_A bold revision of the history of European art, told through the lens of neuroscience_ Ambitious and much anticipated, this book celebrates the value of recent neuroscientific discoveries as tools for art-historical analysis. Case studies ranging across the whole history of European art demonstrate the relationships between forms of visual expression and the objects of visual attention, emotional connection, and intellectual interest in daily life, thus illuminating the previously hidden meanings of many artistic styles and conventions. Art historians (...) have until now concentrated on the conscious intentions of artists and patrons, but neuroscience provides insights into the role of non-conscious mental processes in the production and consumption of works of art. As John Onians powerfully argues, these insights have the potential to revolutionize cultural history. For the first time, an authority renowned for a more traditional approach has applied new neuroscientific knowledge to a wide range of art-historical problems, both familiar and fresh. The result is a provocative, original, and persuasive case for neuroscience as an aid to research in the humanities. (shrink)

The body at close range: volume and the unlistenable in Catherine Breillat's Anatomy of Hell -- Sonic subjection: Gaspar Noé's Irreversible and the dystopian limits of the resonant body -- A stranger everywhere: the écho-monde of Tony Gatlif's Exiles -- Feedback, asynchronicity, and sonic sociabilities: Arnaud des Pallière's Adieu -- Listening at the limit: non-human noise in Lars von Trier's Antichrist -- Listening to things: Foley as "alien phenomenology" and Peter Strickland's Berberian sound studio.

One of the iconographic trends that became especially articulated in the XII century is the strengthening of the role of typological logic in the selection and organization of subjects within the iconographic program of monuments of decorative and applied art, book illumination and stained glass. Interest in this kind of visual exegesis, based on the symbolic parallelism of the Old and New Testaments, generates experiments in the field of iconographic programs, which leads to the appearance in the late XII – (...) early XIII centuries a number of monuments in which detailed typological cycles are used (the Klosterneuburg altar, typological stained glass windows of French and English cathedrals). The subject of the research in this article is the connection of the described iconographic trend with texts of a theological, theosophical and liturgical nature. Despite the fact that some of the mentioned texts have already been involved by researchers of Christian iconography for the interpretation of pictorial programs, a special study of the sources of "typological iconography" in the XII century has not been implemented yet. Based on the analysis of a number of texts and iconographic analysis of fine art monuments, an attempt is made to identify a group of sources that could be familiar to the compilers of iconographic programs. Among the monuments of fine art, works created in the Rheno-mosan region (as well as derivatives of this tradition) are of particular interest in the XII century. In this group of works of art (including processional and altar crosses, phylacteries, portable altars, works of stained glass and book illumination), searches in the field of typological iconography are consistently realized. (shrink)

The European Legacy, Volume 17, Issue 4, Page 517-523, July 2012.

This book is an introduction to the history of art as an institution, from its development in Central Europe to its global expansion through colonialism and diaspora. It considers how the class, gender, and race of artists function to challenge highbrow notions of art and develops the concept of nobrow as a way to democratize art in the future.

BackgroundCORE (Clarity and Openness in Reporting: E3-based) Reference (released May 2016 by the European Medical Writers Association [EMWA] and the American Medical Writers Association [AMWA]) is a complete and authoritative open-access user’s guide to support the authoring of clinical study reports (CSRs) for current industry-standard-design interventional studies. CORE Reference is a content guidance resource and is not a CSR Template.TransCelerate Biopharma Inc., an alliance of biopharmaceutical companies, released a CSR Template in November 2018 and recognised CORE Reference as one (...) of two principal sources used in its development.MethodsThe regulatory medical writing and statistical professionals who developed CORE Reference conducted a critical review of the TransCelerate CSR Template. We summarise our major findings and recommendations in this communication. We also re-examined and edited the Version 1 CORE Reference Terminology Table that we first published in 2016, and we present this as Version 2 in this communication.ResultsOur major critical review findings indicate that opportunities remain to refine the CSR Template structure and instructional text, enhance content clarity, add web links to referenced guidance documents, improve transparency to support the broad readership of CSRs, and develop supporting resources.The CORE Reference ‘Terminology Table’ Version 2 includes estimand as a defined term and an adaptation of the original ‘worked study example’ to incorporate the recently evolved concept of ‘estimands’.ConclusionsAs TransCelerate’s CSR Template represents an important milestone in authoring CSRs, we offer CSR authors advice and recommendations on its use, similarities, and differences with CORE Reference and advise them to consider shared interpretations between the two.RegistrationCORE Reference is registered with the EQUATOR Network. The TransCelerate CSR Template is not registered with any external organisation to the knowledge of the authors of this paper. (shrink)

"Discusses the European interpretation of the Pacific in the late eighteenth and early nineteenth centuries. It considers the work of artists attached to scientific voyages of discovery and exploration from the time of Cook to the time of Dumont d'Urville and elucidates the ways in which their work is related to the scientific interestes and prevailing ideas of their eras."--Book jacket.

My aim in this paper is to address some difficulties related to the development of an emerging research program called world art studies. While it originates as a European discipline in the German scholarly tradition around 1900, this program comes to the fore only recently, with recent advances in natural and cognitive sciences which hold promise for providing more inclusive categories that could serve the study of art as a worldwide phenomenon. I focus more specifically on the strengths and (...) weaknesses of psychology as explanatory framework for world art studies. Unlike the romantic art historiographers of the late 19th century, contemporary scholars no longer dwell on collective mentalities or spirits of an age but the problem of postulating mysterious faculties in relation to art behavior and aesthetic response is still present when adopting as an entry point the universality of human nature. (shrink)

This book examines the role of the EU in ensuring privacy and data protection on the internet. It describes and demonstrates the importance of privacy and data protection for our democracies and how the enjoyment of these rights is challenged by, particularly, big data and mass surveillance. The book takes the perspective of the EU mandate under Article 16 TFEU. It analyses the contributions of the specific actors and roles within the EU framework: the judiciary, the EU legislator, the independent (...) supervisory authorities, the cooperation mechanisms of these authorities, as well as the EU as actor in the external domain. Article 16 TFEU enables the Court of the Justice of the EU to play its role as constitutional court and to set high standards for fundamental rights protection. It obliges the European Parliament and the Council to lay down legislation that encompasses all processing of personal data. It confirms control by independent supervisory authorities as an essential element of data protection and it gives the EU a strong mandate to act in the global arena. The analysis shows that EU powers can be successfully used in a legitimate and effective manner and that this subject could be a success story for the EU, in times of widespread euroskepsis. It demonstrates that the Member States remain important players in ensuring privacy and data protection. In order to be a success story, the key stakeholders should be prepared to go the extra mile, so it is argued in the book. The book is based on academic research for which the author received a double doctorate at the University of Amsterdam and the Vrije Universiteit Brussels. It builds on a long inside experience within the European institutions, as well as within the community of data protection and data protection authorities. It is a must read in a time where the setting of EU privacy and data protection is changing dramatically, not only as a result of the rapidly evolving information society, but also because of important legal developments such as the entry into force of the General Data Protection Regulation. This book will appeal to all those who are in some way involved in making this regulation work. It will also appeal to people interested in the institutional framework of the European Union and in the role of the Union of promoting fundamental rights, also in the wider world.. (shrink)

Purpose. The article is devoted to the analysis of corporality as an attribute of plastic art in the Ancient art, the Middle Ages, the Renaissance, the modernism and the postmodernism. Theoretical basis. The authors consider historical development of the art as a change of paradigms. Within each paradigm a special understanding of art is created, which is characterized both by the act of creativity itself and by the evaluation of its results. Particularly urgent is the task to identify the origins (...) of these changes, to indicate their stages, the direction of the evolution of artistic creativity. In this context, corporality as a paradigm of European plastic art is considered in the article in the concrete historical dimension from the classics to the postmodernism. Originality. Postmodern experiments stimulate blurring the borders between the traditional forms and genres of art. Review of canonical ideas about the creation and destruction, order and chaos in art illustrates conscious reorientation from the classical understanding of artistic creativity to the construction of artifacts-simulacra, which is a characteristic feature in the oeuvre of contemporary artists, ranging from the pop art to the present day. Conclusions. The ideas of postmodern philosophers found their visual embodiment in modern artistic practices. Reconstruction of the body, re-switching of its elements according to the principle of chaotic collage, the interpretation of the human body as a separate substance isolated from the individual him/herself, which is presented as a phenomenon of mass culture, became the basis of the creative method of contemporary plastic art. The ideas of postmodern philosophers have found their visual embodiment in the contemporary artistic practices. (shrink)

In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution.

Presently, Australian art histories do not adequately account for the existence of Aboriginal art. They tend to re-present and accentuate European constructions of difference, otherness and isolation, rather than explore sites of intersection or look for similarities. A radical readjustment of perspective is needed in order to address this imbalance. This article suggests that although Smith’s writing on Aboriginal art does not provide a suitable basis for this revision, his evaluation of European visual culture during the early exploration (...) of the Pacific might form a useful starting point for an art historical reassessment of the relationship between Aboriginal and Australian art. (shrink)

This study examines the changing role of art and artist during the turn-of-the-century period, offering a consideration of the multiple dichotomies of art and life, aesthetics and economics, production and consumption, and centre and periphery.

In this first of two articles, I look at the project for the “Encyclopedia of Artistic Terminology” in connection with the idea of a synthesis of the “artistic sciences” as the principal task of the State Academy of Artistic Sciences (GAKhN, 1921–1930) in Moscow. The most important feature of the Academy was the unity of its epistemological conception (the system of artistic sciences) and the institutional structure of the Academy (its “departments,” “sections,” and “laboratories”), which embodied the interdisciplinary intention of (...) uniting the philosophy of art, the artistic sciences, and artistic experimentation. I analyze the connection of the project with the task of “concept formation” in the artistic sciences, which was recognized in European philosophy at the beginning of the twentieth century as the main criterion for scientificity in the human sciences. I also investigate how the Encyclopedia project, developed by Gustav Shpet, took into account previous attempts to systematize aesthetic terminology (in nineteenth-century dictionaries). I show that the project of the “Encyclopedia of Artistic Terminology” was not the sole attempt to create a new dictionary of aesthetic concepts and of the cultural sciences. Similar projects were being developed in the 1920s and 30s in Germany (Erich Rothacker planned to produce Handwörterbuch der gesamten gemeingeisteswissenschaftlichen und kulturphilosophischen Grundbegriffe) and in France (Étienne Souriau published Vocabulaire d’esthétique; see Souriau 2010). (shrink)

This book constitutes the strictly refereed post-workshop proceedings of the 11th International Workshop on Computer Science Logic, CSL '97, held as the 1997 Annual Conference of the European Association on Computer Science Logic, EACSL, in Aarhus, Denmark, in August 1997. The volume presents 26 revised full papers selected after two rounds of refereeing from initially 92 submissions; also included are four invited papers. The book addresses all current aspects of computer science logics and its applications and thus presents the (...) state of the art in the area. (shrink)

Theodor Adorno's Aesthetic Theory offers one of the most powerful and comprehensive critiques of art and of the discipline of aesthetics ever written. The work offers a deeply critical engagement with the history and philosophy of aesthetics and with the traditions of European art through the middle of the 20th century. It is coupled with ambitious claims about what aesthetic theory ought to be. But the cultural horizon of Adorno's Aesthetic Theory was the world of high modernism, and much (...) has happened since then both in theory and in practice. Adorno's powerful vision of aesthetics calls for reconsideration in this light. Must his work be defended, updated, resisted, or simply left behind? This volume gathers new essays by leading philosophers, critics, and theorists writing in the wake of Adorno in order to address these questions. They hold in common a deep respect for the power of Adorno's aesthetic critique and a concern for the future of aesthetic theory in response to recent developments in aesthetics and its contexts. (shrink)

In this chapter, the author begins with Arthur Danto's reflections upon art and evolution in his 1985 David and Marianne Mandel Lecture in Aesthetics presented at the Annual Meeting of the American Society for Aesthetics. “Primitive” artifacts influenced modernist artists because the “conceptual complexity and aesthetic subtlety” of such artifacts revealed to them artistic possibilities that transcended the “prevailing aesthetic canons” of late nineteenth‐century European art. Danto's argument has drawn widespread criticism, many of his critics, including Vogel herself, questioning (...) the role played in that argument by the anthropological thought experiment. Danto might be more sympathetic to Gell, who prefaces his own proposal by rebuking anthropologists of art for remaining in the thralls of a “reactionary” aesthetic conception of art. (shrink)

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)

How have the theories of aesthetics which were worked out in europe evolved in america? are there widely differing standpoints between european and american aestheticians? what herrmann tried to do, to shed light on these questions, was to look over the issues of "the journal of aesthetics and art criticism" since 1941. thomas munro, a pupil of john dewey and founder of the journal tried to provide in the united states a broader and more open-ended and undogmatic platform for (...) aesthetics including such separate disciplines as philosophy, psychology, and cultural history. this interdisciplinary approach was an important part of his campaign against an a priori aesthetics. once this encyclopedic view concerning art and its theoretical understanding is adopted, one is in a position to go beyond the one-sided, partial, and dogmatic attitude in aesthetics that often dominates in european journals. the author concludes by considering an example that is closely related to contemporary aesthetics as well as to the present american scene. what is the reason that there have been so few articles on these contemporary art movements? (shrink)

An illustrated study of the early twentieth-century transformation from Expressionism to Constructivism and beyond in the Central European arts. Central European Avant-Gardes presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity literally to construct a new world through their work. (...) The borders between the visual arts, photography, film, architecture, poetry, and typography were obliterated, as artists sought to transcend the forces of traditionalism to forge an elemental visual language that would overcome national and linguistic boundaries. Yet at the same time that these artists advocated pluralism and unity, their work engaged issues such as nationalism and tradition that still resonate in artistic circles today. The book, which accompanies a major exhibition organized by the Los Angeles County Museum of Art and curated by Timothy Benson, assisted by Monika Krol, is arranged around events and situations rather than by linear, art historical categories. It features hundreds of color plates and reproductions of documents; discussions of movements from Artificialism to Zenitism; essays on figures, publications, and exhibitions; and shorter "city views" of Belgrade, Berlin, Bucharest, Budapest, Cracow, Dessau, Ljubljana, £ódz, Poznañ, Prague, Vienna, Warsaw, Weimar, and Zagreb. (shrink)

The encounter of amateur science with synthetic biology has led to the formation of several amateur/do‐it‐yourself biology (DIYBio) groups worldwide. Although media outlets covered DIYBio events, most seemed only to highlight the hope, hype, and horror of what DIYBio would do in the future. Here, we analyze the European amateur biology movement to find out who they are, what they aim for and how they differ from US groups. We found that all groups are driven by a core leadership (...) of (semi‐)professional people who struggle with finding lab space and equipment. Regulations on genetic modification limit what groups can do. Differences between Europe and the US are found in the distinct regulatory environments and the European emphasis on bio‐art. We conclude that DIYBio Europe has so far been a responsible and transparent citizen science movement with a solid user base that will continue to grow irrespective of media attention. (shrink)

3D digitization of social legacy has been utilized to safeguard data about colonial legacy items like design, craftsmanship, and trinkets. The 3-d unfolding of gadgets via improvements including elevated reality, augmented reality, and 3-d printing have affected the fields of expertise records and social legacy and features grow to be extra normal. However, concentrates on that go past the specialized parts of 3D innovation and treat such points as their importance for reclamation, protection, commitment, schooling, exploration, and morals scarcely exist. (...) The point of this paper is twofold: from one perspective, it expects to get a superior comprehension of the materialness of every innovation for various purposes gallery show, and, then again, it centers on the discernment of these innovations. This exploration was completed by joining a writing survey with quantitative and subjective investigations of the information procured through a study of SIX inquiries a. Given the analysis of this quantitative and personal information, we give a few measures to utilizing 3D digitized and printed multiplications to upgrade social encounters. The outcomes show the significance of cautiously planning 3D collaborations in the individual and social settings of end-clients and colonial establishments in a request to make genuine social encounters_._. (shrink)

Winckelmann’s work inhabits an ambivalent place in the history of historiography. His Geschichte der Kunst des Alterthums (1764) is often referred to as the foundational document of art history, but almost never without the obligatory mention of its rather unhistorical dimension. The aim of the following discussion is to evaluate Winckelmann’s position in the history of eighteenth-century European historiography, especially with regard to the early phase of his career as a historian, i.e. the decisive period between his studies in (...) Halle and his stay in Nöthnitz (1738–1754). During these years, Winckelmann carefully excerpted historiographical literature and dealt intensively with the model of universal history, whose structural patterns deeply influenced his reflection on art historiography. (shrink)

The subject of this article is naive art, one of the important artistic trends of the XX - early XXI centuries. The object of the study is the main approaches of experts to the study of naive art. At the first stage: 1930s–1950s – a historical approach was formed, which is associated with the definition of naive art as one of the forms of amateur art, "hobby". At the second stage – the 1960s-1990s, the traditional approach is considered, which includes (...) the consideration of naive art as a separate artistic direction. Innovative approach: 1990-2000: determined by the study of naive art from the point of view of outsider art. The main contribution of the research is to determine the criteria of naive art as a separate direction, and in the context of a whole range of directions of non-professional art. These include amateur creativity, naive art, "borderline artists", art brut, the art of outsiders. Their main features are determined. The novelty of the research is a generalizing analysis of the presented approaches to the study of naive art of the twentieth century, the main criteria of naive art are clarified and described. During its attribution and examination, it will allow the most accurate and complete to give an art criticism assessment, to talk about the authenticity, authorship, historical value of specific works of naive art. (shrink)

This paper discusses Eastern European Marxists’ consideration of science and technology concerning aesthetic dimensions. Different from most of Western Marxists who take negative or dystopian attitudes towards modern science and technology from the aesthetic utopian perspective, those Marxists who come from countries such as Hungary, Yugoslav, Poland, Czechoslovakia, East Germany, Bulgaria or Romania, which once belonged to the socialist camp, under the influence of Soviet and Western culture, pay attention to the complicated tension between science-technology and aesthetics. In this (...) paper, I probe into these notions by reading György Lukács, Budapest School, Romanian theorists and the Yugoslav Praxis Group, which are divided into four key points: basic nature of science in contrast with arts; modern tension of culture between science and arts; the possibility of scientific aesthetics; and development of arts in the world of technology. There is a dialectical understanding of science and technology here which contributes to contemporary recognition of science and technology from the point of view of neo-humanism, not only in aesthetics but also human existence. This is relevant to theoretical reflection on the present and future Chinese socialist aesthetics. (shrink)

Examines how the modern city is portrayed in art and literature, discusses modernism, futurism, and expressionism, and looks at the work of Rilke, Eliot, Pound, Joyce, and Brecht.

After 1604, Chinese art through Chinese goods rapidly and widely penetrated into European society and had a profound impact on European art and aesthetics.During the century of the popularity of everything Chinese in Europe, it was Chinese goods represented by porcelain and flowing silk that were most directly related to people's lives. From the second half of the XVII century to the second half of the XVIII century, European culture and art experienced a boom in Oriental art. (...) A number of innovative artists began to change their traditional interests and methods of painting, creating many masterpieces with a Chinese flavor. Thus, a new page was opened in the history of Eastern and Western painting. China and Europe, two advanced human civilizations.It took quite a long time before the fog of myths and legends that enveloped China and Europe, the two highest civilizations of mankind, dissipated, until the true nature of China was revealed in the XVIII century. This work is divided into the following three parts: The emergence of Chinoiserie; Rococo and Watteau painting; The decline of Chinoiserie. Documentary studies, comparative analysis and case studies are used to study the phenomenon of China's popularity, which has engulfed Europe as a direct consequence of the spread of Chinese culture in the West. (shrink)

Nietzsche says "good Europeans" must not only cultivate a "supra-national" view, but also "supra-European" perspective to transcend their European biases and see beyond the horizon of Western culture. The volume takes up such conceptual frontier crossings and syntheses. Emphasizing Nietzsche's genealogy of European culture and his reflections upon the constitution of Europe in the broadest sense, its essays examine peoples and nations, values and arts, knowledge and religion. Nietzsche's apprehensions about the crises of nihilism and decadence and (...) their implications for Europe's future are investigated in this context. Concerning the crossing of notional frontiers, contributors examine Nietzsche's hoped-for dismantling of Europe's state borders, the overcoming of national prejudices and rivalries, and the propagation of a revitalizing "supra-European" perspective on the continent, its culture and future. They also illuminate lines of syntheses, notably the syncretism of the ancient Greeks and its possible example for the European culture to-be. Finally certain of Europe's current problems are considered via the critical apparatus furnished by Nietzsche's philosophy and the diagnostic tools it provides. (shrink)

During the sixteenth and early seventeenth centuries, physics was regularly taught as part of instruction in philosophy and the arts at Central European schools and universities. However, physics did not have a special or privileged status within that instruction. Three general indicators of this lack of special status are suggested in this article. First, teachers of physics usually were paid less than teachers of most other university-level subject-matters. Second, very few Central European academics during this period appear to (...) have made a career out of teaching physics. And third, Reformation Era schools and universities in Central Europe emphasized language instruction; such instruction not only was instrumental in promoting the confessional-i.e., Calvinist, Lutheran, and Roman Catholic-agendas of those same schools and universities, but also helped to prepare students for service in nascent but growing state governments. (shrink)

By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...) the myth of economic rationality, street art can change people’s experience of finance, while opening up a space for imagining alternative economic scenarios. (shrink)

This book reveals how, when, where and why vitalism and its relationship to new scientific theories, philosophies and concepts of energy became seminal from the fin de siècle until the Second World War for such Modernists as Sophie Tauber-Arp, Hugo Ball, Juliette Bisson, Eva Carrière, Salvador Dalì, Robert Delaunay, Marcel Duchamp, Edvard Munch, Picasso, Yves Tanguy, Gino Severini and John Cage. For them Vitalism entailed the conception of life as a constant process of metamorphosis impelled by the free flow of (...) energies, imaginings, intuition and memories, unconstrained by mechanistic materialism and chronometric imperatives, to generate what the philosopher Henri Bergson aptly called Creative Evolution. Following the three main dimensions of Vitalist Modernism, the first part of this book reveals how biovitalism at the fin de siècle entailed the pursuit of corporeal regeneration through absorption in raw nature, wholesome environments, aquatic therapies, electromagnetism, heliotherapy, modern sports, particularly rugby; water sports, the Olympic Games and physical culture to energize the human body and vitalize its life force. This is illuminated by artists as geoculturally diverse as Gustave Caillebotte, Thomas Eakins, Munch and Albert Gleizes. The second part illuminates how simultaneously vitalism became aligned with anthroposophy, esotericism, magnetism, occultism, parapsychology, spiritism, theosophy and what Bergson called "psychic states", alongside such new sciences as electromagnetism, radiology and the Fourth Dimension, as captured by such artists as Juliette Bisson, Giacomo Balla, Albert Besnard, Umberto Boccioni, Eva Carrière, John Gerrard Keulemans, László Mohology-Nagy, James Tissot, Albert von Schrenck Notzing and Picasso. During and after the devastation of the First World War, the third part explores how Vitalism, particularly Bergson's theory of becoming, became associated with Dadaist, Neo-Dadaist and Surrealist notions of amorality, atemporality, dysfunctionality, entropy, irrationality, inversion, negation and the nonsensical captured by Hans Arp, Charlie Chaplin, Theo Van Doesburg, Kazimir Malevich, Kurt Schwitters and Vladimir Tatlin alongside Cage's concept of Nothing. After investigating the widespread engagement with Bergson's philosophies, Vitalism and art by Anarchists, Marxists and Communists during and after the First World War, it concludes with the official rejection of Bergson and any form of Vitalism in the Soviet Union under Stalin. This book will be of vital interest to gallery, exhibition and museum curators and visitors plus readers and scholars working in art history, art theory, cultural studies, modernist studies, occult studies, European art and literature, health, histories of science, philosophy, psychology, sociology, sport studies, heritage studies, museum studies and curatorship. (shrink)

Can we really trust the things our bodies tell us about the world? This book reveals how deeply intertwined cultural practices of art and science questioned the authority of the human body in the late eighteenth and early nineteenth centuries. Focusing on Henry Fuseli, Anne-Louis Girodet, and Philippe de Loutherbourg, it argues that Romantic artworks participated in a widespread crisis concerning the body as a source of reliable scientific knowledge. Rarely discussed sources and new archival material illuminate how artists drew (...) upon contemporary sciences and inverted them, undermining their founding empiricist principles. The result is an alternative history of Romantic visual culture that is deeply embroiled in controversies around electricity, mesmerism, physiognomy, and other popular sciences. This volume reorients conventional accounts of Romanticism and some of its most important artworks, while also putting forward a new model for the kinds of questions that we can ask about them. (shrink)

Open science (OS) is considered the new paradigm for science and knowledge dissemination. OS fosters cooperative work and new ways of distributing knowledge by promoting effective data sharing (as early and broadly as possible) and a dynamic exchange of research outcomes, not only publications. On the other hand, intellectual property (IP) legislation seeks to balance the moral and economic rights of creators and inventors with the wider interests and needs of society. Managing knowledge outcomes in a new open research and (...) innovation ecosystem is challenging and should become part of the EU’s IP strategy, underpinning EU policies with the new open science–open innovation paradigm. (shrink)