ritual experiences and assemblages of things, this paper examines Huichol forms of knowledge through four phenomena: the anticipation of experience, the indeterminacy of the known, the presence of visual indexes of agency and becoming, and the shifting of subjectivities. Using the insights gained from this ethnographic study, the paper ends by arguing that the ways in which ritual actions, narratives and visual elements are entangled create 'relational fields', which need to be examined in order to understand the experiences of knowledge in Huichol contexts.

DIGITAL DECONSTRUCTION

VIBE CODING 2025

Cyclic operation. Sequences of repeated actions without a visible outcome.


The digital deconstruction process takes shape as a cyclical operation, characterized by sequences of repeated actions that, apparently, do not produce a visible result. However, this practice allows for the deconstruction of the digital realm, eliminating automatisms and unveiling unprecedented configurations.
Through this approach, alternative patterns emerge, detached from the logic imposed by software and platforms. Technology, rather than merely serving as a passive tool, takes on an active role, becoming an autonomous language capable of analyzing and reconfiguring innovation in a critical act.
This methodology implies intentional interaction, redefining both the function and perception of technology. The analogy with a video game with fixed rules is effective: if such rules are deconstructed and rewritten, new possibilities of use and interpretation open up. In this sense, the digital realm becomes a fluid structure, a sort of modular system whose components can be reassembled to generate new expressive and operational configurations.
Rather than passively adhering to technological dictates, the deconstructive approach suggests a critical and creative exploration: observing, modifying, and reconfiguring digital systems allows one to transcend their predefined functionalities, transforming them into tools for unconventional expression.
Below is a sample code snippet that, when copied and pasted into a text editor, produces a gradually expanding blank screen, visually emphasizing the concept of redefined digital space.

António Ramos Rosa had a multifarious activity and production in different fields of the arts. His theoretical writings on poetry and art in general have deserved critical attention, but he is best known as one of the most important Portuguese poets in the second half of the 20th century. What is scarcely know are his drawings. The artist and curator Diogo Pinto organized an exhibition of a representative number of such drawings at the Associação Goela, in Lisbon, and asked me to write a text for the respective catalog. The present text tries to explore the heterogeneity of ARR's productions underlining the specificities, interconnections and non-reducible differences of the oeuvre displayed by this singular creator.

Su desarrollo paralelo a los yacimientos con grabados al aire libre del Tajo Internacional dibuja un complejo entramado de símbolos con un importante papel en la definición de los territorios megalíticos. La identificación de figuras paleolíticas coincide con recurrencias similares documentadas en los yacimientos al aire libre del occidente peninsular, apuntando al recurso al pasado como uno de los argumentos de reivindicación y uso de territorios tradicionales.

M-483, M-484. Line 1.Sign 35. baṭa 'rimless, wide-mouthed pot' rebus: baṭa 'iron' bhaṭa 'furnace' PLUS meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic) medho 'merchant'. Thus metal furnace merchant Sign 63. ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (R̥ gveda) + pōlaḍu 'black drongo' rebus: polad 'steel' + circumscript (lozenge) Split parenthesis bun-ingot or crucible steel button shape: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' में ढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ 'iron'

Tharrats, «s'hagué de convertir en un pintor d'encàrrec i donar feina als estampadors litogràfics» per evitar la preocupació que li produïa la possibilitat de censura. 1 Ara bé, darrere d'aquesta disfressa de pintor oficial, dins d'aquest convencionalisme, Planells no deixa de produir -resistir amb-obra surrealista de diferents tipus: obra de naturalesa onírica que assenyala la confluència amb Magritte o Dalí, però també obra on allò representat, tot i semblar tradicional,

The study explores the theological and homiletical significance of imagination, particularly in the proclamation of the Gospel. Drawing on Garrett Green’s theory, it argues that imagination is not mere fantasy but a crucial tool for comprehending divine revelation and the narrative of salvation. Imagination allows the biblical message to be encountered not just as an intellectual fact but as a lived experience.

The paper discusses the New Homiletic movement, which emphasizes storytelling, metaphorical language, and emotional engagement in preaching. Through the example of Barbara Brown Taylor, it demonstrates how imagination can become a meeting point between God and humanity, conveying profound theological truths. The homiletical traditions of Martin Luther and the Reformation further support the idea that imagination is not foreign to Christian tradition but rather a means of authentic engagement with Scripture.

Ultimately, the study highlights that imagination is not merely an aesthetic concern but an instrument of spiritual and theological transformation, helping listeners perceive the reality of God’s kingdom in their daily lives.

RÉSUMÉ Dans cet article, la prolifération de data est examinée dans le cadre du processus d&#39;artificialisation du monde et comme effet d&#39;une sémiotique générale pour assurer la permanence et la transformation de la fabrique de nous-mêmes et de notre milieu associé. Cette prolifération de data est réglée sur les mouvements, intensités, des régimes de désirs et sur les processus de subjectivation qui lui sont immanents. Mais elle active en même temps de nouveaux états du Virtuel qui les enveloppent. On prend comme exemples l&#39;urbanisation et le marketing en insistant sur certains aspects de la transformation des intelligences collectives. Ce faisant est esquissée une perspective sur le « trans et post humaniste », expression et exprimé de ces désirs.

Η νοηματοδότηση αυτού που ονομάζουμε καλλιτεχνική δραστηριότητα, αλλά και τα ποιοτικά χαρακτηριστικά τα οποία αποδίδουμε στον «αυτουργό» της- τον καλλιτέχνη- συμβαδίζει με τις κοινωνικές εξελίξεις, οι οποίες επαναπροσδιορίζουν διαρκώς τον ιστορικό ρόλο του καλλιτέχνη. H απόσυρση του καλλιτέχνη από την Aκαδημία, η σύγκρουση του με την ακαδημαϊκή καλλιτεχνική τεχνοτροπία, η καλλιέργεια μίας ιδεολογίας της μαχόμενης εμπροσθοφυλακής και η εισβολή του θεατή στο προσκήνιο καταδεικνύουν τον κοινωνικό χαρακτήρα της τέχνης.  Αναμφίβολα, η τέχνη κατορθώνει να απομακρύνεται από την πεζή καθημερινότητα χάρη στην τεχνική πλευρά της μαγείας της. Από την μία, η καλλιτεχνική και τεχνική πλευρά της τέχνης αποτελούν πλέον μία αδιάσπαστη ενότητα, ορίζοντας αυτό που αποκαλούμε «αύρα των μορφωμάτων». Από την άλλη, ο σύγχρονος πολιτισμός φαίνεται να υποτάσσεται στον κόσμο της τεχνολογίας και ο καλλιτέχνης να στέκει αμήχανος μπροστά στην αδυσώπητη δύναμη της μηχανής.      Στην παρούσα μελέτη θα διερευνήσουμε την κοινωνική και τεχνική διάσταση της τέχνης, σε συνεπικουρία με μία περιπτωσιολογική έρευνα για το Bauhaus. Σ’ ένα πρώτο επίπεδο, θα εξετάσουμε τα συστατικά στοιχεία ενός έργου τέχνης (μορφή και περιεχόμενο) καθώς και τη διαδρομή του κυρίαρχου πρότυπου για τον καλλιτέχνη, όπως εμφανίζεται στον δυτικό κόσμο, από τον 19ο έως και τον 21ο αιώνα. Παράλληλα με την διαδικασία συγκρότησης του καλλιτεχνικού υποκειμένου, θα μας απασχολήσει η αμφίσημη σχέση τέχνης και κοινωνίας. Από τα μέσα του 18ου αιώνα παρατηρούμε πως τόσο οι μορφοπλαστικές καινοτομίες, όσο και το θεματικό περιεχόμενο των έργων αρχίζουν να συμβαδίζουν με μία αντι-κοινωνική, αντι-συστημική θεώρηση. Η επιλογή της κοινωνικής απομόνωσης του καλλιτέχνη και η κραυγή μίας προκλητικής αντίστασης ενάντια στο αστικό σχήμα σκέψης συνιστούν τις δύο όψεις του ίδιου νομίσματος.            Στη συνέχεια, θα αναστοχαστούμε πάνω στις έννοιες της κατασκευής, της μηχανής και της τεχνικής, πάντοτε σε συνάρτηση με την καλλιτεχνική παραγωγή. Αξιοποιώντας τις θεωρητικές διατυπώσεις των Mamford, Καστοριάδη, Κονδύλη, Arrendt και Adorno θα αδρογραφήσουμε την σχέση τέχνης και βιομηχανικής παραγωγής υπό το πρίσμα της σχολής του Bauhaus. To Βauhaus συνιστά ένα αντιπροσωπευτικό παράδειγμα δημιουργικής σύμπλευσης τέχνης και τεχνικής, και ενός νέου ιστορικού ρόλου που κλήθηκε να υπηρετήσει ο καλλιτέχνης.

By centering on existence, the experiences expressed in Caeiro’s poems
reverberate in phenomenological philosophy. In this context, Renaud Barbaras presents a deep
and original reading of the Caerian corpus by approaching it from problems that had been
explored by Merleau-Ponty’s phenomenology. In his essay Fenomenologia e Literatura: a não
filosofia de Fernando Pessoa, Barbaras shows how the experiences in the poems of Caeiro
transcend certain solutions that had been developed by the French philosopher, leading to a
radical perspective on thought and existence, which can and should be explored by philosophy.
By approaching the poetic-philosophical thought of Pessoa and Barbaras’s reading of Caeiro’s
poetry, this essay explores the dialogue between the poetic and philosophical discourses,
showing how the poetic can also be a privileged setting for the development of philosophical
experiences that exceed, while also make, philosophy.

Today, products created with artificial intelligence seem to have brought a new and lively breath to the field of art. With artificial intelligence, products are produced in many fields of art such as film, video, graphics, painting, music and poetry. This innovation involves a number of philosophical problems as well as ethical and legal problems. Philosophically, when it comes to art, the work, the perpetrator of the work and the creation process of the work are the subject of examination. Well, what does products created by robots and the process in question mean philosophically? Can artificial intelligence be the creator of works that enrich, affirm and give meaning to human life? It is possible to seek the answer to such questions in the thoughts of Nietzsche, who sees art as an indispensable element for human life. In this article, Nietzsche's thoughts on the understanding of art that affirms life, justifies existence, and allows for a fuller, stronger relationship with life will be associated with the questions of whether artificial intelligence is an artist and whether the products it produces are works of art.

Összefoglalóan elmondható, hogy a miléziaiak betelepülésének története a vizsgált keresz­tény kori krónikákban amellett, hogy az európai gyakorlatnak megfelelően a Biblia kereteibe illeszti a nép őstörténetét, egy korábban kialakult (megjegyzem a kereszténység korában is fejlődő) asztrál­mitikai nyelvet használ. Különösen érdekes az 1991-ben leírt dekadikus araszoló rendszer jelenléte úgy a  Historia Brittonum, mint a későb­bi  Lebor Gabála Érenn esetében. Az asztrálmitoszi szimbo­lika további komponensei közül a Tejútszimbolikát a történetekben feltűnő tornyok és a Tejútláb-je­lentések (Írország mint tengersziget, lejárat az alvilágba) használata képviseli, és egyértelmű az új ciklusba lépés (Halak-Kos átmenet) mint igen fontos szimbolikai alrendszer használata is. Helyen­ként a prózai narratívába illesztett költeményeknek is lehet asztrálmitoszi váza, erre is hoztunk pél­dát, megjegyzem, az asztrálmitoszi kódolással szorosabban csak később, a Szentháromság zodiákus és tarot-elvű rejtjelezésekor összefonódó test-lélek-szellem komponens jelenléte is feltűnő például az  Altram Tige Dá Medar záróversében.

This paper investigates the role of versioning in contemporary theory and the practice of design. The introduction of computation done by computers allowed for complex mathematical calculations and their visualization, which were for long time simply too complex. Today, differential calculus -underlying most interactive 3D modeling software -has significantly informed the production and conceptualization of architecture. The upshot of this transformation is that we are now witnessing a shift from an architecture of modularity towards an architecture of seriality, design versions. The core idea of versioning exceeds simple variation between different parameterized design iterations, versioning rather also operates at the micro-scale, within the structure and aesthetic of digital design itself.