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Il contributo intende restituire un panorama delle sperimentazioni intermediali degli anni Sessanta, caratterizzate dal rapporto tra poesia, arte e spazio urbano. A partire dall’esperienza tardo-futurista di Carlo Belloli, che si sviluppa tra gli anni Quaranta e gli anni Settanta del Novecento, si è inteso mostrare la persistenza nei movimenti di avanguardia di pratiche artistiche volte a declinare la parola in rapporto alla dimensione spaziale, attraverso installazioni ed eventi performativi che si inseriscono nel tessuto urbano.

The Urihi Yanomami Association used photographic records to bring attention to the malnourished condition of the yanomami indigenous people in the Surucucu region of western Roraima. In January 2023, a photograph of a deceased indigenous woman, severely malnourished, was featured on the G1 news portal. During the same period, the yanomami association requested that the photograph be removed from the media. The paper’s central question is whether reporting the death of the indigenous woman, G1, in a mediatized context distances itself from the way the yanomami think about death in order to make the event intelligible in our culture. The guiding question is what frames of meaning the newspaper uses to translate the indigenous woman’s death into our culture. As a basis, this text draws on the concepts of happening (Quéré, 2005, 2012), framing (Goffman, 2012), culture with Eduardo Viveiros de Castro (2014), and the perspective of pragmatist philosophy. The framing given to the death of the indigenous woman was identified as being focused on the ‘public health’ frame. This was evident from the external links that the newspaper produced around the death. The article establishes a temporal framework that is not part of yanomami culture, making death a concept that does not align with indigenous cosmology. The conclusion drawn from the findings is that the framing of the indigenous woman’s death serves the purpose of making it understandable to non-indigenous readers. [ABSTRACT FROM AUTHOR]

The Rule of Saint Benedict has not only served as a guideline for monastic life but has also had significant implications for the shaping of Western culture. This study aims to analyze the conception of the body in the Rule and, based on that, extract relevant insights for a strictly philosophical understanding of the body. In this context, it will be demonstrated how, in the Rule, the body, always governed and guided by thought, is perceived as an event in the making rather than merely a pre-existing natural organism. The study will also argue regarding the clear exhortations found in the Benedictine Rule, encouraging the monks and the abbot to shape the understanding of the body in a way that makes it healthy, content, and accountable. Finally, the study will describe how the monk's body serves as the primary instance for contemplating and thinking the city and the world, i.e., how its constitution among the monks has civic and universal outcomes. [ABSTRACT FROM AUTHOR]

In the article, we consider the image of a movie hero from the perspective of its multidimensionality, as well as the systemic nature of its influence—in the past and in the present. The researched segment of material allows us to present the universal matrices, according to which the image of the hero of the future is constructed. Different stages and epochs of civilizations in various cultures are marked by seminal, iconic ideals, many of which represented and/or personified the status of a hero. The image of a hero has been interpreted in all sorts of ways and transformed through a variety of forms of visualizations. In this paper, we consider a hero in the context of understanding the specificity of a film hero. The image of a “hero of the day” consolidates and refracts a complex of ideals, preferences and perceptions, the model and style of behavior, which are characteristic not only for a particular historical period, but also for a particular community. The phenomenon and concept of a hero and, as a consequence, the image of this hero, has a logically explainable structure, a pattern of formation and becoming. This pattern is interconnected with historical, social, cultural aspects and phenomena, as well as perceptions characteristic for a particular time and society. The character, the image, the style and the model of behavior of the hero, as well as the criteria of his or her assessment depend on the complex of spiritual culture of a particular community, the level of its development and value orientations. The specifics of age-old composition of the images of “a hero of the old/present days” reveal some regularities—universal anthropological constants, allowing to form a set of distinctive qualities of a hero actual for the specific time and location. In this article, we trace such consistent patterns and introduce the typology of four universal atemporal types of heroes (masculine, intellectual, warrior, superhuman), aimed at different audiences. Статья посвящена рассмотрению многомерности образа телегероя и системности его воздействия — в прошлом и настоящем. Предложенный авторами исследовательский срез дает возможность представить универсальные матрицы, по которым выстраивается образ героя будущего. Разные этапы и периоды цивилизаций, а также культуры народов отмечены знаковыми культовыми идеалами, многие из которых являли и/или олицетворяли статус героя. Образ героя был по-разному интерпретирован и преобразовывался через многообразные формы визуализаций. В настоящей работе герой рассмотрен в контексте понимания специфики телегероя. В «герое времени» консолидируется и преломляется сложный комплекс идеалов, предпочтений и представлений, модель и стиль подобающего поведения, характерных не только для определенного исторического периода, но и для конкретной общности. Явление и понятие «герой» и, как следствие, образ этого героя, имеет логично объяснимую структуру, закономерность формирования и становления, взаимосвязанную с историческими, социальными, культурными факторами и явлениями, а также характерными представлениями для конкретного времени и общества. Характер, образ, стиль и модель поведения героя, как и критерии его оценки, зависят от комплекса духовной культуры конкретной общности, уровня развития и ценностных ориентиров. Специфика многовековых построений образов «героя своего/нашего времени» обнаруживает ряд закономерностей — универсальных антропологических констант, что позволяет формировать набор актуальных для места и времени характерных качеств героя. Авторами статьи прослеживается закономерность и вводится типология существования четырех универсальных вневременных типов героев («маскулинный», «интеллектуальный», «воин», «сверхчеловек»), ориентированных на разную аудиторию.

Copyright of Art Inquiry is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 case of body art, we can speak of event-like actions with a clear performative force, where the human body becomes a medium, a carrier of artistic messages, and as a living body-sculpture, an object to be worked with artistic means. Body art (action art, happe126 ning, performance art) is a form of conceptual art in which the human body is the material to be worked with artistic means. The article presents the case study of works by Szi lárd Gás pár, highlighting the blurring of disciplinary boundaries between art and professional sport. [ABSTRACT FROM AUTHOR]

The purpose of the article is to determine the key ideas and attitudes of the era of postmodernism in the context of the rejection of metanarratives. The research methodology consists in the application of methods of analysis and synthesis, systematisation of facts, comparison, and generalisation of research outcomes. The scientific novelty lies in an attempt to understand the transformative changes of the key ideas of postmodern era and to mark the role of metanarratives in the context of the concepts of ideal, truth, and universality. Conclusions. Postmodernism has found alternative ways of spiritual growth. Besides, new forms of relations between people and society have been built. Postmodernism has «rehabilitated» the previous cultural and artistic tradition, which was actively destroyed during the 20th century: realism, academicism, and classicism. Postmodernism combined the experience of the past with the experience of the present; it can be seen as a change in cultural periods. However, mutual reflection of similarities and repetitions have displaced the categories of metanarratives (objectivity, reality, truth, universality, and ideal). Thus, JeanFrancois Lyotard, postmodernist thinker, and French poststructuralist philosopher defined postmodernism as distrust of metanarratives. The term «metanarrative» replaced the concept of «philosophy of history». Metanarratives linked historical events into a single story that had spanned long periods. The use of the term «metanarrative» in the era of postmodernism indicated the emergence of a new way of understanding history, culture, and art in accordance with the postmodern concept of truth. [ABSTRACT FROM AUTHOR]

The aim of this article is to explore an experimental acting exercise that took place in 2015 during a survival workshop guided by the RomanianCanadian stage director Alexander Hausvater. The name of the workshop was “The total actor – The survival” and took place in Colibița, a mountain resort in Bistrița-Năsăud county involving 25 young actors. The actors embodied different human typologies for almost 12 hours in the town of Bistrița. The exercise was conducted in different areas of the town and each actor was supposed to remain in the “skin” of the character no matter the circumstances. Even though they interacted with civilians from the urban environment, they had to continue to exhibit the traits and features assigned to the character as if they were on stage. Many of the citizens were taken in by the deceitful appearances and believed that the actors they interacted with were real people with real issues. The closeness between reality and pretence was so tight that some of the spectators insisted on helping the needy, underprivileged typologies some of them were interpreting. Consequently, the difficulty in going on with the acting part became even harder for the participants in the workshops because of this interference. The main purpose of this type of exercise was to point out the complexity an actor is capable of and the involvement s/he must show in front of a changing audience, with a nonconformist moving stage. Were the actors able to prove the director’s expectations according to his given definition of a true actor? Were the actors ready enough to exploit previously unpaved roads? Was this type of practice beneficial to achieve the ultimate goal? Is happening the best way of showing the mixture of abilities an actor has? [ABSTRACT FROM AUTHOR]

In the present essay, I want to suggest that the public dimension is a crucial issue in Kaprow’s un-artistic art theory, and that this shift from art to “nonart” literally occurs as a transition from private to public: from private contemplation of “complete” paintings to artistic experience publicly performed and shared. Primarily, I will focus on his troubled relationship with painting. Then, I will concentrate on his ground-breaking reflections on framing and unframing. After that, I will analyse his most relevant theoretical achievements, environment and happening, emphasizing the active role of publicity in his personal idea of performance art. Finally, I will discuss his distinctive interpretation of “nonart”, by comparing it with other substantial variations on the “post-art” theme, offered by different authors, either modernist or post-modernist. In the end, the Kaprowian un-artistic theory will emerge re-configured as a singular, and someway “aerial”, utopian proposal for public art.

Copyright of Revista de la Asociacion Aragonesa de Criticos de Arte is the property of Asociacion Aragonesa de Criticos de Arte 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 present essay, I aim to reinterpret the notion of performing in respect of modernist ontologies of art, with a particular focus on American art criticism in the mid-Twentieth century. Firstly, I will address to art critics such as Clement Greenberg but especially Harold Rosenberg, as forerunners in acknowledging theoretical importance to the very concept of performing, and in pointing out its leading role in the development of contemporary art. I will analyse the implications of the work of art as a performance in Rosenberg's formulation of "Action Painting" as the "arena" of artistic creation, and in Greenberg's conception of modernist painting as autonomous and self-determined. I will proceed in verifying the impact of this "performative turn" from the painting to the evironment and the pure event, taking for example Allan Kaprow's theory of happening and nonart. I will compare it with Rosenberg and Greenberg's achievements. As a result, I will suggest that performing could be seen, at the same time, as a threshold of modernism and as a shift toward postmodernism. [ABSTRACT FROM AUTHOR]

Copyright of História Unisinos is the property of Universidade do Vale do Rio dos Sinos 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 research focuses on a problem of the music of the second half of the 20th century, more precisely within the aleatoric current that developed in the 6-8 decades. This trend promoted, in addition to multiple compositional innovations, the principle of improvisation by which the performer(s) gets involved in the act of composition. The existence of an important variety of typologies and concepts under which improvisation has been used as a creative principle can become disconcerting for a performer eager to enter this world in which he will be forced to assume the role of performer and co-creator. [ABSTRACT FROM AUTHOR]

In the present essay, I want to suggest that the public dimension is a crucial issue in Kaprow's un-artistic art theory, and that this shift from art to "nonart" literally occurs as a transition from private to public: from private contemplation of "complete" paintings to artistic experience publicly performed and shared. Primarily, I will focus on his troubled relationship with painting. Then, I will concentrate on his groundbreaking reflections on framing and unframing. After that, I will analyse his most relevant theoretical achievements, environment and happening, emphasizing the active role of publicity in his personal idea of performance art. Finally, I will discuss his distinctive interpretation of "nonart", by comparing it with other substantial variations on the "post-art" theme, offered by different authors, either modernist or post-modernist. In the end, the Kaprowian un-artistic theory will emerge re-configured as a singular, and someway "aerial", utopian proposal for public art. [ABSTRACT FROM AUTHOR]

The paper outlines the game preconditions of artistic creativity of the artist Valera Cherkashin (Valery T.Cherkashenko, was born 1948 in Liptsy village, Kharkiv region, USSR) during the 1960s–1980s, as well asthe first period of his collaboration with Natasha Cherkashin (Natalia S. Polyakova, born 1958 in Damascus, Syria). From the first half of the 1960s to the 1980s, V.Cherkashin organized a number of art events in Kharkiv, using elements of Soviet and Western mass culture. Cherkashin’s artworks blur the boundaries between traditional genres and styles in the visual arts. While experimenting with the art form, Cherkashins in addition to the language of art action have been using the language of photography, of cinema, painting, graphics and video. Artists continue to create art in different media. Currently, Cherkashin’s artworks are in the collections of the leading museums and corporate collections around the world. The aim of the research is to reveal the ontological, methodological and axiological bases of Cherkashin’s artistic creativity. During the analysis the playing preconditions in Cherkashins’ creativity. Feelings of tension and joy, as well as sense of otherness are inherent in all the artistic work of the Cherkashins. V.Cherkashin creates a new conceptual meaning—the image of the “other” in the early photographic series of 1965–1966 and the image of a social outcast who is between two worlds in 1972. During Cherkashin’s play, the seriousness is eliminated, it becomes funny. The funny side of Cherkashins’ artworks is rooted in harmless nonsense. Artists turn ideological and verbal codes and images into “funny nothing”. Joyful life-affirming laughter in the Cherkashins’ works is the second “actor,” along with the ‘new plasticity.’ Biographical, conceptual, descriptive-phenomenological methods of analysis, comparative studies and hermeneutics were used during the research. [ABSTRACT FROM AUTHOR]

The article deals with the activity of the so-called Leningrad “Philological School” or “Mikhail Krasilnikov’s circle”, a company of poets formed in the mid-1950’s and including eminent names such as Lev Loseff, Vladimir Uflyand, Mikhail Eremin, Aleksandr Kondratov and others. United above all by friendship and characterised by several stylistic differences, these poets are nowadays recognized as one of the first and most meaningful expressions of the Soviet underground. The neo-avantgarde aesthetic of many of them, in which public demonstrative gestures can be included as well, establishes a link to the Russian and Western tradition of the first half of the century and represents at the same time a groundbreaking assertion of artistic freedom.

A great story told by a musician is the basis of the best stage experimentation of the second half of the 20th century. The musician is John Cage, whose work synthesizes the entire system of arts within the extraordinary world of the avant-garde. This great story begins with the experimental artistic activities which were developed in the 1920s, consolidated in the thirties and continued through the post-war period up to the dawn of the fifties. Apart from the socio-historical cross-section Cage’s experimentation provides, it is also a pretext for reflecting on the artist’s work as well as the relationship between neuroscience and art. Important contributions to this topic come from the neuro-scientific-social research on new expressions “of creativity, imagination, genius” (Pecchinenda, 2018). This study is based on the assumption that Cage was the forerunner of neuronal experimentation that would be central to the experiments and research of many other artists. The theoretical reference model can be found in the research of the neuroscientist Kandel et al, whose work was the starting point for this investigation. Kandel grasps the definitive break between scientific logic and humanistic sensitivity in the methodological reductionism practiced by neuroscience and in the experiments of contemporary creativity. According to Kandel, both neuroscience and artistic experimentation have similar objectives and problems, and in some respects seem to develop similar methodological practices. Kandel identifies the use of memory, synthesis and knowledge of the world in authors such as Mondrian, de Kooning, Pollock, Rothko, Louis, Warhol as well as the New York school of which Cage was an important member. The relationship between art and neuroscience is synthetized in the avant-garde action of Cage and in all the artists who launched continuous attacks against traditional forms. The transition from figurative art to abstraction is “comparable” to the reductionist process that is used in the scientific field to explain complexity and phenomenology. The prolegomena of this discourse are anticipated by a previous work written by Kandel in 2012 and can also be found in other studies on the relationship between neuroscience and art, in particular in the reflections of the neurobiologist and father of neuroaesthetics, Semir Zeki. Zeki analyzed artists work as a practice perfectly comparable to the research carried out by neuroscientists. Cage, the focus of this investigation, carried out a sound-stage-vision experimentation affecting theatre, media and art which can be examined from at least two different perspectives. The first concerns the definitive subversion of “innate rules of perception” (Kandel) and the second deals with the relationship between art and neuroscience.

Copyright of Nomadas (01217550) is the property of Universidad Central 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.)

El arte de acción ha tenido desigual fortuna en España, tanto en lo que se refiere a la práctica artística como a su estudio por parte de la historia del arte. Entendido como expresión liberadora y progresista por la crítica coetánea, y, por tanto, ajeno a los parámetros culturales de la dictadura, en este artículo proponemos volver al archivo para problematizar dicha comprensión y valoración crítica de los modos de interpretación y aceptación. Nuestro estudio se centra en el happening y su desarrollo en la década de los sesenta y setenta del siglo XX en España a través de la relevancia de algunos eventos que no han pasado al archivo (la importancia de Granollers, la participación de Dalí, p.e.), centrándonos en las acciones de Antoni Miralda donde se desvelan culturas de consenso y arraigo que cuestionan las interpretaciones historiográficas dadas.

The subject of this analysis is the 94-minute documentary art film Segunda Vez (Second Time Around, 2018) by contemporary Spanish artist Dora Garcia, whose script consists of six separate sections arranged in an authentic narrative whole. The content of the film material is constructed on the basis of a complex theoretical and practical exploration of archival material and the original writings of the Argentine avant-garde theorist Oscar Masotta who devoted significant work questioning the societal and artistic context of the Happening in the 1960s, as a marginal counterpoint to the avant-garde developments that deviated from the cultural norms of Western civilization. Garcia's work represents a complex intertextual network of historical, literary, and philosophical data that encompasses the sensory aspect of the viewer's perception, creating a coherent film unit in which the author uses the mechanisms of narration to create a conceptual artwork. The main goal of this research is to provide a theoretical basis for analysis through narratology, editing as a conceptual tool, and final reading according to semiotics, in order to interpret artistic language as a possible domain for absorbing the experiences of art in extension. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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.)

Sylvia Sasse`s article and interview with Amy Bryzgel.

Copyright of Estúdio (1647-6158) is the property of Revista Estudio 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.)

Perceptual completion fills the gap for discrete perception to become continuous. Similarly, dynamic perceptual completion (DPC) provides an experience of dynamic continuity. Our recent discovery of the 'happening' (H) element of DPC completes the total experience for dynamism in the flow of time (FOT). However, a phenomenological explanation for these experiences is essential. The Snapshot Hypotheses especially the Dynamic Snapshot View provides the most comprehensive explanation. From that understanding the 'two times' problem (TTP) can be addressed. The static time of spacetime cosmologies has been irreconcilable with the dynamic FOT. Dismissing the FOT as an illusion is unsatisfactory. Therefore, we provide four hypotheses for the TTP. 1) Since cosmological static time demands that all events (cerebral included) are discrete, DPC elements for dynamism should likewise be expected to be discrete and accounted for by a snapshot phenomenology such as the DSV. 2) If temporality can be demonstrated to be similar to apparent motion by being a snapshot phenomenon and not demanding temporal extension it would confirm the DSV and permit reconciliation with static time. 3) If the 'present moment' (of the FOT) is subjective as static time theories suggest, it should be possible experimentally for an observer to choose his own 'present' by moving (perceptually) to various points in the past with the aid of virtual reality. 4) If dynamism e.g. motion can be precluded without significant information loss or violating physics principles it is a cognitive add-on, thereby contradicting non-static time theories which suggest that time is 'real.' We confirm those hypotheses. [ABSTRACT FROM AUTHOR]

Copyright of Theatralia is the property of Masaryk University, Faculty of Arts 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 article discusses the historical evolution of the concept of authorship in theatre, It explores the subject of the death of the author, the disappearance of subjectivity and reality in postmodern art. Аnother topic is the conceptual crisis of aesthetics with regard to the definition and evaluation of contemporary art forms. [ABSTRACT FROM AUTHOR]

Copyright of Liño: Revista Annual de Historia del Arte is the property of Universidad de Oviedo, 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.)

John Macmurray, Ronald Gregor Smith, and R. A. Lambourne are three prophetic figures, whose theological work in the 20th century on the priority of interpersonal relationships and the meaning of community has been unjustifiably neglected. Their writings on the centrality of relatedness for faith demand to be rediscovered today when a relational theology is vitally needed to counter trends towards social dis-integration [ABSTRACT FROM AUTHOR]

Yayoi Kusama's polka dot art and Infinity Mirror rooms have made her one of the most successful artists alive today. Her more than seven-decade-long career has provided ample fodder for scholars to examine her artistic preoccupations. This article considers the scholarly consensus on the role of performance in Kusama's oeuvre and then examines two works, a 1968 happening and a 2013 illustrated book, in which Kusama (1929–present) adapts Lewis Carroll's Alice in Wonderland novels. By adapting Alice, Kusama is able to sharpen themes and symbols that she has deployed since the early days of her career. [ABSTRACT FROM AUTHOR]

Este artículo analiza la incorporación crítica de las experimentaciones estéticas del action painting y del happening en De donde son los cantantes como estrategia de disidencia frente a la concepción de la literatura comprometida. Concebir la novela como “evento” en el que confluyen diversas materialidades y temporalidades, me lleva a proponer la existencia de un diálogo con la estética del happening. Sugiero que al incorporar los debates críticos sobre la naturaleza y el rol del arte en la sociedad de los años sesenta, De donde son los cantantes se propone como arte en acción enfatizando la potencialidad del lenguaje para generar placer y requerir que el lector participe en la creación del sentido.

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Copyright of Contemporary Art / Sučasne Mistectvo is the property of Modern Art Research Institute of National Academy of Arts of Ukraine 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.)

This study revisits a sandwich decade in Portugal’s contemporary history – the 1980s – which is still largely to be explored. The importance of the performing arts and experimental poetry within this transition period is identified and highlighted through the analysis of some of the aesthetic changes that took place during the “dysphoric hangover” following the 1974 Carnation Revolution. The analysis centers around a series of poetry happenings organized at the time by Ana Hatherly, E. M. de Melo e Castro, Fernando Aguiar, and Alberto Pimenta. The aim is to describe the specificities of the volatile and celebratory aesthetic phenomenology characterizing these artistic experiments.