This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it (...) realizes another work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

This is a very short introduction to the "Installation Art" Symposium appeared on JAAC, which presents papers by Gemma Argüello Manresa, Eleen Deprez, Ken Wilder, and myself.

This article reports on ethnographic research into the practical and ethical consequences of the implementation and use of telecare devices for older people living at home in Spain and the United Kingdom. Telecare services are said to allow the maintenance of their users’ autonomy through connectedness, relieving the isolation from which many older people suffer amid rising demands for care. However, engaging with Science and Technology Studies literature on “user configuration” and implementation processes, we argue here that neither services nor (...) users preexist the installation of the service: they are better described as produced along with it. Moving beyond design and appropriation practices, our contribution stresses the importance of installations as specific moments where such emplacements take place. Using Etienne Souriau’s concept of instauration, we describe the ways in which, through installation work, telecare services “bring into existence” their very infrastructure of usership. Hence, both services and telecare users are effects of fulfilling the “felicity conditions” of an achieved installation. (shrink)

ObjectivesConstant Installation of Present Orientation and Safety is a Eye Movements Desensitization and Reprocessing -derived technique, which is often used to prepare for the treatment of post-traumatic stress disorder. It differs from the latter by involving cyclically recurring exercises in reorientation to the present, interspersed between brief periods of exposure to the traumatic material.While EMDR is well established as a therapeutic method, the efficacy and mechanisms of action of CIPOS have not been investigated so far. In this pilot study, (...) an experimental setting was used to record the subjective and physiological effects of the CIPOS intervention compared to a control condition with pure mental exposition.MethodsThe study was performed on 30 healthy volunteers aged from 20 to 30 years. Distress was induced using audio files of subjectively stressful situations. Subjective distress was measured via the Subjective Units of Distress Scale, while physiological indicators were used as measures for objective stress. For each condition, pre- and post-intervention comparisons were calculated.ResultsIn both groups, startle reflex potentiation and mean skin conductance level significantly decreased. In the group with CIPOS intervention, but not in the control group, a significant decrease in the SUD value was found.Conclusion and significanceThe results show that the CIPOS technique is as effective as pure mental exposition in reducing physiological stress. In addition, a superiority in reducing subjective distress was found compared to pure mental exposition. Possible explanations of these effects are discussed. (shrink)

Cet article est une étude synthétique des installations commerciales de la ville de Délos à l'époque hellénistique. On examine les constructions qui appartenaient aussi bien aux installations temporaires qu'aux installations permanentes, on propose une nomenclature et on présente les locaux de production et de vente certainement identifiés. On propose ensuite des critères d'identification des installations commerciales et on tente de retrouver leur mode de fonctionnement. On présente enfin les programmes d'aménagement qui ont conduit à la construction des locaux de commerce (...) et la distribution de ces locaux dans la ville. On constate que le grand nombre et la diversité des installations liées au commerce confirment la réputation de Délos en tant que grand centre commercial à la fin de l'époque hellénistique. (shrink)

Intermedial art, as it emerged in the 1960s and 70s, constituted a threat not only to the medium specificity of modernism, but to the artwork as self-contained autonomous object. Both supporters and critics of intermedia drew a contrast between, on the one hand, modernism’s aesthetic engagement with a medium-specific ‘object’, and on the other new non-aesthetic ‘practices’ engaging the ‘literal spectator’ within her own space, such that the space of the gallery is drawn into the situational encounter. In her 2003/12 (...) book Aesthetics of Installation Art Juliana Rebentisch challenges this binary characterization of autonomous/non-autonomous art. She argues that aesthetic autonomy is not something that can be guaranteed by production, but rather is explicable only with reference to the structure of the aesthetic experience. And for Rebentisch, while installation art has not led to fundamentally different conditions of reception, it has led to an ideological rejection of the notion of context-independent art. Aesthetic autonomy is here not abandoned, but rather reconfigured as a dynamic operational with respect to the ethical and political situation where we encounter the artwork. Sympathetic to the broad remit of Rebentisch’s argument, this article investigates the role of the beholder’s share within the context of such situated art. I draw specifically on Wolfgang Iser’s transformation of a negative aesthetics from binaries of negation/affirmation into an enabling structure where the organization of signifiers serve not the designation of a signified object, but rather designate instructions for the production of the signified. This requires work of the situated beholder, who must negotiate access to the work’s content by bringing her orientation into play. Installation art, thus conceived, constitutes a space that while virtualized – removed from functional imperatives – compels acts of imagination/ideation by problematizing our habitual dispositions. (shrink)

Cet article est une étude sur l’apparition et la fortune critique du terme installation dans le vocabulaire de l’art contemporain. À travers la brève histoire de la diffusion de ce mot en art seront analysés les circonstances contextuelles, les modalités de fonctionnement et l’imaginaire de la forme « installation ». Devenue populaire grâce à trois artistes commissaires d’un lieu d’exposition à Londres, le « Museum of Installation » dans les années 1990, la forme « installation » (...) renvoie à des dispositifs antérieurs, amorcés dès les avant-gardes. L’analyse historique permet d’en appréhender les différents paliers : les prémisses, puis les « environnements » issus de l’assemblage et popularisés par Allan Kaprow, et l’« in situ », ces deux dernières formes et leur terminologie dominant jusqu’à la fin des années 1970. Après la transition constituée par les années 1980, le texte se conclut par l’analyse d’un moment inaugural ouvrant l’histoire des installations en France, les « Ateliers du Paradise » de 1991. À travers cette œuvre sont questionnées les différentes valeurs critiques comme les ambiguïtés de ce mode aujourd’hui si répandu internationalement qu’il semble à beaucoup synonyme d’art contemporain. This article studies the emergence and critical reception of the term installation in today’s artistic vocabulary. Through the brief history of the diffusion of the word will be analyzed its contextual circumstances, the functioning procedures and the imaginary conveyed through the different forms of installation. Mediated by three artists who, in the 1990s, curated a place in London they called the “Museum of Installation”, installation as an art form much predates the 1990, and can be found in avant-garde art. The historical analysis allows one to discern different stages: the premises of installation, “environments” issued from assemblage and popularized by Allan Kaprow, “site-specific” installations,—these last two forms and words being prevalent up to the end of the 1970s. After presenting the transitional period of the 1980s, the text concludes with the analysis of an inaugural event opening the history of installations in France, the “Paradise’s Studios”, in 1991. Through this analysis are questioned the critical values as well as the ambiguities of installation, as this very form is so internationally spread today that it seems to mean contemporary art itself. (shrink)

Nous examinons ici un type très caractéristique d'installation artisanale, fréquente dans les habitats ou les bâtiments isolés de l'époque minoenne. Elle est composée, dans sa forme la plus simple et la plus courante, d'un récipient tronconique avec bec verseur placé sur une plate-forme artificielle ou un banc et, en immédiate relation avec lui, d'un grand vase situé à un niveau inférieur, servant à recueillir un liquide. On a donné des interprétations variées de ces installations : servaient-elles à séparer deux (...) liquides (huile et eau), au cours de la production de l'huile? à écraser les raisins pendant la fabrication du vin? à laver les vêtements? Après avoir dressé un catalogue, aussi complet que possible, des installations minoennes de ce type connues à ce jour, on tente de comprendre leur fonctionnement, à l'aide de données comparatives et de parallèles iconographiques diachroniques. Enfin, on examine le rôle de ces installations dans le cadre socio-économique plus large de l'époque minoenne. (shrink)

Since Norbert Wiener presented a new research field called the study of control and communication in the animal and the machine, the biological and the artificial universes are each time more integrated as pieces of a game that involves science, philosophy, technology, arts, architecture and several other fields. It is astonishing to take a look at an imaginary non-linear timeline where it is possible to see the ancient Ars Mnemonica inspiring the Leibniz combinatoria and how all these virtual knowledge structures (...) inspired the development of a communication and control machine called the computer. A machine that is quite an exploded black box artificial systems integrated into biological systems in a cybernetic structure through which most diverse kinds of information flows. We are living in times in which the logic of this machine becomes the core of our post-biological era in its essence, the era in which the biological and artificial realms are immersed in one another. An era in which we see [] humans in fact integrating with the fiction of their imagination as conjured up digitally by the computer, and in which the digital arts emanating from the cosmology of number are also a link between digital finality and infinity imagination, defending man in his impossibility to be simulated (Weibel 1999: 222). Considering this panorama in the contemporary artistic context, it could be stimulating to think about interactive digital art installations as systems in which the elements are both organic and artificial, both physical and virtual, interconnected like they were performing a cybernetic ballet. The aim of the present research is to study this choreography using the complex sciences framework. Following this objective, a series of parameters based on systemic measures of organization and complexity were structured. Our intention is, obviously, not to say that the work of art is more or less systemic, more or less complex or organized, but to help in understanding and to conceive the installation as a system: a complex adaptive system (CAS). (shrink)

Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the (...) ambiguity of reality are related to each other in a dynamic way. It is in this reflexive dynamics that we constantly remodel our reality. Tools we use are our creative abilities and our powers of imagination. In our choices and solutions we show which aspects of reality we find important and how we communicate these values. The outcome of this investigation is a new perspective on the art of installation and a new insight in Wittgenstein's notion of übersichtliche Darstellung. Because of this combination, the book is itself an artwork: an InstallationPackage. The book is distributed by Ideabooks Amsterdam, Isbn 978 90 804240 3 6. Remodel[l]ing Reality is included in Special Collections, Allard Pierson Museum Amsterdam. (shrink)

Discussions of installation art often develop out of an analysis of its similarities and differences to other art forms. Doing so helps to ground it into critical engagement we are well familiar with. In this paper I take a different approach. I look at installation art in relation to a cognate practice not ordinarily understood as art-making: that of exhibition-making. We will see that this comparison is illuminating since installation art and exhibitions have two kinds of meaning-bearing (...) properties in common: display and site-responsiveness. I will explore this shared ground, and make some remarks on how this helps illuminate the deep relationship between installation art and exhibition-making. (shrink)

Les installations de musiciens, souvent acousmatiques, semblent encore marginales au sein de la musique savante. S’y attachent un ludisme régressif, art relationnel interactif, ainsi qu’un néo-futurisme encore validé par les laboratoires de création musicale, surtout autour de l’an 2000, en soi paradigme science-fictionnel de l’imaginaire collectif. Des installations rappellent des vaisseaux spatiaux. D’autres engendrent des onirismes cristallins de verres usinés. Phénoménologie naïve, ou narcissique et postmoderne découverte des sens, certaines installations, enfin, délocalisent l’écoute sur diverses parties du corps. Art-thérapie écologique, (...) l’archétype du « jardin sonore » en naît logiquement. The installations by musicians, often acousmatic, still seem marginal to sholarly music. They carry a regressive playfulness, an interactive relational art, as well as a neo-futurism still validated by the laboratories of musical creation, especially around the year 2000, in itself science-fictional paradigm of the collective imagination. Some installations evoke spaceships. Others engender crystalline fantasies of machined glass. Like naive phenomenology, or narcissistic and postmodern discovery of the senses, some installations, finally, relocate listening on various parts of the body. Ecological art therapy, the archetype of “sound garden” is logically born. (shrink)

This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.

Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is also seen as particularly challenging or even disliked by many viewers, and-due to its unique in situ, immersive setting-is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation (...) art, utilizing a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson's exhibition "Baroque, Baroque" held at the Belvedere museum in Vienna. These were assessed by administered pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers' attention to both installed artworks and/or the museum environment. The data showed differences in participants' emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers' appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art pieces. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics. (shrink)

This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is (...) timely. Not only some installation artists have explored improvisation in their practice, both solo and collaboratively (see section 3) but, as I shall argue, it can be claimed that some works of installation art represent or express improvisation (section 4), that some invite the public to engage in improvisation (section 5), and that curatorial teams responsible for the displays of certain installation artworks have the opportunity to introduce improvisational elements in their practice, if they so wish (section 6). (shrink)

The article discusses installation art and its potential contribution to a transdisciplinary research practice, in which not only artistic, but also aesthetic theoretical approaches could play a central role. However, as the article shows, this firstly requires a change in perspective concerning the way we approach art. Secondly, it entails changes to a common understanding of aesthetic theory and, thereby, philosophy. A term of central significance in this context is the notion of aisthesis. The article will illustrate these thoughts (...) through the examples of Bruce Nauman, Ilya Kabakov, and Arnold Berleant. (shrink)

The installation error of metallurgical machinery parts is one of the common sources of errors in mechanical equipment. Because the installation error of different parts has different influences on different mechanical equipment, a simple linear formula cannot be used to identify the installation error. In the past, the manual recognition method and the touch recognition method lack of error information analysis, which leads to inaccurate recognition results. To improve the problem, an automatic recognition method based on the (...) neural network for metallurgical machinery parts installation error is proposed. According to the principle of automatic recognition of installation error based on the neural network, the nonlinear relation matrix between layers of the neural network is established. The operating state parameters of mechanical equipment are calculated, and the time series of the parameters are divided into several segments averagely. Based on the recognition algorithm, the inspection steps of depth, perpendicularity and center position of reserved hole, base board construction, short-circuit motor line and terminal installation, center mark board, and reference point installation are designed. The experimental results show that the recall rate of the proposed method is 97.66%, and the maximum absolute deviation is 0.09. The experimental data verify the feasibility of the proposed method. (shrink)

Surprising artistic interventions in the landscape of the public everyday are psychologically, socially, and politically beneficial to individuals as well as their communities. Such interventions enable their audiences to access moments of surprising inspiration, self-reflection, and revitalization. These spontaneous moments may offer access to the experience of distance from the rational “self,” allowing the irrational and purely emotive that resides within all of us to assert itself. It is this sensual instinct that all we too frequently push aside, particularly in (...) the public realm, for the sake of our responsibilities. Urban communities in particular are persistently accosted by visual and aural advertisements and consumerist lures, that further discourage individuals from accessing their non-rational selves. Yet, I argue that it would improve the health and vibrancy of our communal lives if we encountered among others in public, even for a moment, the strong feelings of sudden elation or confusion that we generally consider to be private. I also argue that an addition could be made to the already diverse oeuvre of artistic approaches that comprise the realm of “sound art” and that it may be termed “musical intervention art” – or, simply put, music played in a circumscribed area in the form of an outdoor installation, that is designed to accost, surprise, overwhelm, and through this, actively engage. This article will describe an imaginary example of musical installation art. (shrink)

The article is an investigation into theatricality from various standpoints in order to focus on different views on theatricality considered as partially emancipated from theatre and to verify if and to what extent each of them can apply to installation artworks as environments and intermedial devices. Ultimately the article propounds the idea of a paradoxical anti-theatrical theatricality of installation art, grasped in its very connection to site-specificity, critically engaging Martin Heidegger’s insights regarding the «Gestell» and the «work-being» of (...) the work of art, as a general theoretical basis through which a particular focus of ‘specificity’ of installation is endorsed. (shrink)

In this paper, we look at installation art through the lens provided by the notion of “affective artifact” (Piredda 2019). We argue that affective character is central to some works of installation art and that some of those works can expand our knowledge of our affective lives, while others can contribute to the construction of our identities. Sections (2), (3), and (4) set the stage for our discussion of affective installation artworks by, respectively, situating it within the (...) debate on affective artifacts, looking at some general issues concerning the affective character of artworks, and sketching out a view of the ontology of installation art. In section (5), we discuss the affective character of six works of installation art. In section (6), we show how those artworks can reveal aspects of who we are. Section (7) concludes. (shrink)

The use of cross-media and transmedia-based art installation has generated new ways for the audience to appreciate, understand and experience art. Transmedia, the integration of multiple media forms to augment a single narrative, has not only been largely used in commercial films, but has also been used by artists to communicate their message more effectively. In this article, we explore some remarkable multi-channel video installations and transmedia artworks to highlight how this technology has shaped new uses of technology as (...) a new medium to express artistic concepts. We discuss one artwork, an experimental collaboration between artists and scientists, entitled Reefs on the Edge, which communicates valuable information about climate change to a general audience. (shrink)

L’art de la composition florale, l’ikebana, se présente à l’observateur comme une installation éphémère dans un espace d’intenses circulations. Il se produit une relation dialogique toujours changeante entre des « Je » et des « Tu » — un « Je » et un « Tu » — et la « présence » d’un « entre », un « figural » sans figuration. Quand le « Je » est le maître Sôfû Teshigahara et le « Tu » son fils, (...) le cinéaste Hiroshi Teshigahara, l’installation entraîne la réalisation d’un film, Ikebana, tributaire des complexités liées à l’outil cinématographique — mouvements de la caméra, zooms. Le film achevé, permanent, est-il alors un « Cela », un objet fini, voire obsolète, ou peut-il rester un « Je » vivant susceptible de solliciter de nouveaux « Tu », dans une expérience de « pure vitalité »? The art of floral composition, the ikebana, presents itself to the observer like an ephemeral installation in a space of intense circulations. There is an ever-changing dialogical relationship between “I” and “You”—an “I” and a “You” —and the “presence” of an “in between”, a “figural” without figuration. When the “I” is the master Sôfû Teshigahara and the “You” his son, the filmmaker Hiroshi Teshigahara, the installation involves the making of a film, Ikebana, and the complexities related to the cinematographic tool—movements of the camera, zooms. Is the finished, permanent film then a “That”, a finite or even obsolete object, or can it remain a living “I” capable of soliciting new “You” in an experience of “pure vitality”? (shrink)

Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is being levelled. The (...) latter phenomenon leads to the emergence of new instruments and methods of artistic creativity and expands the possibilities of artistic self-expression. One of the promising areas of artistic exploration is the creation of sound interactive installations. This paper proposes a classification of communication models that are based on the analysis of interactive sound installations. The classification is based on determining the degree to which audiences actions influence the final sound result of the creative action. The paper claims that the parameters of the exhibition space are important components of the installation’s structure and form. A dialogue with nature by way of incorporating sounds of nature, their imitations, and interpretations in art objects is found to be a current trend in interactive sound installations. (shrink)

1. What's in a Name?Can philosophy of language do without the concept of intentionality? To approach this important question it may be useful to begin with the minimal explanatory requirements for a theory of reference that tries to explain the naming of objects as the simplest linguistic act. The limitations of trying to understand meaning without intentionality are therefore best illustrated by considering what is generally acknowledged to be the most thorough-going attempt to dispense altogether with intentional concepts in Frege's (...) reputedly purely extensionalist semantics of proper names. I shall argue that despite his avowed anti-psychologism, Frege paradoxically needs to include psychological elements alongside his famous distinction between sense and reference in order to preserve the universal intersubstitutability of singular referring expressions salva veritate as an adequate extensional criterion of coreferentiality. In so doing, a revisionary Fregean semantics introduces the first instalment of intentionality at the foundations of naming, by which intentionality pervades the philosophy of language. (shrink)

TAFKAV may be described as the systematic development of a poetic interpretation of communication as text flowing between particular subjects and humans. The concept of text here extends beyond information in general to any number of objects subject to interpretation. The hermeneutic circle describes a process of understanding a dynamic relationship and refers to the idea that one's understanding of the whole is established by reference to the constituent parts and vice versa. Neither the whole nor any individual part can (...) be understood without reference to one another, hence it is a circle. However, this circular character of interpretation does not make it impossible to interpret a relationship rather, it highlights that meaning must be found within a dynamic relational context. The projected installation will explore communication with the plant kingdom, specifically with flowers. The aim of this experiment is to build a potential flow of human-plant information that generates a rhythm or pace and a series of constants that can then be codified arbitrary, as with all sign systems in a system of communication and hence a system of meaning. (shrink)

Bashir Makhoul is a Palestinian British artist whose recent installation titled Enter Ghost, Exit Ghost contains the theme of ‘revenge’. It essentially advocates the return to ‘identity’ and ‘land’. This is obviously Makhoul’s politics, but it can only belong to politics through art. Makhoul has adopted the stage directions of Hamlet, involving his work with a political project on the one hand, while on the other hand turning such a project into a ‘ghost’ and a series of ghostly images. (...) Thus, the political revenge becomes the revenge of images. In other words, politics becomes art here. But this artistic politics doesn’t mean the castration or abandonment of politics. To Makhoul, it is an artistic means by which to engage politics, an alternative way to look at politics, which is based upon the conviction that politics should have its emotional and affective dimension. (shrink)

Ces dernières années, des musées d’art contemporain sont apparus partout dans le monde occidental et au-delà. Le nombre de ce genre de musées augmente en permanence. Le touriste d’aujourd’hui, qui se rend dans une grande ville, s’attend à y trouver un musée d’art contemporain, de la même manière qu’il s’attend à y trouver un restaurant italien ou un cinéma. Dans la plupart des cas, ces attentes sont confirmées. Dans le pire des cas, le touriste va apprendre que le musée d’art (...) contemporain est encore en construction et qu’il sera ouvert l’année suivante. Quoi qu’il en soit, cette acceptation si facile de la notion de « musée d’art contemporain » par la culture d’aujourd’hui n’est pas sans importance. Traditionnellement, le musée d’art constituait un endroit dans lequel l’art du passé était collecté, conservé et montré au beau milieu de la vie contemporaine. Mais que signifie construire un musée d’art contemporain ? Que signifie « muséographier » la contemporanéité elle-même?Museums of contemporary art have appeared everywhere in the Western world and beyond in recent years, and they are constantly increasing in number. Any tourist visiting a major city today expects to find a museum of contemporary art, just as they expect to find an Italian restaurant or a cinema. In most cases, this is indeed what they find. At the very least, tourists will find that the city’s museum of contemporary art is still under construction and will open the following year. Whatever the case, the ready acceptance of the “museum of contemporary art” in today’s culture is significant. Traditionally, an art museum was a place where the art of the past could be collected, curated and displayed right in the heart of the contemporary world. But what does creating a museum of contemporary art really mean? In other words, what does it mean “to make a museum exhibit” of contemporaneity itself? (shrink)

This paper argues for the digital interactive installation artwork based on principles of complexity as an interface with the potential to evoke ekspansions in the subjective experience by confronting the user with an idea of abstract thought, created through a conceptual design, and experienced through bodily interaction and contemplative acts at symbolic levels. The claim is, that ideas presented through good artworks based on the coalision of science and technology can potentially create a synthesis between ideas inspired by the (...) philosophies and empiricisms of the physical-material world view, but also of a higher, spiritual dimension, in which new possibilities of knowledge are potentially to be found. The article accepts the thesis of cognition being the cause of evolution, rather than evolution of man being the cause of cognition. (shrink)

Previous chapter Pulse Rhythm as Part of a Mind-Body Identity Theory? – Galen Let us now turn towards the philosophical correlates of this change in the theory of rhythm. To get a clearer picture we need to come back first to the use of its musical counterpart—the concept of harmony—in philosophy. The comparison of the soul with musical harmony, which most probably originates in Heraclitus and Pythagoras, is exposed by Simmias - Médecine – Nouvel article.

Previous chapter Refinement and Canonization of the Herophilean Pulse Rhythm Theory – Galen The Greek Κλαύδιος Γαληνός – Klaúdios Galênós, Anglicized as Galen, was born in Pergamon in the first half of the 2nd century AD. He died in the first decades of the following century. He studied and traveled widely in the Roman Empire before settling in Rome, where he served prominent members of the Roman society and was finally given a position in the imperial court as personal physician (...) to - Médecine – Nouvel article. (shrink)

Corposcopio is a collaborative project that integrates two different worlds or territories: circle dances and new media technologies. Ancient circle dances are cultural manifestations present in different countries around the world. They have a great power of community integration and provide a unique experience of extended consciousness. In Brazil there are a number of amazing circle dances and one of the most popular is called ciranda, whose movements are inspired by sea waves. Ciranda is performed by hundreds of people and (...) some participants fall into a trance. The purpose of the interactive performance is to stimulate, simultaneously, the perception of the media in contemporary reality and the collective body emergence. Corposcopio invites the participants to experience some circle dances and aggregates real-time image manipulation, software art, VJ and remix aesthetics. The transparent, ubiquitous and pervasive presence of computer systems in contemporary spaces is a quotidian fact. Nevertheless, the emergence of digital communities demonstrated the power of the human factor in the disruptive use of technologies. Human beings are social beings. Our depart point is to invite the participants to dance within the scenery of real-time image manipulation, ubiquitous computing and mixed reality. The performance itself deals with co-creation development and uncertainty. Each performance has peculiar characteristics hence it is an open system, open to receive the group interaction and participation. The experience stimulates an extended consciousness, a simultaneous perception of the individual body and the collective body. Our hypothesis is that each group will catalyze the emergence of an embodied consciousness of our mediated situation in a different way. As Bernhard Wosien (1988), one of the pioneer researchers on circle dance, has said, dance is a path to totality. In Wosien's view, circle dance has deep ritual characteristics and evokes a tremendous collective enthusiasm. (shrink)

Face aux impasses des politiques migratoires et à leurs conséquences humaines dramatiques, l’urgence s’impose d’une nouvelle approche des migrations fondée sur une prise en compte de la réalité de la mobilité et de ses causes. Une telle approche se distingue par son appui sur le droit et le respect des droits. Elle se nourrit et s’articule sur les valeurs de liberté, de justice et de fraternité. Elle suppose la fondation d’une nouvelle gouvernance mondiale des migrations, dégagée de la myopie étatique, (...) des idéologies du rejet de l’autre, instruite des erreurs et des excès du néo-libéralisme, visant à s’affranchir des phénomènes de domination comme des privilèges. La liberté de circulation et d’installation des personnes, droit reconnu par la Déclaration universelle des droits de l’homme de 1948, doit servir d’horizon à la conception et à la mise en œuvre de politiques migratoires à l’échelle mondiale. (shrink)