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Copyright of Transfer: Zeitschrift für Kommunikation & Markenmanagement is the property of Deutsche Werbewissenschaftliche Gesellschaft 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.)

The construction industry is responsible for a significant share of global material consumption, including natural resources. Therefore, the United Nations Sustainable Development Goal 12.2 on sustainable management and efficient use of natural resources cannot be achieved without significant advances and contributions from the construction sector. Furthermore, various materials used by the construction industry contribute to the development and expansion of the LEED (Leadership in Energy and Environmental Design) system. LECA (Light Expanded Clay Aggregate) is one such material that enhances LEED performance through its key benefits, including lightness, thermal insulation, sound insulation, and fire resistance. One of the most effective methods for reducing the weight of concrete is the incorporation of lightweight aggregates, and the advantages of LECA include lessening loads and enabling reduced cross-sections, directly improving the sustainability of the built environment via reduced materials consumption. This study aims to develop a prediction model for the compressive strength of LECA-incorporated concrete through a meta-analysis. More than 140 data points were compiled through literature via 15 separate studies, and results were analyzed to conduct the meta-analysis. Moreover, an experimental program was carried out to verify the model and evaluate its accuracy in predicting compressive strength. Results from the developed model and the experimental program were in accordance with concrete having lower compressive strengths compared to those at high strength values. Likewise, more accurate results were obtained for concrete mixes that have w/b ratios of 0.5 or higher. Concrete mixes that have higher amounts of LECA by volume of concrete yielded more accurate results when using the prediction model. A sensitivity analysis was carried out to quantify the impact of several parameters on the compressive strength of LECA concrete. [ABSTRACT FROM AUTHOR]

This article explores José Val del Omar's religious thought in relation to his Fire in Castile , a 1960 experimental film that sets Spanish Renaissance sculptures in motion by use of pulsating lights, projected patterns, and other striking audiovisual effects. Val del Omar sought to provoke a new and technological mystical encounter: Fire in Castile displaces the viewers' physical space to create a transcendental and sacred opening, in turn activating the affective role of the sculptures. This essay seeks to contextualize the film in relation to a core theological notion in Val del Omar's thought, the interlacing of God and time: "God is Time," he wrote, "the devil rules over space." For Val del Omar, this is a tragic situation in which God is waiting for us in the entrails of life, which in turn demands a visceral disruption of our spatiotemporal and existential assumptions. [ABSTRACT FROM AUTHOR]

Türkiye adopted a new regime on bearer share certificates to comply with the Recommendations of the Financial Action Task Force on money laundering by promulgating the Law on Preventing Financing of Proliferation of Mass Destruction Weapons on 31 December 2020. This new law does not prohibit the issuance of bearer share certificates but ends the anonymity of the holders. According to the new law, the holders of bearer share certificates shall be registered in a centralized registry. In case of transfer of the certificates, the new holder must also be registered in the registry. In this paper, I will first give brief information on shares in Turkish law. Subsequently, I will explain the new system prescribed by the Law on Preventing Financing of Proliferation of Mass Destruction Weapons. [ABSTRACT FROM AUTHOR]

Copyright of Galician Journal of Economics / Revista Galega de Economía is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones 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 European Review of Public Law is the property of European Public Law Organization 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 European Review of Public Law is the property of European Public Law Organization 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.)

A generally accepted approach to fashion design is to consider a complex system based on different parameters or basic elements such as shape and form, line, color, and textures and basic principles: proportion and scale, balance, unity (harmony), rhythm, and emphasis. The paper presents the most important elements that influence the impact and quality of a fashion collection: the sketch of the garment (color, shape, texture of the textile materials) and sustainability (as a consequence of circular economy), while the dematerialization and application of SWOT analysis, improve the economic yield. To better understand the vision of the specialists in fashion design regarding the most important elements that define a garment collection, 5 detailed criteria are presented. In this regard, the answers of the specialists involved in the designing and development of the new middle-price and middle-end fashion garment collection on a survey are presented and a ranking has been done. [ABSTRACT FROM AUTHOR]

This experimentation arises in the context of the design process of digital tools in the fashion sector of Made in Italy. The contribution presents an overview of the main insights gained from the analysis of the state of the art and experimentation conducted in order to obtain a low-cost digital textile sampling and restitution process useful for possible new advanced modalities of collaborative remote design. This project is related to the extended MICS partnership of the PNRR project that researches at a low TRL level new scenarios for the integration of immersive technologies in traditional craft processes. [ABSTRACT FROM AUTHOR]

Copyright of Proceedings of the Faculty of Economics & Business in Zagreb / Zbornik Ekonomskog Fakulteta u Zagrebu is the property of Ekonomski Fakultet u Zagrebu 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.)

Planar bioassays are powerful, sustainable tools for nontargeted detection of hazardous compounds in complex samples. They provide more information on a sample than corresponding in vitro assays and are more sustainable in terms of plastic material and solvent consumption. However, instrument investment costs for high-performance thin-layer chromatography are high. Hence, the question arose of whether the sophisticated sensitive planar genotoxicity bioassay could be performed manually without instrumentation under simple conditions. Cheaper plate types were studied as well as manual application of the samples, cell suspension, and substrate solution. As a result, genotoxic compound zones were detected as rose-colored or orange fluorescent resorufin end-product formed upon contact of the genotoxins in tested perfume and packaging materials with a genetically modified Salmonella Typhimurium strain. The simple performance was found to be possible for low sample application volumes. Knowledge on neutral pH value and thickness of the adsorbent layer were further key aspects. Manual spraying was found to be superior to manual immersion if excess liquid was avoided. For high sample volumes and a higher level of standardization, the open-source 2LabsToGo system was proposed as excellent option for low investment costs. Its very low instrumental footprint and the straightforward prioritization strategy help analytical chemistry to balance between technology and nature/ecology to reduce the instrumental footprint and planetary overshoot. [ABSTRACT FROM AUTHOR]

When reflecting on the human condition, vulnerability is a characteristic which is clearly evident, because anyone is exposed to the possibility of being wounded (and is, therefore, vulnerable, from the Latin word "vulnus", wound). In fact, human vulnerability, intended as a universal condition affecting finite and mortal human beings, is closely linked to embodiment, intended as the constitutive bond every human has with a physical body, subject to changes and to the passing of time. In today's cultural context, permeated by emerging technologies, theories in favor of the so-called human enhancement through the use of the Genetics–Nanotechnology–Robotics (GNR) Revolution or NBIC Convergence technologies, in particular transhumanism, are emerging in the bioethical debate and seem to question the fundamentally vulnerable nature of human beings, by proposing not only abstract theories, but also concrete techno-scientific projects for its overcoming. Such a project, however, could turn out to be fallacious and inconsistent and could lead to ethically unacceptable consequences. Instead, a coherent (and ethical) way of responding to constitutive human vulnerability seems to be its understanding and acceptance. [ABSTRACT FROM AUTHOR]

The paper analyzes the concept of digital corporeality and identity and their representation in virtual images of digital fashion. Digital fashion is a new field of fashion that develops in the interdisciplinary space made of information technology, gaming industry and digital art. The article assumes that the digital fashion body depends neither on the human nor the human body. The digital body is non-human and it explicitly represents a posthumanist corporeality as a cyborg formation (D. Haraway). It assembles through machinery and becomes randomly fixed assemblages (G. Deleuze, F. Guattari; M. Delande). The author draws on concepts of new materialism, including the concept of the plane of immanence by G. Deleuze and F. Guattari’s, J. Bennett’s vibrant matter and K. Barad’s agential realism. New materialism shows radical change of the digital corporeality discourse. The author analyzes digital fashion projects posted on digital fashion retail platforms, such as The Fabricant, Dematerialised, DressX, Artisant, and works of digital designers who have gained fame through participation in digital shows. В статье анализируются понятия цифровой телесности и идентичности и их репрезентации в виртуальных образах цифровой моды. Цифровая мода — новая область моды, которая развивается в междисциплинарном пространстве информационных технологий, игровой индустрии и цифрового искусства. В статье предполагается, что цифровое тело нового направления моды не зависит ни от человека, ни от человеческого тела. Цифровое тело является нечеловеческим, и оно становится воплощением постгуманистической телесности, своего рода киборгом (Д. Харауэй). Собранное посредством машин, оно превращается в случайные ассамбляжи (Ж. Делёз, Ф. Гваттари; М. Деланда). Автор опирается на новые материалистические концепции, в том числе на понятие план имманентности Ж. Делёза и Ф. Гваттари, вибрирующую материю Дж. Беннет и агентный реализм К. Барад. Обращение к новому материализму позволяет показать радикальное изменение дискурса о цифровой телесности. Автор анализирует проекты цифровой моды, размещенные на платформах The Fabricant, Dematerialized, DressX, Artisant, а также работы цифровых дизайнеров, получивших известность благодаря участию в цифровых показах.

The additive economy should be the productive basis toward which the national economies aspire. This paper aims to deepen the theoretical issues of the additive economy forming and its key components: additive technology and additive manufacturing. Additive technology is defined as a set of methods and tools based on which the production of products occurs by adding only the useful part of natural substances to the final commodity and creating no waste. Additive manufacturing is a system of interconnected processes of transforming natural substances into finished products based on additive technology. The additive economy is a system of trade and industries based on additive manufacturing. The study analyzes competitive advantages (direct prototyping, saving materials and energy, the ability to work without human participation, dematerialization of transportation and storage of products) and challenges of the additive economy (building an organizational network of production systems; forming solidarity economy; developing new social institutions; social development of a person). The paper formulates the key directions of economic systems restructuring to an additive economy formation, including restructuring energy production types, energy networks, and interface sphere and change of the structure of primary resources. The general debatable problem of the economic systems restructuring to the additive economy is the formation of new social institutions capable of providing necessary solutions. AcknowledgmentThe study is prepared in the framework of the research project “Restructuring of the national economy in the direction of digital transformations for sustainable development” (№0122U001232), funded by the National Research Foundation of Ukraine.

AbstractUniversities worldwide transitioned to online learning during the COVID-19 pandemic, leading to a digital revolution in higher education. The aim of this study is to give a unique insider’s perspective of how students experienced the shift to online learning within a Qualitative Methods course at the beginning of the pandemic. Our data is comprised of a thematic analysis of three focus group discussions (FGDs) with the Master’s in Public Health Sciences programme students at Karolinska Institutet, Sweden, on their experiences of learning and applying qualitative methods online. The findings showed different processes of adaptation to the learning environment at the early stages of the pandemic. Use of digital technologies for online education were learnt and re-embodied by students, to the point they eventually defined themselves as “Zoom beings”. An overarching theme describes the process of students’ re-embodiment of their student-researcher role in a dematerialized online classroom. The adaptation to the learning process resulted in growing pains, but also enabled student to foresee complementarity of online and physical worlds. Understanding the students’ experiences of the sudden switch to online learning can guide the adaptation for potential future disruptions of campus-based teaching.

Through two projects financed by the Northern Regional Operational Program (Norte2020), the Direção Regional de Agricultura e Pescas do Norte (DRAP Norte) promoted, through the training entity Esri Portugal, training courses in Geographic Information Systems with the objectives of: i) improving the skills of technicians in this area, especially in the acquisition, editing, analysis and exchange of geographic data; ii) applying new tools to the organization's work processes; iii) concentrating all the spatial information collected in the operational activity to improve management and planning. Using the training-action typology, which encompasses different training modalities, namely: seminars, classroom training, workshops and on-the-job training, the technicians involved developed various practical works, from different operational areas, with internal or external recipients and which improved the quantity, quality and availability of geographic information associated with the agricultural sector. Among the works carried out, there are cases of dematerialization of forms with geographic data collection, of combined field and office applications to facilitate the collection and edition of control and visit data, of platforms to load dispersed historical data, of creation of pages with thematic information and a geographic portal that aggregates all the results obtained in 15 months. [ABSTRACT FROM AUTHOR]

Copyright of Ge-Conservación is the property of Instituto del Patrimonio Cultural 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.)

One of the most compelling effects of digitally enhanced and digitally enabled immersive exhibitions is their paradoxical dematerialization of "analog" experience. What leads exhibition visitors to accept that immersion is a state achieved only through technological mediation? Are we not already perceptually immersed in the world, as the phenomenologists asserted? This essay explores how digital enhancement disengages self-awareness by masquerading as immersion. In contrast, contemporary artists Karin Sander, Janet Cardiff, and Chris Salter employ desynchronizing and dislocating tactics to challenge naïve notions of what comprises an aesthetic experience, in order to requaint viewers with their own perceptual and ethical agency. [ABSTRACT FROM AUTHOR]

Vincenzo Chiarandà and Anna Stuart Tovini have been active since the 1980s as Premiata Ditta, an "autonomous organisation that collaborates with an interdisciplinary network of experts, with the intention of 'unveiling' the increasingly pervasive aspect of the post-Fordist economic system". With this programmatic status, PD was chosen by Bourriaud as an example to articulate and illustrate his concept of Relational Aesthetics. In the same years, he participated in important exhibitions such as Il Faut construire l'Hacienda, curated by Bourriaud and Troncy, in 1992, and Project Unitè, curated by Aupetitallot, in the following year. In the mid-1990s, however, PD transformed its activity by creating a site, UnDo.Net, with the aim of giving its work a more participatory dimension and facilitating the sharing of information, research, resources and knowledge to build a freer and more open community. The essay aims to analyse this passage with the intention also of probing the limits of relational practice and, in parallel, to investigate the resistance, on the part of the artistic system, to understanding the importance of the construction of UnDo.Net as a structure for information and the creation of networked projects.

This article aims to evaluate the nature, structure and potential of the digital archives of the North Atlantic Treaty Organization (NATO) not only from the archival point of view but also for their usefulness in the frame of the history of international relations. The first part of the work deepens the context of the history of international relations, starting from the definition of the discipline and then reflecting -in a general way- on the types of archival sources available in this regard. In this sense, it will be proposed a brief review of the historical evolution of the concept of diplomatic sources, analysing their characteristics and fields of application in relation to the nature of the different producers involved. Then the work shifts to the specific physiognomy of the NATO archives, focusing on the profile of the producer and the characteristics of the digital documentary material available. In this paragraph, therefore, we try, first of all, to provide an exhaustive description of NATO, from its historical origins to its legal evolution, up to the role it plays today in a post-Cold War world. Subsequently, a description of the funds available online is provided. This description is supplemented by the elements necessary to evaluate and allow the use of these sources both from a technical-archival point of view and from that of the history of international relations. Finally, the last part reflects on the physiognomy of a web-based archive and on the potential that it could expresses, highlighting opportunities and critical issues.

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

When reflecting on the human condition, vulnerability is a characteristic which is clearly evident, because anyone is exposed to the possibility of being wounded (and is, therefore, vulnerable, from the Latin word "vulnus", wound). In fact, human vulnerability, intended as a universal condition affecting finite and mortal human beings, is closely linked to embodiment, intended as the constitutive bond every human has with a physical body, subject to changes and to the passing of time. In today’s cultural context, permeated by emerging technologies, theories in favor of the so-called human enhancement through the use of the Genetics–Nanotechnology–Robotics (GNR) Revolution or NBIC Convergence technologies, in particular transhumanism, are emerging in the bioethical debate and seem to question the fundamentally vulnerable nature of human beings, by proposing not only abstract theories, but also concrete techno-scientific projects for its overcoming. Such a project, however, could turn out to be fallacious and inconsistent and could lead to ethically unacceptable consequences. Instead, a coherent (and ethical) way of responding to constitutive human vulnerability seems to be its understanding and acceptance.

Copyright of Architectus is the property of Oficyna Wydawnicza Politechniki Wroclawskiej 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.)

The disruptive technologies and cyber-physical production systems are important factors that bring transformations to socio-economic formations. The paper aims to formulate the content, key directions, positive and negative effects of additive economy (AE) in the current transition phase to Industry 4.0. The research method is based on the analysis of structural links in socio-economic systems, where the additive economy potential is realized. The additive economy is treated as a new approach to production technological aspect based on the additive principle of manufacturing and aimed at minimizing the use of primary natural resources for dematerialization of social production. AE is the antithesis of the subtractive economy, which dominates today and uses only a tiny proportion of extracted natural resources. Among the positive effects of AE, there are the reduction in energy intensity of products, dematerialization of production, solidarity of society, economic systems sustainability, and intellectualization of technologies and materials. Among the negative expectations of AE, there are increased information vulnerability of production, risk of losing control over cyber-physical systems, expanding the unification of individuals, and increasing psychological stress. The additive economy is more sustainable than the subtractive economy since it does not require extra components to the production spheres, reduces the resource scarcity, and could satisfy more economic agents’ needs. Therefore, improved production efficiency due to AE promises economic growth acceleration, environmental burden and social risk reduction. Acknowledgment The publication was prepared in the framework of the research projects “Sustainable development and resource security: from disruptive technologies to digital transformation of Ukrainian economy” (№ 0121U100470); Fundamental bases of the phase transition to an additive economy: from disruptive technologies to institutional sociologization of decisions (No. 0121U109557).

While Circular Economy (CE) is promoted as a resource-optimizing strategy, there is a need to ensure a clear and mutual understanding of the goals of CE and the indicators to measure progress. This requires access to assessment tools and methods based on a shared understanding of resources. Through life cycle assessment, the carbon-energy-material nexus of recycling a washing machine is investigated as a case study. We find that circularity efficiencies, such as recycling rates, do not always align with environmental impact, emphasizing the need to consider both aspects,and further elaborate on the disparities between carbon, energy, and material impact indicators. Results support the use of both energy and material impact indicators to avoid trade-offs, however, limitations to consistently operationalize CE require methodological advancements to expand beyond current natural resource stocks. Lastly, large sensitivity and uncertainties related to composition can hamper the comparability and accuracy of LCA resource assessments. [Display omitted] [ABSTRACT FROM AUTHOR]

Only a few years ago, people interested in novels or movies had no choice but to use physical media such as books or DVDs. Technological advances allowed dematerializing these products, making consumption instantly accessible with a download. The trend towards dematerialization has been steady across product domains, and recent confinement measures might further accelerate it. We investigate how preferences for dematerialized products depend on people's identity motives in consumption. In a series of studies, we find that the identity relevance of a product increases the appeal of its physical versions. Even when the hedonic experience is identical (e.g., watching a movie), material products are better tools for consumers to self-verify (i.e., provide better feedback to consumers about the identity which is implicated in consumption). As a result, identity-motivated consumers are more likely to forgo the benefits of dematerialization. This finding has implications for our understanding of digitized consumption and for the marketing of media products. [ABSTRACT FROM AUTHOR]

Discussions of conceptual art both East and West have focused on the notion of "dematerialization" of the artwork and the substitution of "art as idea" for concrete works of art. Yet such an approach oversimplifies the role of materiality in works of conceptual art generally and underestimates the transformative role of the concrete object in early Moscow conceptualism in particular. An examination of the Nest, an influential group of artists active from 1974 to 1979, as well as other analytical conceptualists who highlighted materiality in their unofficial art practice suggests that their use of concrete objects and realized metaphors revolutionized late-Soviet unofficial art, moving it from an outdated modernist model of artistic autonomy to a more dynamic and engaged postmodernism. Their previously underappreciated contribution to the evolution of global conceptualism expands our picture of the movement as a whole and provides needed context for late-Soviet art and the post-Soviet period that followed. [ABSTRACT FROM AUTHOR]

Copyright of DYNA - Ingeniería e Industria is the property of Publicaciones Dyna SL 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.)

Digital media and the environment pose some of the most urgent social issues of our time. Nonetheless, the relationship between them is often neglected and merely addressed in terms of impact. This scenario frames these topics in a chiastic relation, thus enquiring two processes: the digitization of ecology (both as a science and as a socio-political practice) and the ecologization of digital media (both in the sense of their greening and of their evolution into mediascapes). On one hand, by drawing on the Ecology of Information Infrastructures and the Actor-Network Theory approaches, environmental issues will be considered as a matter of digital communication and participation. On the other hand, the troubles of digital societies will be addressed from an environmental perspective, adopting the SCOT approach, and embracing the Media Ecology tradition to outline and call for digital sustainability strategies.

One of the most compelling effects of digitally enhanced and digitally enabled immersive exhibitions is their paradoxical dematerialization of “analog” experience. What leads exhibition visitors to accept that immersion is a state achieved only through technological mediation? Are we not already perceptually immersed in the world, as the phenomenologists asserted? This essay explores how digital enhancement disengages self-awareness by masquerading as immersion. In contrast, contemporary artists Karin Sander, Janet Cardiff, and Chris Salter employ desynchronizing and dislocating tactics to challenge naïve notions of what comprises an aesthetic experience, in order to requaint viewers with their own perceptual and ethical agency.

In the Information Age abstract knowledge received through media dominates over empirical knowledge derived through experience. This leads to a process of disintegration between man’s mental world and his physical environment. As architecture reflects human’s concept of the world through the current cultural paradigm, an architectural tendency towards disintegration between its ideal and its material aspects is observed today. The first part of the article examines how architectural image today tends to follow neither function, nor structure, but goes independent from them. Examples of this tendency are presented and analyzed. The term “architectural dematerialization” is classified into three types. In the second part an explanation of this tendency is proposed, together with short historical parallels from the Middle Ages to the age of Modernism. The importance of the ritual for the integration between abstract ideas and sensory experience is clarified, as well as its impact on architecture. A comparison is made between the architecture of Baroque and Modernism as a reflection of mental-sensory integrity and the world concept of these two epochs. [ABSTRACT FROM AUTHOR]

Copyright of Bibliothecae.it is the property of University of Bologna 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.)

In the late 1960s, Chilean media artist Juan Downey constructed a series of electronic sculptures that aimed to render their invisible electromagnetic environment perceptible for spectators. Designed to transform radar waves or cosmic background radiation into light, sound, and mechanical vibration through sensors and transmitters, these sculptures allow us to rethink the relation between energy and the dematerializing logic of the cybernetic paradigm that has come to dominate the existing scholarship on conceptual and media arts. The existing scholarship of Downey’s electronic sculptures frames them as realizing contemporary theories of cybernetic communication and feedback: facilitating participation among bodies and technologies to generate an informational assemblage. This article, however, asserts that the deployment of the cybernetic paradigm of information in this art historical scholarship inadvertently reproduces cybernetics’ historical de-emphasis of material and energetic specificity, and thus fails to account for those insights that emerge from Downey’s unique attention to the concrete reality of electromagnetism and its interactions with human perceptual experience and technical media. In this article I argue that the electronic sculptures invoke specific frequencies of the electromagnetic field, not to dematerialize them into flows of information, but to foreground their challenging materiality and reveal the limits of our organic and technological modes of access to a vast and elusive yet animating energetic environment. My objective is to open up Downey’s early practice to new concerns outside the cybernetic frame, with a special focus on his contributions to the link between art history and the energy humanities. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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.)

In the field of decoupling and dematerialization indicators, Ecological Elasticity is suitable for studying the relationship between economic growth and material consumption over extended periods of time. This article aims to analyze decoupling and dematerialization for the EU-15 countries over the period 1970–2018 using the Ecological Elasticity indicator. For this purpose, data obtained through the Material Flow Analysis methodology are used from two different perspectives, territorial and consumption. This allows us to study the differences between the two approaches and to determine the area of utility of each. It is observed that decoupling is a widespread situation across both indicators, but dematerialization is achieved much more frequently in the territorial case. The comparison between methodologies confirms that the dematerialization observed at the territorial level is closely linked to the delocalization of productive activities and the consequent displacement of the environmental burden to other countries. It is proposed that other indicators be used to measure the inter-annual variation of decoupling and to complement Ecological Elasticity, providing a simple and manageable framework on which to design ecological objectives and policies.