In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. Nathaniel B. Jones argues that the depiction of panel painting within mural ensembles functioned as a meta-pictorial reflection on the practice and status of painting itself. This phenomenon provides crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world. (...) Roman meta-pictures, this book reveals, not only navigated social debates on the production and consumption of art, but also created space on the Roman wall for new modes of expression relating to pictorial genres, the role of medium in artistic practice, and the history of painting. Richly illustrated, the volume will be important for anyone interested in the social, ethical, and aesthetic dimensions of artworks, in the ancient Mediterranean and beyond. (shrink)

This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies (...) of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing seems to be a Roman creation and that they were part of a larger narrative program. The paintings are compositional opposites and share the narrative technique of depicting moments of quiet tension; this choice of narrative moment is one that began in the Greek world; particularly during the Hellenistic period, and was developed and enhanced by the Romans. Moreover, this interest in creating tension for the spectator, and in the relationship between viewer and image, is also demonstrated by the inclusion of a spectator figure in the Penelope painting. Although the other paintings do not survive, their subjects are known from a nineteenth-century drawing and from nineteenth-century descriptions, and these too share the same narrative technique. If the lost paintings are copies of Greek originals, then the Macellum may have served as a picture gallery for Pompeii's inhabitants. A careful reading of the Macellum paintings of Greek myths, their juxtaposition and relationship to each other, and their reception in Roman literature and society reveals that the paintings were arranged as a program, a moralizing ensemble, designed to instruct the viewer on the proper behavior of Roman matrons. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 30.3 (2000) 13-27 [Access article in PDF] David Painting Death Didier Maleuvre Our life has no end in just the way in which our visual field has no limit. —Wittgenstein, Tractatus Logico-Philosophicus Dates It was the "terrible year." The Revolution was in danger, the enemies of France marched on the borders, the Reign of the Terror had begun. There lay Marat in his blood bath, a letter (...) in his hand dated July 13, 1793, the day he died. There he still lies, in his sacrificial tub, behind a yellow panel etched with the revolutionary calendar date, Year Two, the year Marat the martyr rose to historical sainthood. There, in the depth of the image, Marat lay in 1793, a revolutionary murdered in his bath; here, on the canvas, still lies the cluster of paint and brushstrokes suspended in Year Two of his painted embalming. There, in 1793, Marat died; here, in the mythic year of the historical image, Marat remains dead. This "remaining dead" is the time of the painting, its date and signature: "À Marat, David. —L'an deux." The tablet, like a tombstone, is what remains standing in the wake of death. An ex voto, the painting offers itself to the dead man, to his memory. In so doing, however, the painting calls attention to itself, as though making sure we understand it devotes itself to the task of taking us to Marat. It says, "this is a painting 'à Marat', 'for,' 'to' or 'toward' Marat, 1 on the way to him, a painting that makes us see Marat and thereby gives Marat the gift of being seen."Oddly, the patch of painting that beckons to Marat also lays out the spot where the canvas signals it is made of matter: a slab of yellow paint, an obtrusive plane emphasizing that there is paint, that painting is taking place on this Proustian "petit pan de mur jaune." One way to understand this contradiction is to say that the headstone displays the twofold nature of seeing an image: on the one hand, the flight of spellbound vision that goes to ("à") Marat, dead and risen, back from the year 1793; on the other hand, the object-bound perception that stays at the canvas level, the paint, lines, and brushstrokes, the corporeality of paint shaped ceremoniously for ("à") Marat. In short, the event of seeing occurs on this headstone to and for Marat: 2 the eye hits the material slab of canvas, where miraculously, it stumbles into the netherworld of representation where (where?) it catches a glimpse of a wooden box, a bloody bathtub, a dead man. One cannot help marvel at this conjurer's trick that makes the human eye see more than what it is given. And part of marveling at this sleight-of-hand entails wondering why, in David's Marat, the trick of representation calls attention to itself specifically on a tombstone: plainly put, the question is to understand what death has to do with seeing images, with this sudden leap of faith whereby we casually trust there is more to a [End Page 13] canvas than meets the eye, that there is something beyond paint (where?), in the hereafter of images, a corpse in a bathtub. Miraculously.When the image appears, in the leap, the painting dies in the flesh and is reborn as idea, as appearance, the waxen figure of a dead man. Thus the painting dies for Marat, it sacrifices itself for ("à") him. Correspondingly, it erects its own yellow tombstone to commemorate the sacrifice: see what I am doing, I am opening myself up to ("à") Marat. A painter in the grip of revolutionary zeal humbly lets the subject of his painting (the heroic, tremendous Marat) take precedence over the painting that enshrines him. The painting is both glorious and humble: glorious inasmuch as it calls on the tribunal of history to see the martyr; humble because, to do so, the painting must bow before the historical fact. On the yellow tombstone, on its own gravestone, the painting sacrifices itself, vanishes as physical object so that Marat may live forever in the image. For there to... (shrink)

En janvier 1783, deux musiciennes, Bianca Sacchetti et Andrianna Ferrarese, s’enfuirent de l’ospedale des Mendicanti, à Venise, pour tenter leur chance sur les scènes de théâtre. Formées dans l’une des quatre institutions vénitiennes destinées à recueillir les orphelins de Venise, elles étaient devenues des musiciennes hors pair, chantaient chaque jour dans la chapelle de l’ospedale et jouaient de plusieurs instruments. Le dossier consacré à leur fugue, qui se trouve toujours à l’Archivio di Stato de Venise, nous donne les circonstances et (...) les raisons de leur fugue, mais fournit également des informations précieuses et uniques sur les aspirations des « filles du choeur » à une vie meilleure. Des documents inédits illustrent les relations d’amitié qui pouvaient exister entre deux jeunes femmes recueillies par charité et suffisamment talentueuses pour avoir réussi à devenir deux des meilleures musiciennes de Venise. Retrouvées par les autorités, elles poursuivirent d’ailleurs une brillante carrière, l’une à l’opéra, l’autre au sein de l’ospedale, la Ferrarese créant même l’un des rôles du Così fan tutte de Mozart. (shrink)

The International Panel on Social Progress is an independent association of top research scholars with the goal of assessing methods for improving the main institutions of modern societies. The IPSP has produced a report consisting of twenty-two chapters in three volumes that distills the research of these scholars and outlines what the best social science has to say about positive social change. Written in accessible language by scholars across the social sciences and humanities, these volumes assess the achievements of (...) world societies in past centuries, the current trends, the dangers that we are now facing, and the possible futures in the twenty-first century. It covers the main socio-economic, political, and cultural dimensions of social progress, global as well as regional issues, and the diversity of challenges and their interplay around the world. The authors offer a cautious optimistic conclusion: multiple ideas for social progress and better policies are already available and deserve to be tested and implemented. (shrink)

This is the first of three volumes containing a report from the International Panel on Social Progress. The IPSP is an independent association of top research scholars with the goal of assessing methods for improving the main institutions of modern societies. Written in accessible language by scholars across the social sciences and humanities, these volumes assess the achievements of world societies in past centuries, the current trends, the dangers that we are now facing, and the possible futures in the (...) twenty-first century. It covers the main socio-economic, political, and cultural dimensions of social progress, global as well as regional issues, and the diversity of challenges and their interplay around the world. This particular volume covers topics such as economic inequality and growth, finance and corporations, labor, capitalism, and social justice. (shrink)

This is the third of three volumes containing a report from the International Panel on Social Progress. The IPSP is an independent association of top research scholars with the goal of assessing methods for improving the main institutions of modern societies. Written in accessible language by scholars across the social sciences and humanities, these volumes assess the achievements of world societies in past centuries, the current trends, the dangers that we are now facing, and the possible futures in the (...) twenty-first century. It covers the main socio-economic, political, and cultural dimensions of social progress, global as well as regional issues, and the diversity of challenges and their interplay around the world. This particular volume covers topics such as world cultures and religions, families, global health, education, and the contributions of social sciences to institutional change. (shrink)

Simone Martini’s panel painting of St Ladislas of Hungary, founder of the Árpád dynasty and a prototypical crusading knight, attests to the transnational character of Filippo Sangineto’s patronage in Santa Maria della Consolazione, Altomonte (Calabria). The attribution to Sangineto, count of Altomonte and seneschal of Provence, has long been debated, but he is agreed to have been a formidable patron with an ambitious plan for Altomonte. Like many Italian royals, aristocrats, cardinals, and merchants, Filippo commissioned artworks to Sienese (...) artists in Avignon. This study’s approach also sheds light on the iconography as the choice of Ladislas can be connected to the Crusade of Smyrna (1343-1345). The article proposes a reconstruction of Santa Maria della Consolazione, with two small, matching polyptychs set against the screen, one by Bernardo Daddi (two wings survive in Altomonte) and the other by Simone, composed of the painting of Ladislas and the Phillips Collection’s Christ on the Cross. (shrink)

From the thirteenth century to early modern times, Venetian church interiors gleamed with brilliant gold and silver altarpieces and frontals, enlivening dim naves and providing awe-inspiring backdrops for the celebration of the liturgy. Grand in scale and materially sumptuous, these artworks were ingenious viewing machines. Many could be opened and closed horizontally to reveal and conceal multiple layers of imagery. When closed, they were further screened behind purpose-made panel paintings, called contropale or pale feriali. These multimedia ensembles - the (...) best known of which is formed by San Marco’s Pala d’Oro and Pala Feriale - played a vital role as intermediaries between architecture and rite, and they represented the radiant core of rich religious rituals that dramatized Christian notions of divine revelation. Yet, despite their attraction, Venetian gold and silver pale remain insufficiently studied. This article brings an initial analysis of these artifacts into dialogue with broader art historical debates about the materiality and the performativity of medieval artworks. By doing so, it demonstrates the significance of gold and silver pale in defining Venice’s religious and aesthetic cityscape, and it lays the methodological groundwork for future research into these complex artifacts and their environment. (shrink)

Not only the vertical direction of images – perceptually subject to the law of gravity and its consequences – plays an important role in their interpretation; the horizontal direction left-right too seems to foster different interpretations from its converse. For this reason there are subjects and genres of painting, such as the Annunciation or the portrait, revealing some constants from this point of view, in their representation conventions. And for this same reason there are languages​​, like comics, where the (...) left-right direction is critical not only for the succession of panels – clearly bound to the direction of verbal writing – but also for the panel’s internal organization. These reflections suggest a cultural explanation of the differences in horizontal organization in pictures, linking it to the habits of writing, while ruling out the explanations making reference to the physiology of brain. (shrink)

Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty, lived somaesthetic reflection, or what the late Sam Mallin called “body phenomenology”—understood as a meditation on the body reflecting on both itself and the world—is my starting point. Another is John Dewey’s bodily theory of perception, augmented somewhat by Merleau-Ponty. -/- With these starting points, I spent roughly 20 hours with St. Benedict Restores Life (...) to a Young Monk (c. 1360), a work of tempera and gold leaf on panel, by Giovanni Del Biondo, active in Italy from 1356 to 1398, on display in the Art Gallery of Ontario’s permanent collection. Following Dewey’s suggestion that “[t]he eye ... is only the channel through which a total response takes place,” meaning that motor, emotional, intellectual and non-visual perceptual capacities become active when we encounter paintings, I describe how the work engaged a range of bodily modalities; and how reflecting on these, in turn, supplied phenomenal articulations of life negating, preserving and enhancing forces important in the culture that produced it, and famously discussed by Friedrich Nietzsche. By virtue of the approach adopted, I also demonstrate Dewey’s belief that intimate engagement with art entails a total coordination of one’s capacities around the artwork, while simultaneously reinforcing Merleau-Ponty’s ideas about perception and how we can find phenomenal articulations of concepts such as the Nietzschean ones just mentioned. While focusing on Del Biondo’s painting, my main purpose is to engage in body phenomenology practices, and to show, in the words of Shusterman, how “[w]e might sharpen our appreciation of art through more attention to our somaesthetic feelings involved in perceiving art” and indeed the world. (shrink)

At the Barnes Foundation in 1931, Matisse undertook the painting of a large decorative panel entitled La Danse. Its stakes are considerable: the disqualification of the painting-form and the drawing-genre, in favor of an environmental art infused with a decorative vitalism that redefines the architectural function itself at the deepest level, beyond any question of site-specificity.

The Paleolithic art interpretation is still a polemical subject. Nearly 300 caves covered with Paleolithic paintings have been discovered and more than 90% are located in Spain and in France. Surprisingly, more than half the painted illustrations are abstract patterns such as dots and lines. The high realism of naturalist figures also stands out. We will present the four groups of theories that have been formulated since the end of the XIXth century in order to interpret the Paleolithic art: the (...) artistic theory from Lartet and Piette; the magical hunting theory from anthropologists such as Tylor and Frazer and archeologists like Breuil; the structuralist theory from Raphael, Leroi- Gourhan and Laming-Emperaire; and lastly the shamanist theory from Lewis-Williams and Clottes. We will also refer to the agglutinative theory gathering all of these from Ucko and Rosefeld. Afterwards I will offer my own thought. Paleolithic paintings are the expression the life led by every generation of the clan. The panels or the set of animals as much as the painted signs are their own History collection. (shrink)

> Wealthy nations must step up support for Africa and vulnerable countries in addressing past, present and future impacts of climate change The 2022 report of the Intergovernmental Panel on Climate Change paints a dark picture of the future of life on earth, characterised by ecosystem collapse, species extinction and climate hazards such as heatwaves and floods.1 These are all linked to physical and mental health problems, with direct and indirect consequences of increased morbidity and mortality. To avoid these (...) catastrophic health effects across all regions of the globe, there is broad agreement—as 231 health journals argued together in 2021—that the rise in global temperature must be limited to <1.5°C compared with pre-industrial levels. While the Paris Agreement of 2015 outlines a global action framework that incorporates providing climate finance to low-income and middle-income countries, this support has yet to materialise.2 COP27 is the fifth Conference of the Parties (COP) to be organised in Africa since its inception in 1995. Ahead of this meeting, we—as health journal editors from across the continent—call for urgent action to ensure it is the COP that finally delivers climate justice for Africa and vulnerable countries. This is essential for the health of those countries, and for the health of the whole world. The climate crisis has had an impact on the environmental and social determinants of health across Africa, leading to devastating health effects.3 Impacts on health can result directly from environmental shocks and indirectly through socially mediated effects.4 Climate change-related risks in Africa include flooding, drought, heatwaves, reduced food production and reduced labour productivity.5 Droughts in sub-Saharan Africa …. (shrink)

Willem II van Haecht?s panel of the Cabinet of Cornelis van der Geest (1628), introduces the viewer to the theme of the Five Senses by including five prominently displayed paintings, each corresponding to one of the senses, in the foreground. The paper offers a new reading of the panel, suggesting that this image may be read as an allegory of the Five Senses, proposing this theme as a key to the rhetorical performance the collector, van der Geest, is (...) shown undertaking, and connecting the senses to the picture?s punning motto: Vive l?Esprit. (shrink)

Este artículo pretende abrir una línea de trabajo en la que confluye el área de la restauración y la didáctica. Se muestra un proceso de restauración basado en la mínima intervención, en cuanto a pérdidas de policromía se refiere, pero se ofrece como una herramienta medio para la enseñanza. El proyecto posibilita que la tabla se exhiba como pieza modelo en una sala del Museo Arte Sacro de Teruel, que el público visualice y conozca el mecanismo técnico de creación de (...) una tabla del siglo XV y que, mediante la recreación virtual y la utilización de imágenes de la misma temática de otras obras de relevancia, se proponga cómo pudo ser la tabla de Olalla en origen. En definitiva, se plantea realizar una prueba piloto que pueda servir para otras obras con circunstancias similares. Palabras clave: pintura gótica, Aragón, siglo XV, restauración y conservación, nuevas tecnologías, educación patrimonial, didáctica de la pintura, musealización.. This project aims to be a new line of work where restoration and didactics fields converge. It shows a process of restoration based on the minimum intervention in terms of loss of polychromy. However, it is offered as a tool for teaching. In this specific case, this table is shown as a model piece through its exhibition in a room at Sacred Art Museum of Teruel. Following this project, it will be possible to visualize and learn the technical mechanism of creation of a 15th century panel reinforced with a virtual recreation using digital media to show how it could have been in origin, as well as using images of the same subject matter of other relevant works. The main focus of this project is to serve as a pilot test for other works with similar circumstances. Key words: gothic painting, Aragon, 15th century, restauration and conservation, new technologies, heritage education, painting education, musealization. (shrink)

This essay had its beginnings in my desire to reexamine the Arnolfini portrait from the perspective of Giovanna Cenami, the demure young woman who stands beside the cloaked and hated man on the fifteenth-century panel in London. Even though she shares the formal prominence with the man in Jan van Eyck’s unprecedented composition, she has been paid scant attention in the literature on the painting. I anticipated, as I began my work that inspection of the female subject of (...) the panel would, of necessity, amend the authoritative count of the Arnolfini portrait that Panofsky first published in 1934. That narrative, which focused on the event portrayed, had been recited to me by my teachers as an example of interpretive truth; I had committed it to memory as a model of our discipline’s search for meaning. I never dreamed back then that it might be “wrong.” Yet, the material I encountered as I pursued my inquiry into Giovanna’s life contradicted Panofsky’s assumptions on several key points; amendment alone would not do. It seemed necessary for me to challenge the venerable interpretation others were starting to question,4 even though two generations of students, including my own, had learned from it all they thought there was to know about “Jan van Eyck’s Arnolfini Portrait.” 4. See, for example, Peter H. Schabacker, “De Matrimonio ad Morganaticam Conracto: Jan van Eyck’s ‘Arnolfini’ Portrait Reconsidered,” Art Quarterly 35 : 375-98, hereafter abbreviated “DM”; Lucy Freeman Sandler, “The Handclasp in the Arnolfini Wedding: A Manuscript Precedent,” Art Bulletin 66 : 488-91, hereafter abbreviated “H”; and Jan Baptist Bedaux, “The Reality of Symbols: The Question of Disguised Symbolism in Jan van Eyck’s Arnolfini Portrait,” Simiolus 16 : 5-28, hereafter abbreviated “RS.” Linda Seidel, associate professor in the department of art at the University of Chicago, is the author of Songs of Glory , a study of twelfth-century French architectural sculpture. She is currently completing a work on medieval doorway design as an art of entry and pursuing a collaborative project with Michael Camille and Robert Nelson, Medieval Art and Its Audiences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reciprocating Engine--Like ProustRoger ShattuckWould you buy a book called “How to Read a Book”? Only out of annoyance, I imagine. In the company of literary scholars, critics, and writers, we all think we know already how to read. Otherwise, we’d be professional charlatans. Still, in 1940 tens of thousands of people bought a book called How to Read a Book by Mortimer J. Adler. It stayed on the (...) best seller lists for several weeks. Adler wrote in an easy conversational style and promoted good books—even old ones. But he had the essentials wrong. He believed we should read the way a tyro tours an art museum: the tyro looks at the label before looking at the painting. Of course our whole educational system—K plus 12 plus 4 plus even more—inevitably follows this label-first method. I shall come back to the basic question of order of events in reading literature.On the basis of my own experience and of my investigations in recent years, I distinguish three kinds or levels of reading. We read for basic comprehension of words and sentences. We read for literary response to the parts and the whole of a work. And we read for the relations of the work to other works and to life itself. These tentative categories of reading do not represent sequential stages. Our response to language may resort to one or all of these three activities at any stage of learning.Formal reading begins with the basic association of written word with sounded word—with a notion in the mind—with some phenomenon in the world. Since most of us have forgotten how we learned those initial associations, we understand them probably from having helped a child to read. And in that gradual process we do not usually encounter the excitement that can occur when an illiterate older child or an illiterate [End Page 104] adult suddenly grasps the miracle of language. The exemplary case of Helen Keller concentrates into one incident at the water pump the revelation that comes to the rest of us over a period of weeks or months at a much earlier age. We should never forget one fundamental: the comprehension stage of reading is not an empty skill that can be acquired apart from meaningful content. In order to make sense of written language, we cannot just learn a mental trick of association but must also acquire much information about the world we live in.This first category of reading for comprehension is endlessly debated by all parties, including literary scholars and critics. Almost no one speaks of the third category: how to keep track of and make use of what we read over the years, both as professionals in the field of literature and as individuals seeking to shape a life out of our experience. I lifted the title of this panel from a remarkable essay on how to keep notes on one’s reading and how to set up and constantly revise a system of files both in order to give direction to one’s professional career and in order to constitute one’s character as a person. The essay “On Intellectual Craftsmanship” was written by C. Wright Mills as an appendix for The Sociological Imagination (1959). We all pick up procedures for keeping notes and files as we go along. But despite the number of methodology courses in graduate programs in literature, such basics are rarely discussed. Mills deserves much credit for raising a neglected subject essential for all writers. Intellectual craftsmanship will become even more challenging in the era of electronics and computers.Another great scholar a century earlier saw fit to speak of these basics near the end of his autobiography.I may mention that I keep from thirty to forty large portfolios, in cabinets with labelled shelves, into which I can at once put a detached reference or memorandum. I have bought many books and at their ends I make an index of all the facts that concern my work; or, if the book is not my own, write out a separate abstract, and of such abstracts I have a huge drawer... (shrink)

In late August 2012, artist Paul Thomas and philosopher Timothy Morton took a stroll up and down King Street in Newtown, Sydney. They took photographs. If you walk too slowly down the street, you find yourself caught in the honey of aesthetic zones emitted by thousands and thousands of beings. If you want to get from A to B, you had better hurry up. Is there any space between anything? Do we not, when we look for such a space, encounter (...) a plenitude of other things —a slice of plaster, an old vinyl record, a flattened piece of aluminum, painted metal surfaces, nameless interstitial powder, the reflection of sky, some letters of the alphabet, roughened concrete. Between what we take to be things there exist other things, as if the universe were jammed with entities like clowns in a crowded Expressionist painting. An abyss of things that emanates from them, not a yawning void that threatens to engulf them, but a sunlit nothingness filled with dust that seems to spray out of them like dry mist sparkling with firefly swarms. In these so-called spaces, we encounter the work of causality. Look: someone painted over this crack, some sunlight rippled in a mirage, a hole appeared. When we look for causes and effects, we don't encounter a basement of efficiently whirring machinery. Rather, we encounter these in-between spaces, where we had not thought to look. What we see are stage hands moving the scenery about—they are doing it in plain sight, the best place to hide, right in front of you, in the place we call the aesthetic dimension . In Tibetan Buddhism these spaces are called bardo , which just means the between. There is no such thing as a moment of your life that is not a between, according to this view. There is the between of living. There is the between of dying. There is the between of the transition between lives. There is the between of dreaming. There is the between of meditation. There is the between of two humans holding cameras walking down a street in Sydney. The between of two buildings, a space bursting with objects as if a billion jack in the boxes had exploded at once. Some of the lids are stuck, sometimes a nose bursts out and the hinge won't open any further; at other times, the jack in the box flies right out and pulps against the wall on the opposite side of the room. Time opens up. Each surface is a poem about the past. A myriad stories begin to proliferate, as if a thing were a crisscrossing of books, a whole library of them, each page whispering parts of paragraphs and broken pieces of word. The stories tell us things—they are quite literal, look, this guy painted part of this wall, then they came and stripped off the panel and touched up the holes. Form is the past. When you look at appearance, you are looking at the past. Where is the present? And essence is the future. The hints of unknown, unseen things, the absolute impossibility of grasping everything about this plastic pipe, the way photons entering the camera lens obey a speed limit and splash onto receptors, going into and out of coherence. At the electronic level, it's quite clear that causality is aesthetic. I can't see an electron without deflecting it. Everything is a refrigerator with a light on—or off—inside. For me, for you, for this arrangement of tiles sandwiched between a door and a slab of marble. To a photon, an electron is a refrigerator with a closed door, and a light that might be on—or off—inside. How can you know whether the light is on inside? Why, you open the door of course. But then you are looking at the past. You never see the light in the refrigerator before you open the door. This future is not a predictable future that is a specific number of now-points away. You will never reach it. You will never be able to sneak up from the side and see through the refrigerator. Nor can a photon see through the refrigerator of an electron. Nor can paint see through the refrigerator of this plastic pipe. You take a photo—click—the past appears, another open refrigerator. But the thing you have just made, the photograph, the graphing of the photons—it is another thing, another story. You can read the words, but the meaning always eludes you. It always lurks just off the edge of the sentence, just at the very edge of this ragged slice of paint, just at the edge of this building, between this one and that one. Thousands of secrets, everywhere. Masks that lie and tell the truth at the same time: this pink paint is not blue paint, that's true. But the thing, the thing in itself, that paint sliding off a brush onto that pipe—it is nowhere to be seen, like a light behind a closed door. When you walk too slowly down the street, you start walking into millions of levels of pastness, levels emitted not just by the humans or the dogs and cats, but also by this garbage can, this mottled pink surface pockmarked with nail holes. You walk surrounded by as many futures as there are things. You walk, or rather you occupy a peculiar shifting ground of nowness, created by the relative motion of the past sliding against the future, not touching. You begin to realize that the present does not exist. A thing is a train station where one train is always arriving and one train is always leaving. Hundreds of train stations everywhere, hundreds of relative motions. The idea of a universal, regular, atomic sequence of instants that contains everything is absolutely ludicrous, the philosophers have known this for thousands of years, and to hide the absurdity, to get from A to B, Houston to Sydney, crossing the International Date Line without too much laughter, you have embedded piezoelectric devices in as many pieces of hardware as possible, devices in which quartz talks to electrons, making train stations where the trains seem to run on time. When you walk too slowly down the street, you begin to realize that Zeno had a point. You can seemingly divide each moment, each step, infinitesimally. So perhaps there are no moments, no steps. Or perhaps time is not a box that everything goes in. Perhaps time is, as Einstein argued after all, a way that things send out ripples. Where one house touches another house, there arise hundreds of things, hundreds of meeting places (Old English thing , meeting place). Hundreds of times. I have a thing for you. Come over here, let's do a thing. Stay in the sunlight and shadow between worlds, in the sunlit canyon between this building and that building. See how paint touches this pipe, caressing then leaving, no one will notice if a surface is left exposed, not quite filled in. See how shadows are reflected in pale cream glass—see the luminous abyss of causality spreading out before your very eyes, right in front of security. All kinds of beautiful crimes are committed right here, and as American cars keep telling you, and you never notice, OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR. They are here, or rather, here is them, and now is them. Kissing in the shadow. Tim Morton Rice University. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSelected work, 2004–2017Goldschmied and Chiari Click for larger view View full resolutionIMAGE: Goldschmied & Chiari NYMPHEAS #37, 2011 Lambda print, 120 cm (diam.) Click for larger view View full resolutionIMAGE: Goldschmied & Chiari UNTITLED VIEW, 2017 Digital print on glass and glass mirror, 115 × 70 cm[End Page 49] Click for larger view View full resolutionGoldschmied & Chiari DUMP QUEEN #1 (triptych panels B and C), 2008 Diasec print, (...) 180 × 180 cm each[End Page 50] Click for larger view View full resolution[End Page 51] Click for larger view View full resolution[End Page 52] Click for larger view View full resolutionGoldschmied & Chiari GENEALOGY OF DAMNATIO MEMORIAE 1965–1981, 2009 Two carved living trees, 450 cm (height)Installation view (left); detail (right) Collection of MACRO (Museo d'Arte Contemporanea di Roma) Photo: Altrospazio[End Page 53] Click for larger view View full resolutionGoldschmied & Chiari NYMPHEAS #12, 2007 Lambda print, 125 × 333 cm Collection of Michele and Philippe Levy[End Page 55] Click for larger view View full resolutionIMAGE: Goldschmied & Chiari WELCOME, 2004 Sheetrock, plaster, cement, paint, 10 × 1.5 × 2.35 mt Collection Ugolini Photo: Gabriele Basilico[End Page 57]Sara Goldschmied and Eleonora Chiari are an artist duo from Italy, working with varied media: photography, video, performance, and installation. They work and live in Milan.Girls Just wanna have fun: Goldschmied & Chiari's Irreverent HumorHumor is not a trait for women, even less so for women artists in the Italian art world, where women's creativity has historically focused either on intimacy or on abstraction. In order to be taken into consideration by a male-dominated art scene, women artists working in the Italian peninsula have, since the '70s, consistently been obliged to be extremely serious about their work and its content. This trait can be traced all the way to the present with few exceptions, making Goldschmied & Chiari's (Sara Goldschmied and Eleonora Chiari) artistic practice exceptional in its constant employment of a peculiar, irreverent form of humor that functions as subliminal social critique.Humor used as a strategy to reconsider historical events in a post-ideological form of feminism develops in their work in witty installations that articulate a lucid critique of contemporary society and its relationship to history. Radically distancing themselves from the stereotype of authoritative and earnest feminism, Goldschmied & Chiari turn laughter into a metaphor for transformation. Their images trigger subtle political disruptions, allowing them to delve into the complex history of post-Cold War narratives, offering the public a new understanding of the relationships between the symbolic and the social.My first encounter with Goldschmied & Chiari's work (goldiechiari at the time) dates back to 2002 when I was working on a large survey show of emerging Italian art, exIT: Nuove geografie della creatività italiana, curated by Francesco Bonami. I was surprised by their work Senza titolo #17 that portrayed in a full-color photograph two girls dressed as if they were in boarding school, in plaid skirts and colored stockings, with long braids, sitting on the floor helping an elderly "grandmother" knitting in her armchair by making a hank of yarn. Looking closer, one sees that the girls were actually adolescents trapped in a parody that the artists further highlighted by installing in front of the photo what looked like a gigantic ball of yarn but was actually a sphere made of 1,500 cm of barbed wire (Sfera, 2002). The "tableau vivant" quality of the image made it both funny and critical, as visitors could relate as much to the stereotyped enactment of women's domestic roles as to the artists' rebellious desire. Instead of relegating their creativity to the domestic sphere, these "mischievous little girls" had wound a menacing barbed-wire ball that evoked Italy's recent past of social unrest and urban guerrillas. The assumption of ironic activist alter egos in one way referenced feminist practices of the '70s, yet at the same time seemed to mock the violence associated with protest and its success. [End Page 116]This type of atmosphere linked to city barricades and acts of protest is the inspiration for a large... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Office of Scientific IntegrityDavid P. Hamilton (bio)For most of the 1980s, the specter of scientific fraud popped into public view every few years, usually only to submerge again. Faced with several well-publicized cases of scientists who blatantly faked their data—among the best-known being Harvard cardiologist John Darsee (whose colleagues watched him forge data) (Broad and Wade 1982, p. 14) and Sloan-Kettering Institute immunologist William Summerlin (who painted black (...) spots on white mice to simulate tissue grafts) (Broad and Wade 1982, p. 155)—the scientific community as a whole tended to dismiss the phenomenon as the work of a few deviants. Called in 1981 to testify before then-Representative Albert Gore Jr.'s subcommittee on investigations and oversight, Philip Handler, then-president of the National Academy of Sciences, told the panel that science was perfectly capable of regulating itself, and that the problem of scientific fraud had been "grossly exaggerated" by the press (Broad and Wade 1982). The message was clear: Congress should stick to its knitting, and science would take care of itself.Now, however, scientists are faced with a very different situation: a permanent federal bureaucracy, known as the Office of Scientific Integrity (OSI), devoted to the investigation of alleged scientific wrongdoing. The transition from the days of laissez-faire, when universities were entrusted with all investigations unless they were handled so badly that the federal government was forced to take notice, has been an uncomfortable one for many researchers. Lately, this discomfort has taken shape as a vocal protest against OSI. Largely as a result of this protest, federal officials recently promoted a plan to restructure OSI and change some of its operating procedures, a move with unpredictable consequences for universities and researchers alike.OSI was born largely because of investigations by two influential congressmen: Representatives John Dingell of Michigan and Ted Weiss of New York. While both claimed they acted mainly to make sure taxpayer dollars were not spent on fraudulent research, both also maintained a strong interest in protecting "whistleblowers," the often vulnerable, and usually junior, scientists who first raise questions about bad research. And Dingell seemed to take special pleasure in pointing up the deficiencies of investigations run by universities and by the National Institutes of Health (NIH) itself. (For reasons that are not well understood, [End Page 171] biomedical research seems far more prone to fraud than any other field of science. As a result, NIH, which funds most biomedical research in the United States, has held ultimate responsibility for most prominent cases of fraud.) Plagued as they often were by conflicts of interest, shoddy methodologies, and, in some cases, a willingness to believe any excuse by the accused, no matter how far-fetched, these investigations made easy targets. And the notion that science could "govern itself" grew harder to sustain.In late 1988, Dingell and other congressmen began circulating draft bills that would have created a new office for investigating scientific fraud. Dingell would have placed such an office under the aegis of the Inspector General of the Department of Health and Human Services, raising the possibility that scientific fraud might be probed by the same criminal investigators who unravel Medicare fraud. Unsettled by this vision of the "science police," NIH officials moved quickly to pre-empt Congress. On March 16, 1989, they published a notice in the Federal Register announcing the creation of OSI, an office with responsibility for ensuring thorough university investigations of misconduct and the authority to conduct its own investigations when necessary.From the beginning, OSI took an unusual approach to its work. For one thing, the office had a broad mandate: Although located within NIH, it was responsible for research funded throughout the entire Public Health Service, including the Food and Drug Administration, the Alcohol, Drug, and Mental Health Administration, and the Centers for Disease Control. Furthermore, it was not restricted to scientific fraud. Departmental lawyers, wishing to avoid the legal connotations of the term "fraud"—in particular, a requirement that fraudulent actions not only mislead others but also cause them noticeable harm—decided instead to adopt the term "scientific misconduct," defined as "fabrication, falsification, plagiarism, or other practices that deviate... (shrink)

This paper presents the discovery of a skirting board panel decorated with knotted fretwork painted in red iron oxide. It was discovered during the recent excavations in the Cathedral of Seville. The design is organized in four sections divided by twisted ribbons. The free spaces in the design are filled with eight-pointed stars. Parallels in the Patio del Yeso in the Reales Alcázares and in a site in the CaUe Imperial in Seville show that the design dates to the (...) mid-twelfth century. The skirting board must have pertained to a house demolished in 1172 to build the Almohad Congregational mosque. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Irreplaceable Cannot Be ReplacedEllen HarveyThe Irreplaceable Cannot Be Replaced, Ellen Harvey, 2008. Photographs: Jan Baracz.People in New Orleans were invited to submit images or descriptions of irreplaceable places, people, or things lost to Hurricane Katrina. Eleven submissions were chosen at random and the artist painted 16” x 20” oil paintings based on those submissions. All thirty texts that were submitted were framed and exhibited along with the paintings (...) at the Contemporary Arts Center/New Orleans as part of the exhibition Something from Nothing, curated by Dan Cameron. Texts without a painting were accompanied by a framed black panel. At the end of the exhibition, all of the paintings and the framed texts were given away to the participants.Ellen Harvey was born in the United Kingdom and lives and works in Brooklyn, NY. She has exhibited extensively in the US and internationally and was most recently included in the 2008 Whitney Biennial. Recent solo exhibitions include Private Collections at Locks Gallery, Philadelphia, The Museum of Failure at Luxe Gallery, New York, Beautiful/Ugly at Magnus Müller in Berlin, Bad Mirror at Galerie Gebruder Lehmann in Dresden, Mirror at the Pennsylvania Academy, and A Whitney for the Whitney at Philip Morris at the Whitney Museum at Altria. She took part in the Whitney Independent Study Program and the PS1 Studio Program. Recent awards include a Pennies from Heaven Grant, a Philadelphia Exhibitions Initiative Grant, a Rema Hort Mann Foundation Grant, a Palm Beach County Cultural Council Grant, and a New York Foundation for the Arts Fellowship. She has completed projects for both the New York and Chicago Transit Authorities, most recently including a mosaic for the new Metro-North Yankee Stadium Station. The New York Beautification Project was published by Gregory Miller in 2005, and Ellen Harvey: Mirror was published by the Pennsylvania Academy in 2006. Click for larger view View full resolutionI am 87 years old living in a trailer on our property in New Orleans.We had 5 ft of water, which remained in the house 6 weeks creating mold to the ceiling.We lost everything. When I read Chris Rose’s column (he’s my favorite columnist in the whole world) it brought to mind my mother’s two dining room chairs that had been around as long as I can remember. I had them restored in about 1976 by Senior Citizens in classes of the “Peoples Program” sponsored by the nuns on Mirabean Ave. The wood was polished and varnished with a light brown stain and the seats were re-caned. I was born in 1920 so the chairs could be 75 years old. Anyway I can imagine you will have many interesting subjects to choose from but I’m submitting mine hoping I’ll be one of the very fortunate ones selected.I am terrible at drawing but will give you as complete a description as I can.I loved those chairs and enjoyed them for extra seating on holidays and at parties and they were conversation pieces.Alice Delaney[End Page 2] Click for larger view View full resolutionThere are so many “washed away” treasures, that the memorialization of even just one will be everlastingly meaningful to the community.I am submitting photographs of porcelain dolls, which I had crafted prior to the disaster. The dolls shown were created from commercial molds and were ready to go to a “new home.” Needless to say these dolls were submerged under water for at least two weeks. I call them my “children of the flood” but have not had the courage to disassemble them. I was able to rescue some doll parts and am in the process of cleaning, sorting and sanitizing them for future assembly.If I am ever able to get back to my very rewarding hobby, which was helpful in supplementing my retirement income, I will have to replace my electronic kiln and most of my doll making supplies. Many of the molds that were destroyed are no longer available. However, I will keep the memories dear, I have been fortunate enough to replace my sewing machines and some of the fabric used for clothing and doll... (shrink)

The purpose of this paper is to show the argument-establishing features of a Renaissance altarpiece. Looking to Panofsky’s seminal studies and to more recent contributions, this essay shows how in a special environment like the Florentine pre-Renaissance, people could easily relate to the evocative and contrastive potential of images. In the Santa Lucia de’ Magnoli Altarpiece painted by Domenico Veneziano we see an interesting dialogue between the main piece and the predella panels. This juxtaposition can be formalized into a basic (...) argumentative text. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Kathryn Kein 671 Kathryn Kein Recovering Our Sense of Humor: New Directions in Feminist Humor Studies At the 2014 annual meeting of the American Studies Association (ASA), the Humor Studies Caucus held a panel titled “Female Comedians and the Critical Power of Laughter.” After listening to presentations on Gilda Radner, Lily Tomlin, and Black women comedians’ 1960s comedy albums, one (...) audience member asked the panel if the classic theories of humor—Freud’s theory of the joke, Bergson’s thoughts on laughter (all conceived of in relation to the work of men)—applied when analyzing female comedic performers. One panelist immediately responded that she found none of those theories useful to her work on female comedians, and that instead she used queer theory to aid her analysis. This exchange at ASA points to many of the questions that scholars of humor and feminism are currently facing as they work to address a dearth of scholarship dealing with women, feminism, and comedy. The nods in agreement around the room spoke to the notion that scholarship on the topic of women in comedy is not merely filling in gaps, but breaking new ground. With a few notable exceptions, scholars have been relatively silent on topics involving women and/in comedy.1 The meager 1. See Susanne Lavin, Women and Comedy in Solo Performance: Phyllis Diller, Lily Tomlin, and Roseanne (New York: Routledge, 2004); June Sochen, ed., Women’s Comic Visions (Detroit, MI: Wayne State University Press, 1991); John Limon, “Skirting, Kidding: Ellen Degeneres and Paula Poundstone,” in 672 Kathryn Kein scholarly space devoted to feminism and humor is likely shaped by the fraught relationship women and feminism have had with humor in our cultural imagination. Women have long battled a perception that they, as a sex, are biologically not funny. Men have always vastly outnumbered women on stand-up stages and in comedy writers’ rooms. Former Saturday Night Live writer Anne Beatts recalled that star John Belushi, being of the “chicks-aren’t-funny” school, often requested that the women writers be fired.2 In her bestselling Bossypants, Tina Fey recalls that the gender imbalance of the sketch comedy teams at Chicago’s Second City were due to the fact that directors believed “the audience doesn’t want to see a scene between two women.”3 In his 2007 piece in Vanity Fair brashly titled “Why Women Aren’t Funny,” Christopher Hitchens went so far as to call women and humor “antithetical.”4 In particular, feminist women have been painted as humorless and unable to take a joke. In The Promise of Happiness, Sarah Ahmed, defining her figure of the feminist killjoy, observes that “feminists are typically represented as grumpy his Stand-Up Comedy in Theory, or, Abjection in America (Durham, NC: Duke University Press, 2000). 2. For further accounts of women comedy writers’ and performers’ experiences, see Yael Kohen, We Killed: The Rise of Women in American Comedy: A Very Oral History (New York: Sarah Crichton Books, 2012). 3. Tina Fey, Bossypants (New York: Little, Brown, and Company, 2011), 87. 4. Christopher Hitchens, “Why Women Aren’t Funny,” Vanity Fair 557 (2007): 54 Books Discussed in This Essay All Joking Aside: American Humor and Its Discontents. By Rebecca Krefting. Baltimore, MD: Johns Hopkins University Press, 2014. Pretty/Funny: Women Comedians and Body Politics. By Linda Mizejewski. Austin: University of Texas Press, 2014. The Queer Cultural Work of Lily Tomlin and Jane Wagner. By Jennifer Reed. New York: Palgrave Macmillan, 2013. Kathryn Kein 673 and humorless.”5 In a variation of the age-old joke, when a jokester asks, “How many feminists does it take to change a light bulb?” the respondent doesn’t say “How many?” but instead deadpans, “That’s not funny.” In different ways, the three books reviewed in this essay take up the conversation at ASA and tackle these same questions: How do we analyze humor produced by (and for?) women when our understanding of humor is decidedly male? What omissions have the gendered assumptions about humor caused in scholarship on feminism? How does humor work to address these assumptions? And how does the backdrop of these assumptions influence the comedy... (shrink)

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...) hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

In this paper, I defend the claim that many sentient nonhuman animals have a right to privacy. I begin by outlining the view that the human right to privacy protects our interest in shaping different kinds of relationships with one another by giving us control over how we present ourselves to others. I then draw on empirical research to show that nonhuman animals also have this interest, which grounds a right to privacy against us. I further argue that we can (...) violate this right even when other animals are unaware that we are watching them. (shrink)

The greatest chasm in the philosophy of mind--maybe even all of philosophy-- divides two perspectives on consciousness. The two perspectives differ on whether there is anything in the phenomenal character of conscious experience that goes beyond the intentional, the cognitive and the functional. A convenient terminological handle on the dispute is whether there are.

Explains the difference between pictorial and linguistic meaning, examines the works of Titian, Poussin, Ingres, Manet, Picasso, and de Kooning, and discusses art's psychological impact.

Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.

Cross-disciplinary research (CDR) is an increasingly important part of the contemporary research 'landscape'. Despite its growing importance there remain a large number of barriers to successful CDR and many of these barriers are poorly understood. In particular there are challenges at the conceptual and communicative levels that have received relatively little attention. In this paper it is argued that these challenges are appropriate topics of analysis for philosophers. Appropriate methodologies for such an inquiry are considered and the case is made (...) that agent based models (ABM’s) are an appropriate and under utilized resource. Current research using an ABM approach to philosophical issues in CDR is then described. (shrink)

An examination of the specifically graphic-novelistic strategies employed in Art Spiegelman's graphic memoir, Maus, in leading the reader into a punctuated experience of time and memory, and in forcing complicity with the novel's problematic animal-as-ethnicity metaphor, in a wider attempt at putting together the critical vocabulary for discussing comic books as simultaneously textual and pictorial ‘texts’.

In this paper, I discuss cases of replication in the visual arts, with particular focus on paintings. In the first part, I focus on painted copies, that is, manual reproductions of paintings created by artists. Painted copies are sometimes used for the purpose of aesthetic education on the original. I explore the relation between the creation of painted copies and their use as aesthetic surrogates of the original artwork and draw a positive conclusion on the aesthetic benefits of replica production (...) by artists. A skeptical conclusion follows regarding the use of such replicas as surrogates for the original painting. The second part of the paper concerns mechanically produced replicas, such as photographs and 3-D prints. On the basis of some of the claims made in the first part, I set conditions that mechanically produced replicas need to meet in order to function as aesthetic surrogates of an original. I argue that perfect aesthetic surrogates are either already available or at least possible. I conclude by considering two possible objections. (shrink)

Anthony Rudd’s Painting and Presence: Why Paintings Matter is a monograph that spans the categories of aesthetics, philosophy of art, and religion. Rudd takes t.