Theory and Practice of Visual Arts

il y a plus d’un siècle que le jeune Rainer Maria Rilke rencontra le sculpteur Auguste Rodin pour lui demander l’autorisation d’étudier son œuvre et d’en faire une monographie. Ce texte décrit une initiation paradoxale, où un jeune poète cherche un maître dans un monde moderne où le rapport traditionnel de maître à disciple était déjà en voie de disparition.
This  is the written version of a talk originally given in 2001 for the Rilke festival in Sierres, Switzerland where the poet lived. More recently a Spanish version was published by the review Escaner Cultural.

Audiovisual Healing and Reparation gathers a collection of scholarly and creative voices that explore how audiovisual media can serve as a catalyst for healing, reparation, resilience, care, and hope. The contributors critically engage with the audiovisual mediations of harsh histories and experiences of violence, discrimination, racism, sexism, colonialism, displacement, illness, and death, all situated within diverse historical, geographical, social, and political contexts. Through a reparative approach to films, documentaries, digital and social media, and art, they examine how audiovisuality intervenes in and transforms trauma, rupture, loss, and silence. This book examines audiovisual media as a rich aesthetic, social, and political site for acknowledging wounds, seeking healing, and reparatively reimagining a broken world during troubling times. It argues for the recuperative affect of audiovisuality, which can unlock silenced or suppressed (personal) histories by integrating them into the fabric of mundane daily life. It analyses two major questions: What kind of recuperative potentials can emerge from audiovisual mediations of troubling times? How can we (re)imagine audiovisual mediums, narratives, aesthetics, and practices as reparative possibilities? This book will be of interest to scholars working in film and media studies, cultural studies, memory studies, performance studies, and affect studies, and will also inspire practitioners of audiovisual media. Özgür Çiçek is a film scholar, researcher, and lecturer in the Media and Culture Department at the University of Amsterdam, the Netherlands. Her research interests lie at the intersection of national and transnational cinemas, minor cinemas, audiovisual heritage and media memory studies, documentary film and archive studies, film philosophy and aesthetics. Her forthcoming monograph is provisionally titled Kurdish Cinema in Turkey: Imprisonment, Memory, and the Archive. Özlem Savaş is a media studies scholar, researcher, and lecturer at the Department of Comparative Cultural and Social Anthropology at European University Viadrina, Germany. Her interdisciplinary work bridges media studies, migration studies, and cultural studies, with a particular emphasis on affect and emotions, aesthetic and cultural production, and everyday life. Her forthcoming monograph, The Sigh of Displacement: Affective Practices of Mediating Migration and Belong ing, is under contract with Routledge.

Progettare il Caos manifesta la volontà progettuale utopistica di mettere ordine nel disordine per eccellenza: il Caos. Come in uno spettacolo di tragicommedia, l'ilarità è immediatamente smorzata dalla portata tragica dei soggetti e, viceversa, la serietà è miserabilmente compromessa per mezzo dell'ironia della quale sono intrisi. Non di rado, è lo stesso Levini a celarsi all'interno delle opere, attuando un meccanismo di camuffamento tipico dei maestri del Rinascimento, capace di far entrare l'artista nelle pieghe della storia per ri-raccontarla attraverso nuove chiavi di lettura. Uno sconfinamento che arriva fino alla terza dimensione, come nel caso del letto presente in Vittoria, opera esposta già alla Biennale di Venezia del 1988. Confusi dal Caos della terra non ci si salva neanche alzando gli occhi al cielo: fra parà che diventano angeli, navi da battaglia e animali, satiri e ballerine, navigatori e cantanti, ci si può rendere conto, forse, che abbiamo perso da un pezzo le redini di ciò che siamo.

Nie verhinderte das Chaos etwas, war immer trunken machende Nahrung. Der Mensch steht als Kreatur nicht zwischen Schlecht und Gut: Man sprach mit Gott Weil Gott Macht, weil Gott rhythmische Einheit war. Die Hand auf den Dingen mit Eigenleben und mit jener Hand die Dinge vereinen, Die Dinge neu ordnenjedes Ding hat seine Aura, jedes Tier hat seine Aura -so wie man Auren hütet! In Trance: Ich bin das Ding. Und Schluss." Herberto Helder, Os Selos 1 1. Verhaltenes Wohlgefallen Abb. 1 Aby M. Warburg in Florenz, ca. 1900 Wenn wir dieses Bild des Kunstgeschichtlers Aby Warburg (1866-1929) in seinem Arbeitszimmer in Florenz betrachten, müssen wir hinnehmen, dass wir den Blickwinkel eines Fotografen übernehmen, dessen Namen wir nicht kennen, mit dem wir aber eine komplizenhafte, glänzende Beziehung eingehen. Die Ruhe der Fotografie, die von der Konzentration beim Lesen, eventuell einer Zeitungsseite, ausgeht, oder vielleicht vom

Codificar es el proceso fundamental de transformar información, ideas o instrucciones en un formato que pueda ser comprendido, transmitido, almacenado por un sistema o interpretado por un receptor. Este proceso implica convertir datos o mensajes en un conjunto de símbolos, signos o un lenguaje específico que represente el contenido original de manera estructurada y sistemática. En este contexto, la codificación trasciende a la informática, abarcando áreas como la comunicación, el arte y la criptografía, donde los significados y las formas se transforman constantemente a medida que se codifican y transcodifican.

The form and the matter of Pasta - or noodles broadly speaking - pose serious metaphysical problems. What renders a noodle a noodle? Is it a peculiar form (and if yes, which one?) or is it the semolina Pasta typically consists of. Our paper discusses the main metaphysical options, but finally settles for a rather permissive account (acknowledging the plurality of shapes, ingredients, etc.)..

This essay explores how British painter Francis Bacon used photographic material in his creative process, focusing on the chaotic yet highly personal archive found in his London studio at Reece Mews. It examines how Bacon's collection of photographs — often torn, painted over, or heavily worn — reflects a dynamic interplay between preservation and destruction. The author discusses the significance of these manipulated images as tools in Bacon’s artistic practice, highlighting how they represent both memory and loss. The essay also addresses broader archival questions: how institutions deal with damaged, ephemeral, or fragmentary materials, and what such objects can tell us about artistic intent and the boundaries between documentation and creation.

The first issue of the online journal kunsttexte's "section photography" edited by Katharina Günther and Jule Schaffer is dedicated to the theme of Re:Visions. In four essays and two interviews, working methods and concepts of the 20th century are linked with ideas of the 19th century, the historical roots of prominent photographic phenomena of our time are examined, and the relationship between temporality and photography in photographic practice is also addressed. It turns out that a look back is always fruitful and sometimes opens up surprising new perspectives.

Abstract
This article explores the life and contributions of Rathin Maitra, a pivotal yet under-recognised figure in the modern art movement in Bengal during the transformative years of the 1940s. Despite his significant role, Maitra's contributions have largely been overlooked due to the lack of archival materials and societal indifference towards contemporary art. Maitra was actively involved in the early years of the Calcutta Group and played a crucial role in the dialogue between the Calcutta Group and the Progressive Artists Group in Bombay. His work and influence extended beyond painting, as he was also a mentor to many students at the Government College of Arts and Crafts in Calcutta and served as the Joint Secretary of the Academy of Fine Arts in Calcutta. The article highlights Maitra's multifaceted life, his engagement with European modernism, and his efforts to promote Indian modernism. It also delves into the socio-political context of his time, including the Bengal famine, the Partition of India, and the influence of European ideas on Indian art. Through this exploration, the article aims to shed light on Maitra's legacy and his contributions to the modern art movement in Bengal.

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Once, a documentary filmmaker invited me to view his latest film on the sculptor Ramkinkar. The programme was held at Nandan, Kolkata. I was not much surprised that sculptor Ramkinkar was doused in Rabindra Sangit, Sonajhuri forest, with background music, and plenty of elements that made it resemble a soap opera. A similar approach was taken earlier with documentaries made on artists Ganesh Pyne and Robin Mondal by other Bengali directors. Despite the popularity of cinema and literary culture, the reflection of contemporary art since the post-independence period is vague and non-serious in Bengal. They hardly reflect the tension of creative life or identify the crucial events of the time. Considering writing about a painter like Rathin Maitra, who avoided maintaining any specific focus and left few personal documents, while also not having their work preserved by art communities, this task presents a unique challenge. The primary inspiration behind this is that he was my mentor, and this article is an homage to his memory.

Brian Curran will forever be associated with the Egyptian Renaissance. One aspect of Egypt that fascinated everyone from antiquity to the Renaissance was the size of Egyptian stone monoliths, whether statues, obelisks, or columns. To Michelangelo, who quarried and transported hundreds of monolithic marble blocks, the columns of Egyptian granite supporting the Pantheon porch in Rome were astonishing objects. These giant monoliths, quarried in Egypt and transported across the Mediterranean by the Romans, represented an unprecedented engineering feat. Throughout his architectural career, Michelangelo experimented with a language of columns, albeit on a smaller scale. While he gleaned much from precedent, he also was an architectural innovator. As Brian Curran unveiled for us a pervasive but little noticed Renaissance, so does an examination of Michelangelo's columns reveal something visible but scarcely appreciated. Michelangelo's architectural innovations were legion, even worrisome to persons who subscribed to the classical orthodoxy of the Roman architect and treatise writer, Vitruvius. For Michelangelo, the classical past did not prescribe a set of rules to be slavishly imitated, but instead offered a rich inheritance that inspired his own fecund imagination. Over a fifty-year building career, he expanded architectural vocabulary to include "broken" and overlapping pediments, "kneeling" windows, and, most influential of all, the "giant order," seen in its full grandeur on the Campidoglio. This essay adds "double columns" to the innovations that Michelangelo made ubiquitous features of late Renaissance and Baroque architecture. Vertical elements that defy gravity, columns help buildings rise by visually contradicting the inherent weight of stone. Columns are the ubiquitous signifiers of Greek and Roman architecture. Columns in pairs, however, are rarely found in classical architecture. The ancients tended to space single columns, whether free-standing or engaged, at regular intervals.1 The idea of pairing 1 One finds paired columns in the so-called "Baroque" facades found mostly in the eastern Roman empire, such as the library of Celsus at Ephesus or the Market Gate at Miletus, and in the stage fronts of theater buildings. A pairing against the main axis is more common, such as at the Temple of Vesta and the Forum Transitorium in Rome, where we see a column plus a

Ein Bild ist ein Bild ist ein Bild – als materielle Textur oder als Gegenstand einer gedanklichen Spur: in beiden Fällen ist das Bild auch Objekt, welches seine Affinität zur Materialität und Präsenz weder völlig einlösen noch abstreifen kann. Längst hat die Semiotik die Bedeutsamkeit des Bildes für ihre Belange erkannt, auch wenn die Frage nach dem „Bildobjekt als Signifikant“ in bildwissenschaftlichen und semiotischen Kontexten bisweilen recht kontrovers diskutiert wird. Mit der semiotischen Modellierung des Verhältnisses von materiellem Objekt und Erkenntnisobjekt eröffnet sich somit ein interdisziplinärer Problemraum, in welchem phänomenologische Ansätze der Philosophie und Kunsttheorie das „ästhetische“ Ineinandergreifen von Kunst und Wahrnehmung vor Augen führen sollen.

There is no fix solution to the given ideal spatial configuration of artists' workspace for both public and private purpose. In the case of the context of Jalan Sultan Ismail, Kuala Lumpur, the current emerging artists can only find affordable existing shop lot or room that they can rent for private working space where they were forced to fit in and adapt according to the existing layout. This may give negative effect to their overall performance in producing artworks. This scenario also limits the public to interact more with the artist. Defining the typologies of visual artist workspaces is crucial in order to determine the effective spatial configuration of visual art space for artist to interact with the public in local urban context. Thus, a methodology of identifying the local artist workspace typologies and relating it to the static activities pattern using space syntax analysis is carried out. To strengthen the findings, interview and literature review through case studi...

"Sulla necessità del Senza titolo" di Chiara Ianeselli -- I titoli delle opere d'arte rappresentano un'invenzione relativamente moderna, introdotta formalmente nella storia dell'arte occidentale a partire dal XVIII secolo. Nonostante il loro utilizzo si sia diffuso solo negli ultimi secoli, oggi siamo abituati al fatto che le opere d'arte abbiano un titolo distintivo. Eppure i titoli non sono sempre esistiti. Nella loro funzione condizionano la percezione delle opere d'arte e favoriscono una lettura e un'interpretazione a scapito di un'altra, determinano anche l'interesse o la curiosità che un'opera desta. Infatti, spesso è proprio dal titolo inserito nella didascalia inizia la relazione tra spettatore e opera d'arte. Sostanzialmente sono un vero e proprio nome che determina spesso l'identità e la comprensione di ciò che è rappresentato.

This article examines the typology and dynamics of popular art historiography in early 20th-century Germany, focusing on the complex relationship between academic and popular discourses. Using the example of widely distributed monograph series such as Velhagens & Klasing’s Volksbücher and the Künstler-Monographien, the study analyzes how scholarly art historical content was adapted for a broader audience. The article discusses concepts of knowledge transfer, particularly Hans Naumann’s theory of “sunk cultural goods,” and explores the roles of various actors—publishers, professional and occasional popularizers, and their audiences. Through case studies (e.g., Friedrich Haack, Wilhelm Pinder), it illustrates how participation in popular formats could both hinder or enhance scholarly careers. The article also addresses visual mass media like collector's albums and cigarette picture books as channels of popular art historical knowledge. Ultimately, it argues that the boundaries between academic and popular art history were permeable, and that academic institutions themselves shaped public understanding by defining and sanctioning the terms of knowledge diffusion.

The study of cam-tappet tribochemistry is on the rise due to the need for a better understanding of how nanoscopic tribofilms reduce friction (improved engine efficiency) and wear (durability) in internal combustion engine. Environmental legislation on exhaust gas emissions have further stimulated research on the use of less phosphorus and sulphur containing additives because phosphorus clogs the catalytic converters in an engine exhaust system. Current tests evaluate the resultant surface films formed on the contact by the additive package which has made understanding of the test conditions crucial due to the increased complexity of tribochemistry. Diamond Like Carbon (DLC) surface coatings are also receiving significant attention even though their interaction with conventional lubricants additives is still unclear. A vast majority of published studies look at these systems under steady-state conditions whereas, dynamic conditions are predominant. In this work, a newly modified ‘SL...

In this study, the tribological properties of steel, Mn-phosphate, Si doped (S1s), and hydrogenated tetrahedral amorphous carbon (ta-C:H) diamond like carbon (DLC) coatings were investigated in a pin on reciprocating plate tribometer and single cam test rig. S1s and taC-H DLC coating architectures were obtained with plasma assisted chemical vapor deposition technique with hardness 20 ± 4 GPa and 35 ± 7 GPa respectively. All materials had a centre-line average surface roughness (Ra) of 0.02-0.03 µm except for the Mn(PO3)2 which had Ra of 0.30 µm. The S1s showed severe delamination after tests on the reciprocating tribometer while spots of wear flakes were observed in the bench test. Both single cam rig and reciprocating tests have shown similar wear and friction results which can be used to rank materials, surface coatings and lubricants for optimum performance of valve train components.

La propagation de la pandémie du Covid-19 bouscule le monde entier et incite à faire une révolution dans tous les domaines. Pour affronter un monde incertain et révéler une figure héroïque, les artistes de la rue abordent la crise provoquée par le coronavirus comme un stimulateur pour leurs productions artistiques. De ce fait, cette épidémie devient une source d'inspiration et un moteur artistique pour les Street artistes qui espèrent changer l'avenir en se référant à la situation sociale et politique, parfois de façon riche en humour et d'autres fois d'une manière sensibilisatrice. Ils ont réagi à l'urgence en utilisant l'outil le plus puissant à leur disposition : l'art comme arme pour répondre à la pandémie qui transforme le monde.

et le paysage rural, dialogue entre l'art et la géographie Article publié par Les Cafés Géo le 15 novembre 2014 @ dans la rubrique: Vox Geographica URL : art-geographie/ Autorisation et fichier de l' éditeur Bien que Dufy soit considéré et connu depuis longtemps comme un peintre aux multiples facettes, le volet ruraliste de son oeuvre n'a été mis en valeur que récemment. Cette facette a été découverte par le grand public lorsque le Musée d'art et d'histoire de Langres a organisé en 2012 une exposition qui a fait date en mettant au jour un pan de l'oeuvre du peintre jusque là quasi inconnue : ses oeuvres (dessins et tableaux) sur la moisson dans le pays de Langres dans les années 1936-1939. Olivier Caumont, conservateur en chef des musées de Langres, a été à l'origine de cette initiative tandis que Christian Briend, conservateur au Musée national d'art moderne du Centre Pompidou, a rédigé le catalogue de l'exposition sous le titre « La route bleue. Raoul Dufy en pays de Langres » . Rappelons toutefois que, dans son catalogue raisonné de l'oeuvre peint de Raoul Dufy publié de 1972 à 1977 (4 volumes), Maurice Laffaille enregistrait de nombreux tableaux de moissons et de scènes de battages associés à des séjours dans la campagne française, parmi lesquels ceux qui ont été présentés à l'exposition de Langres ; de même, les dessins qui ont précédé ou accompagné ces tableaux figurent dans le catalogue raisonné des dessins de Raoul Dufy, publié en 1991 par Fanny Guillon-Laffaille. Admirateur de longue date de Dufy, j'ai découvert ce versant de son oeuvre d'une façon fortuite à l'occasion de la visite du  Choix fréquent d'un point de vue au-dessus du sol

The question of safety is often taken for granted in visual arts practice. For many, safety is merely the use of protective gears and alliances during work. However, safety goes beyond that. There is a relationship between safety and work ethics, and if properly understood, places safety as both a prerequisite and a culture of practice. While examining this relationship with particular emphasis on sculpture, the research takes a critical look at the awareness of safety in the teaching of sculpture today. It also examines the implication of a lack of safe attitudes on the artist’s wellbeing, as well as proffering a way forward. In conclusion, the paper posits that safety is a work culture entrench in the ethics of practice, and that good work ethics naturally leads to an attainment of sustainable safe attitude during practice

Кустоски, ауторски пројект: Изложба мозаичких радова полазника ликовно-образовног програма Уметност Мозаика у ЦЛО Шуматовачка у Београду, 2023. године.
Идеја, приређивање и организација изложбе су мој ауторски, кустоски пројект, као и текст и каталогу изложбе. Помоћ и сарадњу око припреме изложбе пружили су КЦ Дорћол који је изложбу уврстио у свој годишњи излагачки програм за 2023, као и ЦЛО Шуматовачка.

Мој ауторски и кустотски текст за каталог изложбе: Тесере и Пигменти 2021. Комплетна изложба је мој кустоски пројект. Изложба је уприличена у поводу дестогодишњице рада курсева мозаика и иконописања у ЦЛО Шуматовачка у Београду а одржана је у галерији Степениште ЦЛО Шуматовачка 2021 године.

Ovo je takođe moj kustoski projekt. U pitanju je organizacija i priređivanje samostalne izložbe mozaika likovne umetnice Snežane Vujnov u galeriji Stepenište Centra za Likovno Obrazovanje Šumatovačka u Beogradu 2014 godine. Pored orgaizacije i proređivanja ove izložbe, grafički dizajn kataloga izložbe i svi tekstovi u ovom katalogu su moj autorski rad.

Ovo je moj prvi kustoski projekt. U pitanju je organizacija i priređivanje samostalne izložbe mozaika likovne i primenjene umetnice Dragane Vujuć u Galeriji Stepenište Centra za Likovno obrazovanje Šumatovačka u Beogradu.
Kompletan grafički dizajn kataloga kao i tekstovi u katalogu su moj autorski rad.

Viața ne aduce daruri pe care nu ni le-am fi imaginat vreodată. Nu le anitcipăm, dar ele apar ca o mângâiere a sufletului, pe neașteptate care ne rămân pentru totdeauna în suflet.

Au trecut aproape 20 de ani de când am început să urmez cursuri de pictură la The Art League, o școală de arte fondată în 1954 pentru artiștii vizuali. The Art League este, de asemenea, organizația fondatoare a Torpedo Factory Art Center, situat în Old Town Alexandria, Virginia, SUA. Mi-am ales sa merg la cursuri într-o zi de duminică, din comoditate și conveniență. Pe atunci, înscrierile se făceau direct la secretariat, în incinta școlii (nu online, cum se procedează acum). Când am ajuns în clasă, în timp ce îmi aranjam șevaletul pentru a mă pregăti de curs, l-am întrebat pe colegul de lângă mine: „Cine este profesorul?” „John Blee,” mi-a răspuns colegul, cu o mare mirare în glas. Nu-mi venea să cred că mă aflam în clasa profesorului John Blee! A fost un moment unic, un adevărat cadou de neuitat!

John Blee este un pictor abstract de o extraordinară valoare artistică. Lucrările sale, expuse în New York, Boston, Washington, D.C., la Galeria Jack Rasmussen, sunt admirate pentru profunzimea si armonia de culori. John Blee a studiat cu mari nume ale artei, precum Helen Frankenthaler și Robert Moskowitz, iar opera sa se află în colecțiile permanente ale unor instituții prestigioase, cum ar fi: Muzeul de Artă Modernă din New York (MoMA), Muzeul de Artă din Los Angeles, Galeria Națională de Artă din Washington, D.C., dar și în alte muzee și galerii din Statele Unite, Franța, Italia și alte părți ale lumii.

În clasă, domnul profesor Blee a venit să mă salute și, în cadrul acestei prime întâlniri de la curs (studenții de obicei stau în cerc în fața sevaletelor, iar profesorul trece pe la fiecare sevalet), i-am spus că m-am născut în România, unde mi-am petrecut copilăria și adolescența. Mi-a adresat imediat o întrebare despre regii noștri, iar acest subiect a deschis o conversație fascinantă despre monarhia din România, căderea comunismului și situația politică actuală.

Domnul profesor Blee este o adevărată enciclopedie. Cu vaste cunoștințe despre istoria României și istoria universală, nu este doar un geniu al artei abstracte, ci și un intelectual desăvârșit, cu o cultură universală impresionantă, fără sfârșit.

Arta lui John Blee are o forță profundă, capabilă să te poarte într-un tărâm al bucuriei, printr-un proces purificator al emoțiilor, care îți înalță spiritul in armonie. John Blee este un dar pe care viața ni l-a făcut în istoria artei abstracte, o prezență unică, de valoare mondială, care a îmbogățit acest domeniu cu o sensibilitate, profunzime și o viziune remarcabile.

Hiermit erkläre ich, dass ich diese Arbeit selbständig verfasst habe, dass ich die verwendeten Quellen und Hilfsmittel vollständig angegeben habe und dass ich die Stellen der Arbeiteinschließlich Tabellen, Karten und Abbildungen -, die anderen Werken oder dem Internet im Wortlaut oder dem Sinn nach entnommen sind, auf jeden Fall unter Angabe der Quelle als Entlehnung kenntlich gemacht habe.

The Journal of Maharishi Vedic Research Institute (JMVRI) is a peer-reviewed, international journal dedicated to exploring the contribution of Maharishi Vedic Science to science, education, health, the arts and architecture, and to all disciplines and applied fields of knowledge, to enhance the value and effectiveness of knowledge in every area of life.
Issue no. 26 features two research studies: “The Braided Weave of Sound and Silence, Emergence and Dissolution”, by Frederick R. Worth (pp. 11–58); and “Consciousness-Based Education in the University”, by Geoffrey A. Wells (pp. 59–127).
The first study by Dr Frederick Worth is the third in a series of papers on poetry, literature and Maharishi Vedic Science. Previous studies in the series have appeared in earlier issues of JMVRI, including: “Poetry and Origami of Consciousness: The Folding/Unfolding of Word, Line, and Form” in Issue no. 18 (2022, pp. 31–67); and “When Words Cohere: The Experience of Kinetic Field Resonance in Poetry” in Issue no. 23 (2023, pp. 27–73). In this latest paper, Dr Worth explores “remote poetic origins in the Vedas” where foundational themes of sound and silence, emergence and dissolution, appear. He also examines the work of poets Jorie Graham and W. S. Merwin that deal with sound, silence, beginnings, and endings from a contemporary perspective, and a poem by Frank O’Hara as an example of continuity and a poem’s ‘breathing’ that seem aligned with, and relevant to, Vedic principles of creativity and the flow of language.
Dr Worth has a B.A. Haverford College, M.A. University of Pittsburgh, and Ph.D. Harvard University, and is Emeritus Professor at Randolph-Macon College in Ashland, Virginia
The second paper by Dr Geoffrey Wells culminates and extends a series of papers which have examined a new approach to scholarship in Maharishi Vedic Science using Maharishi’s seminal book: Maharishi Vedic University—Vedic Knowledge for Everyone (1994) as a vehicle to demonstrate this approach. Previous studies in the series that have appeared in earlier issues of JMVRI, include: “Scholarship and Maharishi Vedic Science: Some Reflections” in Issue no. 16 (2021, pp. 37–62); “A Close Reading of the Definition of Maharishi Vedic University” in Issue no. 19 (2022, pp. 13–67); “Consciousness in Maharishi Vedic University: Vedic Knowledge for Everyone” in Issue no. 21 (2023, pp. 37–113); “The Three-in-One Structure of Consciousness in Maharishi Vedic University—Vedic Knowledge for Everyone: A Close Reading” in Issue no. 23 (2023, pp. 74–121); and “The Self-Referral Dynamics of Consciousness in Maharishi Vedic University—Vedic Knowledge for Everyone: A Close Reading” in Issue no. 25 (pp. 11–44).
The present paper takes that ground-breaking work further by now considering the fundamental principles of Maharishi’s teaching on higher education theory and practice and their relationship to Consciousness-Based Education. This paper, too, applies the close reading methodology explored in earlier research. In the first close reading of ‘Consciousness-Based Education in the University’, Dr Wells focuses on the section ‘Education: education from within; unfoldment of full mental potential’ in Maharishi’s seminal book Science of Being and Art of Living (1963). This section of the paper presents principles of education that Maharishi continued to elaborate over succeeding decades, applying them to all levels of education, and to students in different stages of life.
The present paper is directed mainly to education in colleges and universities. Although published some six decades ago, the enduring principles of the Science of Being and Art of Living can be taken as the basis of Consciousness-Based Education and its contribution to contemporary higher education. 
In the second close reading section in the present paper, Dr Wells focuses on the section ‘Making university education meaningful’ in Maharishi’s 1994 book, Maharishi Vedic University: Vedic Knowledge for Everyone. This paper introduces the principles, methods, research, and implementation of Consciousness-Based Education in higher education as developed by Maharishi over five decades of teaching.
Dr Wells is Professor of Maharishi Vedic Science at Maharishi Vedic Research Institute in Australia, a former Dean and Professor of Maharishi Vedic Science at Maharishi International University in Fairfield, Iowa, and a former Dean in the business school at the University of South Australia in Adelaide. He has published widely in Maharishi Vedic Science, sustainability and sustainable business, climate change, and physical, biological, and human systems, including his important 2013 edited book Sustainable Business: Theory and Practice of Business Under Sustainability Principles, published by Edward Elgar. 
JMVRI, published on an occasional basis, is available for free download from the National Library of Australia in Canberra (http://nla.gov.au/nla.obj-392285182). Separate articles from back issues of JMVRI can also be freely downloaded from the following websites:
www.MaharishiVedicResearch.org

https://editorialboardjournalofmaharishivedicresearchinstitute.academia.edu

The ‘Definition and Scope of Maharishi Vedic Science’ was originally published in Maharishi’s Absolute Theory of Government: Automation in Administration, Maharishi Ved Vigyan Vishwa Vidya Peetham in India (1995, pp. 252−267), and is reprinted here with permission. Extensive footnotes to the Definition and Scope appear on pages 137–146.

Questo libro documenta le attività svolte da Gianni Dessì durante il progetto Residenze d'ar tista promosso dal Dipartimento SARAS della Sa pienza Università di Roma con la finalità di fornire contributi originali e trasversali alla formazione degli studenti. L'artista ha instal lato l'opera Contro luce presso l'aula Chabod della Facoltà di Lettere e Filosofia, ha tenuto due conferenze e ha realizzato presso il Museo del l'Arte classica e gli spazi della Fa coltà di Lettere e Filosofia, la mo-

Discussing Claudia Larcher's practice, this article suggests that system errors can be beautiful rather than problematic and that this is something particularly relevant to the aesthetics of many contemporary artists. I also show how the way AI is used by Claudia Larcher prolongs her anterior works rather than cutting it off from her non-digital practices and also look into the artistic fiction of enriching the database for AI with less biased but fake images. Lastly, I suggest that realising material versions of AI-generated images represents a fundamental change, because new and different affiliations with previous productions can thus be created.

Schon häufiger wurde der Begriff der Spur für eine Ideologie-und Metaphysikkritik dienstbar gemacht. Laut Ginzburg suchen Spurenleser*innen nach einem tieferen Zusammenhang, »der die Phänomene der Oberfläche erklärt« und damit den »ideologischen Nebel« lichtet (Ginzburg 1979(Ginzburg /1995: 36f.): 36f.). Dabei ist nach Krämer von der Materialität der Spur auszugehen: »Spuren gehören der Welt der Dinge an. Nur kraft eines Kontinuums in der Materialität, Körperlichkeit und Sinnlichkeit der Welt ist das Spurenhinterlassen und Spurenlesen also möglich« (Krämer 2007a: 15). So hat auch Derrida in einem ideologie-und metaphysikkritischen Sinn den Begriff der Spur in den Vordergrund gestellt, um die unvorgreifliche Materialität der Schrift zu betonen und sie von der Dominanz der Stimme zu befreien (Derrida 1967: 293-340). Die Materialität von Spur und Schrift schien allerdings mit der Umstellung auf digitale Textverarbeitung an einen Wendepunkt gekommen, wenn man mit Mark Poster glaubt, dass »the computer dematerializes the written trace« (Poster 1990: 111). Doch hat sich der Glaube an die Immaterialität digitaler Daten, wie er sich in Licht-, Blitz-und Geschwindigkeitsmetaphern niederschlägt, seinerseits als »medial ideology« und »screen essentialism« herausgestellt . Denn die Einschreibeverfahren digitaler Daten sind nicht weniger materiell konfiguriert als

Tout d'abord je voudrais remercier Christophe Genin de m'avoir invité à participer à cette journée d'études consacrée au kitsch et l'antiquité. Je dois vous avouer qu'en acceptant cette invitation je n'ai pas manqué de me retrouver dans un état d'incertitude vis à vis de l'objet d'étude. Car malgré mon intérêt pour les questions liées au kitsch, je ne voyais pas clairement ce que j'aurais à dire sur ses rapports avec la culture antique. Cette incertitude émane d'abord d'une réticence d'ordre méthodologique. Comme l'argumentaire de cette journée ne manque pas de le suggérer, l'application du concept de kitsch à des spécimens archéologiques peut sembler un geste anachronique qui détache les objets et les concepts de leur ancrage dans le temps, la société et la culture pour les fondre dans une illusion rétrospective et finalement anhistorique qui projette sur le passé les goûts du présent. Sous ce prisme, le kitsch serait intrinsèquement, structurellement autant que formellement, historiquement autant que sociologiquement lié à l'émergence de la culture de masse, la reproductibilité technique et l'esthétisation de la marchandise et serait caractérisé, entre autres, par l'excès et l'éclectisme, le recyclage des formes et leur inadéquation par rapport à leur fonction. L'industrialisation, l'urbanisation et la marchandisation de la société seraient ainsi les conditions nécessaires d'un rapport historiquement déterminé au trivial, au démodé et au populaire que le modernisme a produit comme son contraire et qu'il serait abusif de transposer dans un contexte aussi différent que celui de l'antiquité. Par exemple, cette dernière serait étrangère à la séparation entre l'usage et l'expérience esthétique de l'objet, séparation liée autant à la division de la valeur en économie politique qu'à l'autonomisation de l'esthétique au niveau épistémologique. Ainsi, si la notion de kitsch doit conserver sa pertinence comme catégorie esthétique autant qu'historique, elle semble ne pas pouvoir se défaire de ses rapports particuliers avec le technologique, le social et l'économique. D'où l'autre alternative, celle d'aborder la question du kitsch sous l'angle des appropriations modernes, postmodernes et contemporaines de l'antiquité. Partant à l'exploration de cette (vaste) voie, j'ai accumulé un certain nombre d'images, dont voici

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This conversation with Dr. B.N. Goswamy, one of India's leading art historians, took place at the India International Centre, Delhi, in July 2022. Framed around the release of his book 'Conversations: India's Leading Art Historian Engages with 101 Themes, and More,' it explores Dr. Goswamy’s reflections on art, innovation, and the deeper philosophies underpinning visual culture.

Through a wide-ranging discussion, Dr. Goswamy emphasizes how innovation is rooted in imitation, using the story of Ram Singh Malam — a shipwrecked artisan who brought European techniques to Kutch — as a lens to view Indian creativity. He eloquently connects classical ideas of "mimesis" with contemporary notions of entrepreneurship and ingenuity, drawing parallels between ancient practices and modern phenomena such as Mumbai’s dabbawalas.

The conversation also delves into the role of observation in understanding art, highlighting how visual literacy has declined, and how meanings hidden in iconography often go unnoticed. Using examples from Indian mythology, including Vishnu’s iconography and the Hanuman Chalisa, Dr. Goswamy urges a deeper, more reflective engagement with artistic and cultural traditions.

He also reflects on his lifelong commitment to scholarship — from his first encounters with Indian art to writing over 670 newspaper columns. His intellectual generosity is clear as he shares insights on figures like Ananda Coomaraswamy, and the importance of fieldwork over detached theorizing.

This conversation, infused with wit, erudition, and human warmth, offers a rare glimpse into the mind of a scholar who has shaped the understanding of Indian art history for generations. It is a tribute not only to Dr. Goswamy's enduring curiosity and humility but also to the living, evolving traditions of Indian art that he has so passionately championed throughout his career.

Öz nsan e do a aras ndaki ba n amanla kopma a ba lamas la beraber a anan e resel sor nlar, 1960 sonras sanat lar n dikkatini ekmi e fark ndal k aratmak ad na al malar nda kon edinmelerine neden olm t r. Galeri mekan n n kam sal alana ka mas la beraber, sanat kendisini birebir do an n i inde b larak, do a sanata katmaktan ekinmemi tir. lk a larda insan, do ada ha atta kalma a al m e on nla m cadelesinde sanattan da se gisel olarak da olsa destek alm t r. Yerle ik ha ata ge mesi le birlikte do a kar s nda pasif d r m a a a a ortadan kalkm e do a a kar kendini st n g rmekten ekinmemi tir. Zamanla do a kar s nda elde etti ini annetti i b st nl k e resel sor nlara sebep olm , ellikle retimle beraber getirdi i t ketim olg s , alt ndan kalkama acak d r mlara ol a m t r. B sor nlar n en nemlilerinden olan at k problemi g nden g ne tehlikelerini de art rmaktad r. 21. l sanat s , bir e re sor n na d n en at k maddelerin tehlikelerine kar hem fark ndal k yaratmak hem de geri d n m d r m na dikkat ekmek ad na ap tlar nda at k mal emeleri kullanmaktan ekinmemi tir. B al ma, 1960 sonras sanattan ba la arak g n m e kadar ge en s re te at k mal emeler k llanarak ap t reten sanat lar n ba lar n incelemektedir.

Cartooning and graphic facilitation (the latter of which includes developing visuals in real time with groups) offer increasingly popular yet highly subjective approaches to public engagement, organizational development, communication, research, and research dissemination. Values-based cartooning can provide an ethical framework for those undertaking and commissioning these kinds of practices, and it has been employed by the author as a method for accessing and representing diverse perspectives and experiences for more than two decades. This article is situated within the author's experience as a practitioner undertaking a range of commissions and partnerships relating to education in the United Kingdom. What follows is a critical examination of three contexts where values-based cartooning has been used to represent women's leadership within education: within research into women's experiences of working and studying in a higher education institution, within grassroots movements led by teachers and school leaders, and within broader campaigns that have educational value. This involves negotiation of complex social issues while developing visuals, including how to treat gender, race, and intersectional identities within word/image combinations. Questions are raised about the purposes of visual practice, the roles and responsibilities of practitioners, and the conditions of production, audience, and social media. What are the benefits, limitations, and risks of values-based cartooning in relation to the visual representation of women's leadership in education? What is the value of portraying the kinds of leadership that exist at different levels, including outside of formal, professional roles and beyond classroom practice and systems leadership? And finally, how should visual practitioners respond to conflicting values, risk, failure, and nuance in relation to women's leadership, where there is strong desire and need for positive, strengths-based depictions? The author considers her positionality in relation to the type of work undertaken and asks whether this kind of visual practice may in fact represent a particular form of leadership that warrants further inquiry. This article will be of interest to educators, researchers, facilitators, artists, cartoonists, campaigners, graphic and visual facilitators, practice-based researchers, and those who commission and evaluate visual methods.

Nigeria is endowed with extremely skilled artists and innovative art instructors whose contributions to national progress are often unrecorded or downplayed. Among such unsung heroes is Professor Manasseh Emamoke Imonikebe-a street-wise scholar, talented painter, and devoted guide whose artistic contributions span over three decades. While making significant contributions to the evolution of the visual arts environment and shaping policy through scholarship and art, such persons as Professor Imonikebe often find themselves omitted in biographical accounts within the mainstream. The purpose of this study is to put his life, work, and contributions to the limelight, tracing his influence on art education, cultural heritage, youth counseling, and national discourse-particularly through his artwork concerning the issues of the Niger Delta. Through documenting his working life, artistic ideology, and visual influences, this research corroborates the artistic contribution towards national growth and adds to the academic repository of Nigeria's art heritage.

Introduction: Bahman Mohassess is one of the greatest leading artists in Iran's modernist art, who lived in politically, socially, and culturally tense periods. Expressing issues such as «condemnation of existence», «passivity», and «isolation» are among the most important themes of his works of art. In this research, by adopting a sociological approach and theoretically expanding the basic concepts of «Habitus», «Field», «Capital» and «Theory of Practice», an attempt was made to shed light on one aspect of the reasons for the distinction in the works of this artist. Therefore, the current research, focusing on the authentic and recent opinions of the famous French sociologist, Pierre Bourdieu, seeks to answer two fundamental questions: «What were the social contexts affecting the formation of Bahman Mohassess's artistic habitus» and «What were the social contexts affecting the level of acceptance of Bahman Mohassess's artworks by the audience of his works?» The current research aims to find social factors influencing the distinction of specific works using the concept of Bourdieu's Practice. Accordingly, this study is fundamental and qualitative. Research Method: This research is qualitative and fundamental. Its method is descriptive-analytical, and the data was collected using a library-based technique. Findings: According to Bourdieu, people's habitus is built over time and based on social conditions. Thus, Mohassess's specific personal, social, and family experiences have formed his artistic character. On the other hand, the social contexts of the period in question had caused the formation of cultural fields that were different from the artistic capital of the artist, and this caused a low level of acceptance of his works by society. Conclusion: According to the research conducted, it can be concluded that individual, social, and family experiences played a role in forming Mohassess's artistic character. On the other hand, the social contexts of the period in question had caused the formation of cultural fields that were different from the artistic capital of the artist, and this caused a low level of acceptance of his works by society.

Το παρόν άρθρο έχοντας ως βάση τη θεωρητική τεκμηρίωση και τις προτάσεις του συγγράμματος: «Απο-φυλακοποίηση: Βασικές αρχές για μία δημόσια πολιτική μείωσης της φυλακής υπό την οπτική του ριζοσπαστικού Εγγυητισμού» του καθηγητή Ποινικού Δικαίου του Πανεπιστημίου της Βαρκελώνης Iñaki Rivera Beiras επιδιώκει να προβάλλει και να διανθίσει το πρόταγμα μίας ριζοσπαστικής αλλαγής στην οπτική και πρακτική που αφορά τον θεσμό της φυλακής, την σωφρονιστική μεταχείριση και την επανένταξη των κρατούμενων ατόμων: αυτή της ελαχιστοποίησης της φυλακής ως προϋπόθεση για την μείωση της κοινωνικής βλάβης και την κοινωνική επανένταξη. Σε αυτό το πλαίσιο, οι αρχές, πρακτικές και δράσεις που παρουσιάζονται βασίζονται στις αρχές του ποινικού εγγυητισμού-προτύπου ελάχιστης ποινικής παρέμβασης, του καταργητισμού, στις υπάρχουσες διεθνείς νομικές κατακτήσεις στο πεδίο των θεμελιωδών δικαιωμάτων, στην εμπειρία και παρακαταθήκη κοινωνικών εγχειρημάτων και κινημάτων καθώς και των αιτημάτων των ίδιων των κρατουμένων.

The present article, largely building on the theoretical perspectives and suggestions set forward in the work by Iñaki Rivera Beiras (2017) “Descarcelation. Principles for a public reductionist policy for prisons (from the radical garantism point of view)” aspires to showcase and contribute to the discussions of the imperative for a radical change in the narrative and practice of (i) the institution of prison, (ii) correctional treatment, and (iii) the rehabilitation of inmates: that of the minimization of prison as a prerequisite for the substantial reduction of social harm and for social re-integration. Within this framework, the principles, practices and actions presented in this article are based on the theory of penal garantism-minimum intervention and abolitionism, while accounting established international legal accomplishments in the field of fundamental human rights, the experiences and legacies of social movements, as well as the demands of inmates themselves.

Ticks, mites, lice and fleas: the ideological implications of the visualization of the barely visible in the early days of microscopy.

This essay, a chapter of a volume on World views in art, literature, and science since the early modern period edited by Ulrike Gehring, analyzes the emergence of images of barely visible creatures, made possible by microscopic examination techniques in the 17th and 18th centuries, and their dissemination in the medium of copperplate engraving. The visualization of the barely visible does not lead to an unimaginable shock to the then prevailing in Europe worldview, but is integrated into the existing ideas of the history of creation. The study of nature with the microscope was adopted as a suitable means of “promoting an active faith” in a Christian-influenced way of looking at nature, and its critical potential for questioning traditional creation myths was defused.

L'art contemporain et le net art appartiennent à deux esthétiques radicalement distinctes. Le net art est l'expression d'une tension entre l'art et la technologie des réseaux, qui résulte d'une dialectique entre la science, la technique et l'économique, tandis que l'art contemporain se développe en réponse à la biopolitique et la construction du sujet et du corps moderne. Le net art vient – est venu – combler le déficit politique – et dramaturgique – de l'Internet. Mais, d'une certaine manière, il a échoué.