Albert Renger-Patzsch's contribution to the avant-garde photography of the 1920s and early 1930s established his leading role in the history of the medium. Die Welt is Schon or The World is Beautiful became of the most influential photographic books ever. His cool, clinical pictures, with their details of technical apparatus, industrial products and natural organisms, were models of a new artistic vision, combining objectivity and order with beauty and technology. This volume accompanies a major retrospective at the Sprengel (...) class='Hi'>Museum in Hanover celebrating the centenary of the innovative artist. It is edited by the founders and directors of the Albert Renger-Patzsch Archive in Cologne and contains the much publicized Icons of New Objectivity - the famous still lives of Jena glass, or rows of flat irons at a shoe factory - and lesser known pictures of landscapes and architecture, a selection of city portraits and photographic studies of trees and stones. (shrink)

Architectural experience and creation is studied through a selection of projects, each driven by an obsessive creator towards particular levels of architectural experience, both physical and virtual. The article investigates the processes of turning dreams into physical space, exemplified by four extraordinary creators and collectors of space, each one a pursuer of obsessive architectural activities, all haunted by transitive dreams: Baron Des Esseintes, Joris-Karl Huysmans’ fictional character in the novel À Rebours (Against Nature) from 1884; Kurt Schwitters, the dadaist painter (...) and constructor of the Merzbau created in Hannover between 1919 and 1937; Sir John Soane, the architect and collector, who arranged his home as a museum from 1790 until 1837; and the German artist Gregor Schneider, whose home in Rheydt since 1985 is slowly folding in on itself under the name Haus Ur. Whereas Des Esseintes is a fictional builder of dreams in physical form; Schwitters, Soane and Schneider are real builders of dreams in physical form - the author Huysmans is a real builder of dreams in fictional form. Three of the four selected projects introduce layers of hybrid existence into ordinary building shells, and one represents the virtual architecture of narrative space. Their creators are driving architectural space into different ontological states, providing a field of perceptional and representational problems. The architects of parallel realities are subsequently challenging our basic understanding of architectural organization, aesthetics and methods. This erratic field of subjective and obsessive architecture serves my purposes of investigating architectural imagination as the main asset of virtual space. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ArtistsJennifer and Kevin McCoy are Brooklyn-based artists who make projects about how our thoughts, experiences, and memories are structured through genre and repetition. In order to focus attention on these structures, they often reexamine classic works of science fiction or television narrative, creating sculptural objects, video projections, or live events from what they find.Their work has been exhibited at The Museum of Modern Art, The Metropolitan Museum (...) of Art, The New Museum (all in New York), and The Renaissance Society (Chicago). International exhibitions include projects at ZKM (Karlsruhe, Germany) and Kunst Werke (Berlin), and a solo exhibition at The British Film Institute (London, UK). Articles about their work have appeared in Art News, Art in America, Artforum, Flash Art, The Wire, dArt International, Spin Magazine, Feed, and The Independent. Installation view and detail images of Double Fantasy 2 (Sex) were shown in the solo exhibition "Directed Dreaming" at Postmasters, New York, March–April 2006. The Double Fantasy image was part of the exhibition "Night Sites" at the Hannover Kunstverein in Hannover Germany, November 2005. Each side of the sculpture has a model of a childhood sex fantasy for each of us. Cameras project large-scale images of it onto the wall, accompanied by a soundtrack. Click for larger view View full resolutionFigure 1.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," installation view. March–April 2006 at Postmasters Gallery, New York(Cover) Click for larger view View full resolutionFigure 2.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," installation view. March–April 2006 at Postmasters Gallery, New York(Page 2) Click for larger view View full resolutionFigure 3.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," detail. March–April 2006 at Postmasters Gallery, New York(Page 16) Click for larger view View full resolutionFigure 4.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," detail. March–April 2006 at Postmasters Gallery, New York(Page 32) Click for larger view View full resolutionFigure 5.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," installation view. March–April 2006 at Postmasters Gallery, New York(Page 47) Click for larger view View full resolutionFigure 6.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," installation view. March–April 2006 at Postmasters Gallery, New York(Page 63) Click for larger view View full resolutionFigure 7.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," installation view. March–April 2006 at Postmasters Gallery, New York(Page 77) Click for larger view View full resolutionFigure 8.Jennifer and Kevin McCoy, Double Fantasy 2 (Sex). "Directed Dreaming," detail. March–April 2006 at Postmasters Gallery, New York(Page 92) Click for larger view View full resolutionFigure 9.Jennifer and Kevin McCoy, Double Fantasy. "Night Sites," installation view. November 2005 at Hannover Kunstverein, Hannover, Germany(Page 107)Copyright © 2007 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Philosophical Path for Paracelsian Medicine: The Ideas, Intellectual Context, and Influence of Petrus Severinus (1540–1602)Dane T. DanielJole Shackelford. A Philosophical Path for Paracelsian Medicine: The Ideas, Intellectual Context, and Influence of Petrus Severinus (1540–1602). Copenhagen: Museum Tusculanum Press, 2004. Pp. 519. Cloth, $83.00.The Paracelsian and Danish royal physician Petrus Severinus complained, "If we can make more potent [drugs], extracted from metals and minerals,... I ask, what (...) age except this one will oppose our efforts?" (115). Indeed, early modern attempts to prepare and prescribe drugs forged in the alchemical laboratory often faced vehement opposition by the university-trained physicians who were weaned on the humoral theory and herbal materia medica of Galen. The orthodox Galenists disdained not only the "chemical poisons" of the Paracelsians, but also their theoretical speculations. After all, the Paracelsians dismissed the belief that disease was the result of humoral imbalances, and promoted both the analogy of microcosm (the human) and macrocosm (the natural world, including the stars), and the idea that diseases were essences or actual beings.Severinus was prescient in his prediction that chemical medicine would become popular, but—as Jole Shackelford notes in the introduction to his A Philosophical Path for Paracelsian Medicine—the concepts of Paracelsus and his followers continue to remain peripheral to the grand narratives of early modern intellectual history. This remains the case despite the illuminating studies of such scholars as the late-Enlightenment medical historian Kurt Polycarp Sprengel, Walter Pagel, and Allen Debus. Thus, Shackelford sheds much needed light on this significant strand of sixteenth- and seventeenth-century science and medicine. Via text-oriented study, particularly of Severinus's Idea medicinæ philosophicæ (Ideal of Philosophical Medicine), Shackelford provides a long-awaited and meticulous biographical account of Severinus and explains with refreshing clarity the sources and speculative theory behind his brand of chemical medicine. Like such recent scholars as Michael Walton and Charles Gunnoe, Shackelford presents Paracelsianism as an ideology, duly noting that the ideas of Severinus, reflecting the reception of Paracelsus in general, were frequently accepted or rejected on religious grounds.To begin, Shackelford establishes Severinus's importance, noting that the medical author and Wittenberg professor Daniel Sennert wrote in 1619 that most iatrochemists followed in the steps of Severinus, who had molded Paracelsus's ideas into a coherent philosophy. Shackelford then traces the story of how Severinus—after studying at such universities as Padua and Paris—joined his friend Pratensis (a recognized Paracelsian) and Tycho [End Page 488] Brahe in bringing an increasingly eclectic Denmark up to continental cultural and intellectual standards. Unfortunately, Severinus's appointment as physician to the king distracted him from completing most of his research projects, but he had already left for posterity his Idea medicinæ, published in 1571.As Shackelford writes, the Idea medicinæ promoted Severinus's belief that Paracelsian medicine was not only an alternative to humoral medicine, but also promised to cope better with "new" fevers. Also, Severinus invested Paracelsianism with authority by emphasizing its ancient forebears and by arguing that Paracelsus was the latest in the line of prisca theologia—one of the few to "ascend to the inner chambers of the Mosaic mysteries" (57). In his amalgamation of Neoplatonism, the Hippocratic tradition, and Paracelsus, Severinus's featured doctrine was efficient causation, or "semina theory." Unlike Robert Boyle's inertial, material corpuscles and their active principles, Severinus's semina were "intrinsically formal and immaterial, and were logically and ontologically prior to matter" (17). The characteristics of these "loci," which accounted for all change in the subvisible world, could be observed through chemical analysis, and they were uniquely attractive to Christians, who were drawn to Severinus's Paracelsian interpretation of Genesis and his idea that when the predestinations contained in the semina are completed, the world will reach its end.Shackelford engages the reader with such fascinating topics as why Tycho—who was not just an astronomer, but also a student of alchemy—departed Denmark, and how Paracelsians were involved in the effort to improve the Danish Bible by "cleansing" it of non-Lutheran elements. Very welcome too is Shackelford's discussion of the neglected topic of Paracelsian therapeutics, especially his evaluation of... (shrink)

Relations between Australia and the United States have developed for long time notably during World War II. Over the following decades, cooperation has become more intense as Australians adopt many cultural patterns from the Americans. Australia declared and supported US presidents in military operations, which is why some have called Australia, America’s sheriff for working to stabilize this part of the world. One cannot overlook the personal arrangements between leaders that help shape the dynamic of deepening the mutual relations these (...) two nations. Donald Trump’s personal interactions’ with the Prime Ministers of Australia play a significant role in this regard. (shrink)

Journal Name: Philologus Issue: Ahead of print.

Journal Name: Philologus Issue: Ahead of print.

High-profile organizations often emphasize fixed giftedness rather than malleable effort-based criteria as critical for excellent achievements. With giftedness being primarily associated with White or Asian males, such organizational implicit theories of excellence may shape individuals’ sense of belonging depending on the extent to which they match the gifted White/Asian male prototype, i.e., the prototypical gifted person which is typically imagined to be a White or Asian male. Previous research has reported fixed excellence theories emphasizing giftedness to impair the sense of (...) belonging of females and negatively stereotyped ethnic minorities. We investigate the combined effects of gender and ethnicity. We predicted that, while individuals whose gender and ethnicity do not match the gifted prototype show a reduced sense of belonging in fixed organizations, White/Asian males who match the gifted prototype show the opposite effect, experiencing a higher sense of belonging in fixed organizations. In an experimental study, we manipulated advertising material used by a highly selective academic institution in Germany and tested effects on students’ belonging. Whereas the original material emphasized giftedness as essential for excelling, our manipulated version stressed effort. As expected, females from stereotyped ethnic minority groups felt less belonging in the fixed organization, while White/Asian males anticipated stronger belonging in the fixed organization. Fixed views of excellence impair negatively stereotyped individuals’ belonging but may even strengthen the belonging of prototypical academic elites. (shrink)

Accompanying an exhibition organized by the Whitney Museum of American Art, New York, this book is the most comprehensive catalogue on the work of this internationally recognized architectural firm.

1891. The recovered manuscript of Aristotle's Constitutional History of Athens, now for the first time given to the world from the unique text in the British...

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the (...) summer of 2000, evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

This article argues that understanding any space or site relies on a knowledge of its fourth dimension - the timescape. It will explore this by situating the investigation in the museum - a place of heightened contrivance which could easily be shallowly interpreted as "mere style". It will defend a new method of investigating museum temporality which combines both phenomenology and literary theory, and will replace the idea of geo-epistemology with geochronic epistemology: an understanding of context and situation (...) which takes on time as well as spatial location. In so doing, it moves on from notions of the museum as a place out of time, situating it in the networks of meaning, power and politics in which we have lived and are living. Thus, "the whole space of the exhibition" as Lyotard said, "becomes the remains of all time": the Museum on the Edge of Forever. (shrink)

During the past thirty years, museums of all kinds have tried to become more responsive to the interests of a diverse public. With exhibitions becoming people-centered, idea-oriented, and contextualized, the boundaries between museums and the “real” world are eroding. Setting the transition from object-centered to story-centered exhibitions in a philosophical framework, Hilde S. Hein contends that glorifying the museum experience at the expense of objects deflects the museum's educative, ethical, and aesthetic roles. Referring to institutions ranging from art (...) museums to theme parks, she shows how deployment has replaced amassing as a goal and discusses how museums now actively shape and create values. (shrink)

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

This article compares the strategies between nine museums in Ecuador, Spain and Peru to address the educommunication activities developed as a result of the 2020 pandemic. Focused on content analysis, the research takes into account the activity of their web pages and the interaction on their social networks. The results show that in Spain informative and informative actions prevailed, while Ecuador and Peru focused on cultural and educational ones. The most relevant contents were oriented to the teaching-learning of heritage, mainly (...) through the development of webinars and online conferences. (shrink)

Journal of Chinese Philosophy, EarlyView.