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The defining of colors is a very subjective topic and results in many misunderstandings, especially in translation from one language to another. The number and significance of color adjectives vary from culture to culture. The goal of this article is to explain the origins of such variations and to discuss examples of common translation errors and difficulties. (AP)

Examines the recent emphasis on aesthetics, which goes beyond the scope of a didactics of art education, stating that it is a symptom of the German cultural-historical situation. Sketches tentative approaches to research questions on aesthetic education. Questions whether aesthetic education must be conceived in the form of reflections on aesthetic sensations and activities. (GEA)

The use of situational sketches, drawn on the blackboard or shown by an overhead projector, is seen as more effective than ordinary illustrations. The procedure is particularly useful in the intermediate grades (8-10), being suited to the content of textbooks at that level. (IFS/WGA)

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Copyright of Arbitrium is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nachrichten aus der Chemie is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Although neglected for decades, American poet, journalist, and painter Nicholas Vachel Lindsay (1879-1931) made a significant contribution to the rising film theory with his book The Art of The Moving Picture, the first American study of a kind, published in 1915. Having noticed the widespread popularity of silent movies among the millions of film lovers in the USA, Lindsay proposed that this new visual art form, which, according to him, represented a combination of a traditional theatre play and diverse elements of painting, sculpture, architecture and other forms of visual expression that he called photoplay, could, in due time, become a truly American art brand. For that reason, he advocated the establishment of film schools, film libraries and archives, as well as the use of film for educational purposes in schools. This paper analyzes Lindsay’s key theoretical tenets of film as an important fine art as presented in his book The Art of The Moving Picture, as well as his visionary predictions regarding the later development of film (and later television) as not just lucrative, commercial products, but also an interesting field of academic study.

Background: In 1945 the artist and art collector J. Dubuffet coined the term Art brut for original works by psychiatric inmates that had been created outside of traditions and art movements. In the following decades these works were at the center of negotiation processes in which not only psychiatrists but also exhibition organizers, gallery owners etc. increasingly became involved. Objective: Based on the evaluation of four exemplary pairs of psychiatrists and artist patients (H. Müller-Suur—P. Goesch; M. in der Beeck—E. Spießbach; J. Porret-Forel—A. Corbaz; L. Navratil—R. Limberger), this study explores the field of tension between art and psychiatry after 1945. Material and methods: The results of the subproject "Normal#Crazy Art. Works from a Psychiatric Context between Diagnostics and Aesthetics after 1945" of the German Research Foundation (DFG) research group "Normal#Crazy" (FOR 3031) are based on the evaluation of archival material, estates, interviews with contemporary witnesses and contemporary media. Results: It is shown that different attitudes of the psychiatrists towards "their" artist patients strongly influenced their entry into the art world. In this context, impulses from beyond psychiatry were important in order to expand purely diagnostic views of the works with other approaches. Discussion: The renewed interest in the individual creativity of patients after 1945 can be understood as a reaction to their dehumanization under fascism and National Socialism; however, the focus on the pathologized personality of artist patients could obscure alternative perspectives on their art, just as the disposal of their works by psychiatrists could hinder their dissemination. [ABSTRACT FROM AUTHOR]

The article explores the role of conquerors in cultural history, focusing on figures like Alexander the Great and Napoleon Bonaparte. It delves into their impact on art, architecture, and societal structures, tracing the evolution of cultural landscapes from ancient Greece to modern Europe. It reflects on the interplay between power, art, and societal change, highlighting pivotal moments such as the destruction and reconstruction of the Acropolis in Athens.

Despite their increasing visibility on highways and in prominent spaces in cities and villages across Nagaland and Naga-inhabited regions in northeast India since the early 1990s, monuments to the history of Naga nationalism have failed to garner significant scholarly attention. On the one hand, they are dismissed by urban Nagas as passive illustrations of the ideologically motivated “agendas” of Naga nationalist organizations. On the other, their continuities with the Naga stone monolith form remain unaddressed, rooted in the longstanding assumption that the influx of Christianity and literacy has meant that “tribal culture” is ruptured from the present. If the former approach suffers from a limiting historicism that imprisons the monument within a preconceived sense of historical and chronological time, the latter reproduces the problem of essentialism, which denies the Naga stone monolith any time. In this article, I challenge the dismissal of these monuments on both historicist and essentialist grounds. I demonstrate that theirformal, scalar, and spatial particularities materialize a monumental form that constantly slips across the border between the secular domain of the war monument and the ritual domain of the Naga stone monolith. This movement across these supposedly separate and opposed domains of practice enacts a plural and layered temporality, which foregrounds monumentality as the ground to engage the lived realities and histories of a borderland region. It also illuminates the political significance of the aesthetic in the Indigenously inhabited and politically contested region amidst its marginalization by the state in postcolonial South Asia.

This study attempts to identify the theme of light in the imagery of ancient Greco-Roman and Christian art through a comparative analysis of the context and evolution of artistic language before and after the Christianization of the Roman Empire. An essential criterion in understanding the new aesthetic paradigm and highlighting the means of artistic expression characteristic to the two periods temporally delimited by the event of the Incarnation, is the way in which artistic consciousness relates to divinity. The acceptance or not of the Revelation, the reflection in religious art of the fact that God became Man and He has a Face, as opposed to other philosophical quests and religious systems that dress up the idea of divinity and its attributes in the face of the gods, personifying it or imagining it symbolically, – makes the difference. God communicates Himself to man through light, light being the common denominator of any epistemology, without placing in competition or in opposition the knowledge that comes to us through Revelation with that acquired by man through scientific experiments. Paradox is a mark of light. Science has proven it with the wave-particle dualism of quantum mechanics and theology fully confirms it. Light is a Person who says of Himself that He is: ‘The Light of the World’. (John 8, 12). The theme of light has multiple meanings in biblical exegesis; from the metaphorical image that runs through the Book of Revelation to that of the incorporated Light (Lux incorporata), an interpretation that refers to the Mystery of the Incarnation, to the world transfigured by grace, to the uncreated light communicated to people by the heavenly hierarchies through the Church in the form of the Holy Mysteries. In the world of late Roman antiquity, and later in the Byzantine world, there was a belief that the veining or luminous veins of colored marble, gemstones or translucent stones were embedded rays of light, an intervention of divine light in the rock. The uniqueness of these ‘graphic accidents’ was interpreted as signs of God in the creation that suggests the unseen, the unusual, the ineffable, in short, the paradox of the Christian world summed up in this confession: that God is both One and Three, that Christ is both Man and God, and that Mary is both the Mother of God and the Virgin. The art of mosaics and stained glass, as well as the entire decorative complex of precious stones, gems and polychrome marbles adorning objects of worship and liturgical furnishings, is built on a long tradition that aesthetically and theologically values the motif of light. Dogmatic notions such as hypostatic union and perichoresis are symbolically translated into visually striking plastic expressions – provided by the natural textures of the cut and polished rocks – with the sole purpose of suggesting the dogmatic ‘contradictions’ of the Kingdom of Light which, as they say, ‘already exists, but not yet’.

The models of our imaginary belong exclusively, at least we think so, to archetypes, to which we attribute or, on the contrary, we erase from the ancestral pattern unique elements of a personal character. For example, how many times have we heard the phrase: "I've been through hell"? Then I listened to personal representations of Hell, which were loss of a loved one, illness, helplessness, poverty, defamation, loneliness, anxiety, pain. On the other hand, "we have found the perfect being" and its description does not correspond to our expectations either physically or morally, because we have become familiar with some patterns, with the conventional, the usual, and if we move the border a millimeter away, we are guilty of ideological abuse. Parallel to these individual images of a personal character, we find those established in art, no matter in which of its branches. Just as we relate to the episodes in the spatial-temporal coordinates that we witness with or without our will, we have the freedom to identify the worldly ill or to restore the good, through catharsis, by appealing to the imagination and the imaginary. The most important way we can be rescued, at least if we refer to the soul, is through art.

This is a short review on a subject shared by dermatology and visual art - the centrofacial dermatosis rosacea. From the early renaissance paintings to the New Sobriety of the early 20th century, rosacea has been part of portraits and other types of paintings. This reflects the tight connections of dermatology and visual arts. Furthermore, training in arts can improve dermatological skills. [ABSTRACT FROM AUTHOR]

The article delves into the symbiotic relationship between siblings, focusing on the artistic world of Walther and Gertrud Caspari. It explores their notable contributions to children's literature and specifically examines their lesser-known work in the realm of Exlibris, or bookplates. It reveals intricate illustrations and their deeper meanings, unveiling the fascinating artistic details in the bookplates, reflecting the flourishing art scene of the period.

Everyday aesthetics, at its core, is based on the supposed dichotomy between art and life, considering life as something routine-like, and art as the breaking of the routine, something charismatic. Different authors of everyday aesthetics use different words to describe this dichotomy. For example, in his article “What is ‘Everyday’ in Everyday Aesthetics?”, Ossi Naukkarinen simply uses everydayness and non-everyday-like, while Arto Haapala, in his “On the Aesthetics of the Everyday: Familiarity, Strangeness, and the Meaning of Place” uses the terms familiarity and strangeness. The authors also propose different ways of bridging this dichotomy. However, as the paper shows, the real question is not how to bridge the dichotomy itself but rather whether the dichotomy exists in the first place. Moreover, the paper suggests a change of direction in future investigations of everyday aesthetics, and focusing on the nuances that exist on the routine-charisma and charismatic-routine spectrum, supported by academic research and the personal account of the paper’s author art project. Moreover, the implications of this shift extend beyond the boundaries of everyday aesthetics.

Dans cet entretien, Eugénie Péron-Douté évoque le parcours remarquable de l’artiste iranien Omid Dashti, installé à Bruxelles, qui se dit « réfugié » plutôt qu’exilé, évitant ainsi toute stigmatisation liée à la migration.

ABSTRACT: The objective of this article is to question all the artistic representations of the Harraga phenomenon through the issue of otherness, a phenomenon that is accompanied by representations and discourses accentuating the sense of commitment of gratitude towards these young victims of drifting societies and highlighting the magnitude of the subject. Besides these aspects, the desire for exodus can be read from a double anthropological and psychological perspective: if the young Harraga flees his country for a better future, if the refugee aspires to peace by moving, the artist expresses his exodus by leaving the real world for the virtual in search of truths and possible meanings through indirect and rhetorical means, romantic, allegorical and pictorial dimensions that incite reflection. RÉSUMÉ : L’objectif de cet article est celui d’interroger l’ensemble des représentations artistiques du phénomène des Harraga au travers de la problématique de l’altérité, phénomène qui s’accompagne de représentations et de discours accentuant le sens de l’engagement faisant œuvre de reconnaissance envers ces jeunes victimes de sociétés en dérive et mettant en exergue l’ampleur du sujet. Outres ces aspects, le désir de l’exode se lit selon une double perspective anthropologique et psychologique: si le jeune Harraga fuit son pays pour un avenir meilleur, si le réfugié aspire à la paix en se déplaçant, l’artiste exprime son exode en quittant le monde réel pour le virtuel à la recherche de vérités et de sens possibles par des moyens indirects et rhétoriques, des dimensions romanesques, allégoriques et imagées qui incitent à la réflexion.

This article investigates how DeLillo depicts the impact of 9/11 in Cosmopolis and Falling Man through the antagonistic (intratextual) and oppositional (intertextual) connections between their characters, and then proves the importance of counter-narrative as a means to survive the encounter with communal and private tragedies. To this end, the articles provides a complementary analysis of DeLillo’s characterizations and stylistic choices in Cosmopolis and Falling Man, reading the novels through the lens of DeLillo’s essay “In the Ruins of the Future” (2001), Jean Baudrillard’s Simulacra and Simulation (1981) and “The Spirit of Terrorism” (2002), Jacques Derrida’s Writing and Difference (1967), Slavoj Žižek’s Welcome to the Desert of the Real (2002), and Søren Kierkegaard’s Either/Or (1843). While the two novels offer a Postmodern sublimation of the defining features and challenges of the post-9/11 lost sense of reality, I argue that Kierkegaard’s Modern philosophy is the key to a comprehensive reading of them, as it offers the theoretical ground for a metaphorical leap of faith that grants access to “a higher realm” of acceptance, overcoming the feeling of bewilderment and alienation in the aftermath of the late modern age.

This article discusses the third instalment of Ali Smith’s Seasonal Quartet, a work whose complex multi-voiced narrative addresses various important issues including the role of art in the contemporary world. The authors of the article employ two theoretical frameworks, Bakhtin’s theory of dialogism and Vermeulen and van den Akker’s studies on metamodernism, to argue that Smith adopts a dialogical approach to the theme of art. With the help of close reading the authors map the dialogical clashes between the main voices and the semantic positions which are taken in order to demonstrate that the central dialogue presented within the novel is that between postmodern and metamodern sensibilities. Special attention is paid to the character Richard who represents the clear replacement of the postmodern sensibility with a metamodern approach through his semantic position, as is informed by his search for universality in art, his neo-romantic turn to the appreciation of the beauty of nature and his rejection of the postmodern trends that produce superficial and inauthentic forms of art.

In spring 2023, the Gdansk publishers: słowo/obraz terytoria released the first volume of Krzysztof Pomian’sstudy Muzeum. Historia światowa [World History of theMuseum]. It launches the Polish edition of the monumentalthree-volume work published by Éditions Gallimard in Pariswhich is the first study of the universal history of the museum.This is more than a book, it’s a monument! (Plus qu’un livre,un monument!) is what Fabien Simode wrote in the l’OEilmonthly (March 2021). At present rarely are such historicallybroad studies released, possibly because of authors’ fear ofbeing potentially accused of postmodernist meta-narrative.In this case, the work is a comprehensive synthesis in view ofthe entailed chronology, geography, and thematic range. Thediscussed volume Od skarbca do muzeum [From a TreasureChamber to the Museum] recently published for Polish readerstackles the process of European collectorship crystalizingand first museums being its consequence, mainly Italian andseveral northern ones, from the Capitoline Museum in Rome(1471) up to London’s British Museum (1753). Subsequentvolumes are already being prepared. Titled L’ancrage européen,1789–1850, the second one is dedicated to the historyof the museum consolidating into a permanent and significantelement of European culture, close to the institution weknow today: started by the revolutionary Louvre (1793), thishistory is created by the vast part of the major museums oftoday’s Western Europe. Finally, volume three A la conquêtedu monde, 1850–2020 is the most extensive of them all bothchronologically and territorially, as well as in view of the numberof museums and their activity discussed. Author’s considerationsencompass museums’ expansion to Eastern Europeincluding Russia, and then eventually to the rest of the world:Asia, Africa, both Americas, mainly the territories connectedwith the West through colonial bonds; the United States, beingthe area where today’s dominating world centres havebeen formed, is analysed separately. At that point the book’stitle: world history, gains its full relevance, and relates both tothe interwar period in the democratic and totalitarian world,WW II, and to the long contemporary era.

This article updates the problem of cultural studies as a specific field of humanitarian knowledge. It has been stated that, with a certain similarity in the understanding of the ontology of culture (and in relation to the general boundaries of the problem field of humanitarian knowledge), the knowledge about various aspects of the cultural life of man and society is separated by the existing boundaries of the scientific competence of various social and human sciences, which contradicts the process of understanding the integrity of the cultural phenomenon itself. Cultural studies, learning culture as a whole, already by virtue of this circumstance cannot be a humanitarian science „among others”. This circumstance complicates the process of self-determination of cultural studies as an independent science (including the reflection of its method). Despite the fact that the emphasis on cultural studies as a specific area of theoretical knowledge is recognized by the Humanities, however, the problem of identifying the scientific method, which is associated with the final legitimization of this field of knowledge of culture, has not been sufficiently convincing yet. It is concluded that the Humanities are in dire need of rigor and improvement of their scientific status. With the exception of the descriptive part in these sciences, everything else remains the opinion of individual authors.

The beginning of the 20th century was covered by a new wave of thought, through which women became aware of their rights in society, they became demanding towards everything that was forbidden to them until then, as a manifestation of their personality, as a recognition of their rights to education and a profession. This truth has also become valid for the world of arts, a field in which women, for centuries, have suffered frustration and overt discrimination. The present work aims to particularize some of the basic feminist ideas that have revolutionized contemporary art. Modern artistic currents now learn the unmistakable imprint of the affirmation of feminine creation, despite the discriminations that still persist, despite the prejudices rooted in the consciousness of educators, creators and male art curators. This struggle for affirmation and recognition continued, registering unexpected successes. Well-known creators managed to convey their artistic message to the world and their value to be fully recognized. We can say that feminist ideas in art have managed to change the profile of contemporary artistic creation.

In the carried out research is highlighted the role and contribution of lithography as an original technique of multiplication, which contributed to the development of graphic art. Focusing on the presentation of the technical characteristics, the author pleads for bringing back the interest of plastic artists and graphic design students towards this technique, which offers various possibilities for creative expression. The evolution of lithography in historical circumstances is being traced, as well as its impact in artistic creation, highlighting both the advantages of lithography and its utilitarian and aesthetic role. At the same time, are mentioned the most representative plastic artists who have approached the lithographic technique in their works, which influences and helps the contemporary artist in his own work, marked by the active interaction of technology, science and art. Only by mastering the various techniques professionals will be educated with a developed visual perception and a high creative potential.

Geleneksellik kavramı, toplumların yaşayış biçimlerini kurallara bağlayan, onları şekillendirerek insanlar arası ilişkileri düzene sokan kurallar bütünü olarak değerlendirilmiştir. Ancak bu kavramın ifade ettiği kapsamın bu denli dar olmadığını ortaya koyan çalışmalar yapılmış olsa da geleneksellik özellikle günümüz sanatında ötelenmiş hatta reddedilmiş bir konumda karşımıza çıkmaktadır. Gelenekselliğin bu örselenmişliğinin ortadan kaldırılabilmesi için kavramın reddedilmesi değil, onun yapısal özelliklerindeki farklılaşmayla ortaya koydukları üzerinde durularak, daha doğru bir değerlendirme yapılması gerekmektedir. Sanatsal üretimlerde, gelenekselliğin toplumların yaşayış biçimini şekillendirdiği gerçeği ihmal edilerek bu kavramdan kaçınmak, yanılgıya düşülmesine neden olabilir. Bu bağlamda sanatçının ekonomi, teknoloji, ticaret, siyaset ve kültür gibi olguların içerisinde yer almasından kaynaklanan etkilenmeleri sanatına yansıtmaması gibi bir durum söz konusu olamaz şeklindeki yorum yadsınamaz. Ülkemizde 1940 yılından itibaren yaygınlaşan geleneksel sanatlarımızdan yararlanma olgusu 1950’li yıllarda yoğun olarak devam etmiş ve 1980’lerden günümüze de yansımıştır. Araştırma kapsamında çağdaş Türk sanatçılarımızdan bu anlayışla çalışan Bedri Rahmi Eyüboğlu, Devrim Erbil, Süleyman Saim Tekcan, Nur Koçak ve Gülsün Karamustafa’nın sanat anlayışları genel bir çerçevede seçki yapılan eserleri ile birlikte geleneksellik, biçimsel yapısı ve kuramı ile değerlendirilmiştir. Bunula birlikte, geleneksellikten yararlanma yaklaşımı, Türk sanatçıların yanı sıra yabancı sanatçılardan Judy Chicago ve Takashi Murakami’nin eserlerinden birer seçkiyle de desteklenmiştir. Bu sanatçıların gelenekten ne şekilde yararlandıkları ve geleneği yansıtma biçimleri betimsel analizler yerine bilimsel araştırmalarla desteklenerek açıklanmıştır. Geleneksellik ve çağdaşlık üzerine yapılan bu çalışma nitel araştırma yöntemi kullanılarak literatür taramasıyla yapılmış ve bazı sanatçı eser örneklemleri üzerinden çıkarımlara destek niteliğinde sonuca ulaşılmıştır. Sanatçı eser örnekleminin, sanatçıların yapıtlarında gelenekselliğin çağdaş sanatta yansımalarını kişisel üslupları ile bağımsız olarak uygulamalarının ve aktarımlarının devam edeceğinin bir göstergesi olduğu söylenebilir. Bu bağlam günümüzde geleneğin farklılığını okuyabilmek açısından oldukça önem taşımaktadır.

The article delves into the dynamic space between canonical texts and parabiblical traditions. It explores how representations of canonical texts in other mediums, such as art, undergo fundamental shifts in meaning. It focuses on Michelangelo Merisi da Caravaggio's "Raising of Lazarus" painting, challenging norms and fidelity to the biblical narrative (John 11:17–44) with its dark portrayal created shortly before the artist's death.

The article examines the origin of the trope of the crocodile bird in Egyptian culture and its dissemination in classical, Islamic, and Jewish traditions. It discusses whether the crocodile bird actually existed and which bird species could be identified with it. The text describes various versions of a story about the friendship between a crocodile and a bird that was widespread in ancient literature. It also points out that the trochilus may be mentioned in Byzantine poetry and in Horapollo's treatise on hieroglyphs. However, there is no clear evidence for the depiction of the trochilus in visual art. The article describes the origin and dissemination of the trochilus trope, a narrative about a bird that cleans the teeth of a crocodile. The story originated in ancient Egypt and was passed down in various cultures, including Greek, Roman, Islamic, and Jewish traditions. [Extracted from the article]

This article addresses the problematic nature of the traditional approach to interpreting and translating Job 1:15–19 and the conventional artistic depictions of the four calamities experienced by Job. The traditional view is grounded in an objectivistic perspective on language, which assumes that meaning is founded on historical truth and can only be established through direct correspondence between a sentence and an objective state in the world. However, this approach is problematic when viewed through the lens of experientialist language theory, and its emphasis on representational formats. This article argues that the representational format in the narrative of Job 1:15–19 is characterised by a fixed conceptual element; specifically, the dichotomy between feminine and masculine, which operates as a contested point within the narrative. To establish the boundaries and refine the theoretical principles necessary for elucidating unconscious conceptual image schemas such as feminine-masculine, this article proposes a blended text-art approach as a means of representing the perceptual system that underlies this contested concept. Collaborating with a local artist, Hennie Kruger, the aim of this article is to identify meaningful patterns in the image schema and provide a redescription of experience, by means of a process of perceptual meaning analysis within the context of art, as an ‘essentially contested concept’. This article personifies Sheba as a metonymy for the voiceless sufferer – the widow and orphan – as well as fire from God out of heaven, mantic wisdom, and wind-all in the feminine gender. By rendering abstract concepts more immediate and accessible, the image schema of feminine-masculine is made more tangible. While the image schema of feminine-masculine is inherently schematic, and therefore, more abstract in nature, the combination and flow of the four paintings embody the concordant nature of an image schema, with individual mental images elucidating the details of the schema. Ultimately, the paradox evident in each scene serves to illustrate the disruption of the divine order within the feminine-masculine image schema. Contribution: This article contributes to the understanding and translation of the calamities described in Job 1 in the Hebrew Bible.

Building on the extensive production of provenance data recently, this article explains how we can expand the purview of computational analysis in humanistic and social sciences by exploring how digital methods can be applied to provenances. Provenances document chains of events of ownership and socio-economic custody changes of artworks. They promise statistical and comparative insights into social and economic trends and networks. Such analyses, however, necessitate the transformation of provenances from their textual form into structured data. This article first explores some of the analytical avenues aggregate provenance data can offer for transdisciplinary historical research. It then explains in detail the use of deep learning to address natural language processing tasks for transforming provenance text into structured data, such as Sentence Boundary Detection and Span Categorization. To illustrate the potential of this pioneering approach, this article ends with two examples of preliminary analysis of structured provenance data.

The article presents the discussion on bridge workshop of the Deutsche Bahn in Dresden bringing cutting technology to the latest state of the art. Topics include Erl Automation where the company not only records improving cutting results but also significant time savings; and controlling being connected and put into operation without further presettings and driver installations.

The article presents the discussion on cademy of Visual Arts in Leipzig in 1954, after delving into the realm of multi-color lithography under the guidance of the seasoned printer Lange. Topics include neighboring etching studio into a haven for the experiments, nurtured under the watchful eye of the enchantingly eccentric painter and adept etcher, Karl Krug; and marking a shift in leadership but also initiated a period of transformation within the workshop.

The Animated Film Adapted in Kabylian: Thematic and Imaginary “The Case of Li Mučuču 4” ABSTRACT: In this article, we will talk about the last animated film adapted in Kabyle in 2016 by Samir Aït Belkacem. This film, entitled "Li Mučuču 4: Dadda bibi" is dedicated to the memory of the late singer Matoub Lounès. It deals with a main theme "identity", developed in various forms that illustrate the Kabyle imaginary. To account for the imaginary, especially the collective imaginary, the adaptor has integrated genres such as: proverbs, songs, images... There are also some secondary themes that aim to inculcate universal values like: friendship, union, forgiveness, love…We use Gilbert Durand’s globalizing theory of the imaginary to explain the different symbols and figures that represent this imaginary integrated into this film. RESUME: Dans cet article, nous allons parler du dernier film d’animation adapté en kabyle en 2016 par Samir Aït Belkacem. Ce film, intitulé « Li Mučuču 4 : Dadda bibi » est dédié à la mémoire du regretté chanteur Matoub Lounès. Il traite un thème principal « l’identité », développé sous diverses formes qui illustrent l’imaginaire kabyle. Pour rendre compte de l’imaginaire notamment de l’imaginaire collectif, l’adaptateur a intégré des genres comme : les proverbes, les chansons, les images… On note également quelques thèmes secondaires qui ont pour objectif d’inculquer les valeurs universelles comme : l’amitié, l’union, le pardon, l’amour…Nous avons utilisé la théorie globalisante de Gilbert Durand pour expliquer les différents symboles et figures qui représentent cet imaginaire intégré dans ce film.

Following study follows transformation of the philosophical concept of art in the late thought of Friedrich Nietzsche and in the work of Martin Heidegger. The connection between the two authors is established through Heidegger’s lectures on Nietzsche, dating from the second half of the 1930s. The main focus of the study is to interpret the main features of Nietzsche’s concept of art from his notes to the unfinished work Der Wille zur Macht (Will to Power), and to thematize its relation to Heidegger’s thinking of art. The intention of the article was to show in what sense both Nietzsche and Heidegger depart from the aestheticizing approach to art, returning to its preconditions and revealing a deeper problem of the question of art itself.

From the perspective of the concept of aesthetic synthesis, i.e. the principle of the internal organization of works of art, this study looks at the question of the linkage of works of art and the possibility of social reconciliation in the thought of Theodor W. Adorno. The starting point of the interpretation consists of two passages from Aesthetic Theory. Subsequently, the meaning of Adorno’s concept of aesthetic synthesis as a principle open to the peculiar is clarified. This is also where the social significance of the aesthetic synthesis of works of art originates as a reference or reminder of the possibility of social change.

The present review of the book AI for Arts by Niklas Hageback and Daniel Hedblom summarizes the main ideas of the concise volume which can act as a guide for those interested in the emergence of Artificial Intelligence, regardless of their level of knowledge. The four chapters are comprehensive enough to understand the origins of art and the events which have changed it, the current state of art of Artificial Intelligence in the creative field, and how it is already influencing the landscape of art, and finally, the direction it is heading and what the potential consequences of the hypothetical autonomy of Artificial Intelligence are. The present book is here to debunk the mystification hovering around AI, which is often portrayed by media as a monster destined to replace humans altogether. Art, which seems to be something that can only be made by humans, is also directly "threatened" by technological progress. As the book's authors present, it is time for authentic creativity to come to the fore.

The purpose of the research is to analyze the context, the essence, and the philosophical implications of Franz Rosenzweig's reconsideration of the ban on idolatry as an implication of pure monotheism. As often as not idolatry is defined generally as the adoration of some images that, representing deity, are considered to be autonomous and hereupon become the objects of worship. The study confines itself to the analysis of the significance of the ban on idolatry in Rosenzweig's interpretation of the concept of difference that underlies his theoretical model of the Other. The consideration proceeds on the general assumption that the encounter of tradition with modernity is the factor that determines the radical change in the philosophies of societies under modernization. In this context, the ancient ban on idolatry means the rejection and prohibition of whatever representation as intricate mediation that is, in turn, the hallmark of modernity. However, according to Rosenzweig, idolatry is not the usage of images as the representations of the reputedly unrepresentable God, but the fixation on one image which would mean the arbitrary limitation of God's infinite freedom to reveal himself visually. This implies that the reconsidered ban on idolatry does not require the absolute prohibition of representation, but the latter should be construed as temporal. Such an approach prevents the identification of the representation of entity with this entity itself, the sign with the thing, and therefore prohibits self-referentiality. Rosenzweig's stance determines also his understanding of familiarity, unfamiliarity, and difference in art and translation. Rosenzweig's emphasis on the shocking influence of the defamiliarizing difference as the feature of the work of art correlates with his interpretation of the translation that should make stable shared senses unfamiliar. Thus, the reconsidered ban on idolatry underlies Rosenzweig's conception of the reconciliation between Jewish tradition and modernity.

The article describes the main storage locations of archival materials on the history of the Doina choir chapel’s development: the National Archive of the Republic of Moldova, the archives of the Moldova-Concert Directorate and the National Library of the Republic of Moldova. The comprehension of a large number of different documents and their use in order to recreate a complete and objective panorama of the initial stage of development of the Doina choir chapel requires a multidimensional classification of the named materials, which is proposed in this publication. The conclusion is that the proposed multidimensional classification makes it possible to reproduce the history of the country’s leading choral chapel with a high degree of reliability.

Aim: The topic of global health affects us all. In order to spread the word about this important medical field, a bilingual brochure containing medical comics on the subject was published at the Medical University of Vienna.Method: Medical comics are well established internationally, have a long history in the communication of medical information, and – under the umbrella of graphic medicine – are both popular and widely used. In the context of the exhibition project art-action-attitude/body, 6 panels were transformed into a 12-page brochure on the topic of global health in cooperation with an artist and a graphic designer.Results: The brochure was made available for free to visitors of the exhibition, published online, handed out at various fairs by the artist, and presented at an international conference.Summary: The collaboration with an artist and a graphic designer (Renate Mowlam, Bettina Jarosch) gave rise to a high-quality product that explains the subject matter clearly and in a way that is accessible to all, with the written word supported by images. In the brochure, 46 pictures shed light on the topics “health as a human right”, “global health” (definition and examples), and “one health” (definition and examples). This enabled readers to quickly become informed about this complex subject, to contemplate it, and to reflect on their own behavior.

This article brings visibility to the life and exploits of Viennese artist Gertie Fröhlich. Her story illustrates the obstacles women cultural workers encountered during the post-war period. The contribution reveals how Fröhlich, to side-step these gendered obstacles, exerted influence through her relationships with male post-war cultural actors. Later in life, she finally achieved artistic success in her own right, both locally and abroad. Despite her many accomplishments, Fröhlich remains nearly invisible in prevailing post-war cultural histories. This article speaks to her relative obscurity while exploring the reasons behind it.