Arts and Humanities, Misc

The article presents the chess composition as a logical art, with concrete examples. It began with Arabic mansuba, and later evolved to new-strategy designed by Italian Alberto Mari. The redefinition of mate (e.g. mate with a free field) or a theme to quasi-pseudo theme, opens the new space for combinations, and enables to connect it with other fields like computer science. The article was exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013.

Carel Fabritius left behind few but important works of art. We are concerned here with the View in Delft, and attempt to make two points about it. The first is that this small painting manages to break away from the classical perception of perspective, an endeavor informed mostly by new findings in the field of optics of the time. The second point, theoretically related to the first, stresses compositional elements that would bring View in Delft closer to a meditation on (...) the fleetingness of life, making it a "town-scape" vanitas. (shrink)

Drops Dripped - WKCD - What Does It Do? - Techne - Faux Year Zero - Commercium as Ethics - Fictitious Space - The Module - The Image - Art, Love, Revolution. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 285-306.

Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (2011) (...) - First Cause (2011) - Met Ladies (2011) - When Cam Girls Met Ladies (2011) / OUTTAKES (2007): 15 Questions About Editioned Art Photography (2007) - A Few Awkward Questions for Francesca Woodman (2007) - October Revolution (2007) . (shrink)

Essay on the modern artistic ego as sponsored by the exhibition, "Gustav Courbet," February 27-May 18, 2008, Metropolitan Museum of Art, New York, New York, USA. A version of this essay appeared in Gavin Keeney, "Else-where": Essays on Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 191-98.

Essays and documents surveying the post-communist architectural scene in the Czech Republic. - 1/ “Wild & Wilder” (1997) – A brief travelogue with comments on Kew Gardens, London, and Mies van der Rohe’s Villa Tugendhat (1930), Brno. 2/ “Angel City” (1999) – A short report on Jean Nouvel’s Golden Angel office tower in Smíchov, Prague. 3/ “Read & Weep: Scandal in Bohemia” (1999) – Essay on post-communist machinations within the architectural scene in the Czech Republic, including reports on: Jean Nouvel’s (...) Angel City and its critics; charges of “lite (postmodern) neo-functionalism” here and there; a cooked “open” competition for a proposed Kupka museum in an old mill on the island of Kampa (in the Vltava); a tourist-dodging transit through Josip Plečnik’s gardens at Prague Castle; and stories and legends regarding the Star Pavilion and oak wood at White Mountain. 4/ “The Body of the City” (2001) – Critique of Richard Meier and Partners’ proposed ECM Radio Plaza, a series of towers meant to complete an unfinished, communist-era “Rockefeller Center” in the Pankrác district of Prague. 5/ “Gnomic Works: The Sculptural Works of Kurt Gebauer” (2002) – Essay on the sculpture of Czech artist Kurt Gebauer with images from his exhibition in Zlín in 2001. 6/ “House of the Wind: May Day” (2004) – Prose poem written on May Day 2004 regarding wandering around Olšanské hřbitovy, a mostly 19th-century cemetery in the Žižkov district of Prague. 7/ “Architectural Eyewash” (2004) – An essay surveying: various complaints within the Czech architectural community regarding an outbreak of “architectural eyewash” in the 2004 Chamber of Architects’ Grand Prix competition; rumors and innuendo regarding a proposed Kupka museum on Kampa; complaints about Daniel Libeskind’s proposed Dalí House, Prague; etc. 8/ “Moravian Shadows” (2004) – Essay on “cultural shadows” in the context of Czech architecture, with a nod to Nietzsches’ The Birth of Tragedy. 9/ The Near & The Far: Moravian Garden (2006) – Notes and discurses on a very small, yet “immense” South Moravian country garden in Skryje, Czech Republic. (shrink)

A draft White Paper associated with Fulbright Specialist Program lectures at the University of Ljubljana, Ljubljana, Slovenia, in March-April 2015, concerning neo-liberal capitalist exploitation of academic research and publications.

In this paper I shall argue that useful correspondences can be drawn between the role of depiction in showing a view of the world and the realisation that would view God as a picture of experience in the world, since both can be seen to illustrate an art of interpretation. The perceptual insight that is gleaned in mystical-philosophical consciousness converges on the idea of a realm that is marked as divine, and by exploiting mental and linguistic imagery this mindful awareness (...) can be made concrete in the form of a written text, which can be seen to be analogous to a pictorial representation. The writer of a text purportedly sees and knows the domain of divine reality through sensible and conceptual means and then reduces this consciousness to a planar form, which is observable as an artistic rendering. The reader, who is at the same time a viewer, is invited to perceptually and imaginatively attend to the artifact as a manifestation of the experient's understanding of the functional nature of God, and in this apprehension of the divine scenario in the textual picture the interpretative motif of God-in-the-painting is revealed. (shrink)

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book on (...) Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

This paper integrates symbolic thought and experimental research. We hypothesized that symbolic narratives provide homeostasis for the complex adaptive system that is personality. Our interpretation of a dream was based, in part, on this hypothesis. We found that the dream retold the myth of Saturn. When, by direct experiment, we tried to falsify our interpretation, our results supported our interpretation and thereby supported our hypothesis. Previously, evidence for this hypothesis had been only anecdotal. __________________________________________ For an audio-record of entire class: (...) link is given on 1st page of the text you download from this page. (shrink)

One of the most widely read books in the world, considered a metaphor for the human condition, and suitable for a variety of interpretations, The Adventures of Pinocchio has had a major impact on world culture. The book responds to a prerogative that belongs only to masterpieces: that of being out of time. The book focuses on the psychological investigation of his central character Pinocchio, while trying to discover a humanity lost in the vacuum of technology and science. The myth (...) of Pinocchio is used to condemn the culture of violence and consumerism. Collodi successfully uses metaphorical interactions, bipolarities, and ambiguous miracles. Pinocchio's identity is often played to the limit, imagined by himself and everyone he meets along the way. Pinocchio is the name of life that is simultaneously inorganic, human and animal. The Adventures of Pinocchio explore how experiences gained in heterotopic space give the individual the ability to change panoramic vision, and how these experiences can ultimately show us how we can recover or restore our existence as individual subjects. -/- CONTENTS: -/- Abstract Carlo Collodi The Adventures of Pinocchio Pinocchio The Myth The Psychology The Duality The Heterotopy The Identity Artificial Intelligence The Humanism The Becoming The Demiurge The Education Bibliography -/- DOI: 10.13140/RG.2.2.20541.38887. (shrink)

Mathematics has a long track record of refining the concepts by which we make sense of the world. For example, mathematics allows one to speak about different senses of "sameness", depending on the larger context. Phenomenology is the name of a philosophical discipline that tries to systematically investigate the first-personal perspective on reality and how it is constituted. Together, mathematics and phenomenology seem to be a good fit to derive statements about our experience that are, at the same time, well-defined, (...) precise, and significant to our inner lives. However, there are difficulties stemming from the fact that phenomenology deals with inherently subjective things. Phenomenological investigations seem to lose their appeal when trying to approach them in the clear-cut way afforded by mathematics. How to overcome this obstacle? We argue that the Arts play a special role in mediating between the precise statements of mathematics and the sometimes fuzzy nature of our experience. Mathematics and art are complementary ways to come to a comprehensive understanding of reality. (shrink)

the journal of everyday life, between success and resiliation, shine and shadow, clarity and sadness.

Rodney Needham bipolarity in a small context.

for a better literature, to understand literary tradition in Portugal.

is happyness productive? See book by Roger Scruton, "On Pessimism".

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

All interpretations of the Portland Vase frieze to date have failed to see, much less explain, a crucial figural attribute in the frieze, one that proves to be both explicit and explicatory, and whose location and appearance secures the identification of not one but, indeed, three figures. Furthermore, the attribute lies at the heart of a distinct schema of figural grouping and arrangement which has also gone unheeded in previous treatments of the Portland Vase frieze. By dint of this previously (...) unknown attribute, one can straightforwardly read the opening scene of the frieze using the attributes therein provided, but the opening scene only. To complete the task, a second methodology–that which I laid out in Arion in 1992–is a categorical sine qua non. One can, as I have already shown, successfully navigate the entire frieze using the second methodology alone but, as so many others have shown, not contrariwise. These new findings–the attribute and figural plan–are clear proof that the artistic vision of the Portland Vase was purposefully executed in a two-part program. (shrink)

This paper’s aim is to establish an explanation for the separation of Northern minds, by examining the influence of a variety of factors on the shaping of people’s sense of identity at the time. Near the end of the 16th century the Groningers had proven to be a people with a mind of their own—impetuous, unruly and, in the end, unwilling to join the Republic in its efforts to liberate itself from its oppressive Spanish overlord. One by one the Dutch (...) cities had joined the revolution, but the city of Groningen refused. The ‘Ommelanden’—the city’s surrounding territory—however, did not—laying bare a critical disagreement between two ‘classes’: the Saxon city elite and the predominantly Frisian countryside nobles (Dutch plural: landjonkers/jonkheren). (shrink)

This essay presents a multifold argument on Oakeshott's aesthetics. First, his famous essay "The Voice of Poetry" deals more explicitly and thoroughly with art than is often acknowledged. Second, aesthetic experience is a competitor to philosophic insight in so far as it discloses the coherence of a world of ideas through its uniting form and content; yet "art" remains a mode. Third, the essay points out that the absence of history from any major role in Oakeshott's most important treatment of (...) art is a puzzle worthy of consideration. It is argued that Oakeshott's exclusion of history is intimately related to his interest in art's non-temporality, specifically, the ability of art to create a fictive "world of the text" which includes representations of human action in time which are set apart from both history and practical human conduct. (shrink)

It is no accident that white privilege designed to be both be invisible and weightless to white people. Alison Bailey’s “On White Privilege and Anesthesia: Why Does Peggy McIntosh’s Knapsack Feel Weightless?” extends a weighty invitation white readers to complete the unpacking task McIntosh (1988) began when she compared white privilege to an “invisible and weightless knapsack.” McIntosh focuses primarily making white privilege visible to white people. Bailey’s project continues the conversation by extending a ‘weighty invitation’ to white readers to (...) explore why the metaphorical knapsack, despite the weight of its contents, feels weightless. Here’s the short answer. The knapsack only feels weightless because white people have become anesthetized us to our own brokenness. We are more comfortable considering what white privilege does for us than what it does to us. People of color feel the weight of whiteness every day. The weighty invitation invites white readers to become sensitive to our own insensitivity. To do this Bailey (1) explores white resistance to unpacking the weight; (2) people of color’s testimonies to the daily impact of the weight on their bodies; and (3) how the anesthesia of white privilege distorts our humanity. The article concludes with a McIntosh style list of that the anesthesia of privilege distorts white people’s humanity. (shrink)

Philosophy of art, reflective practice of art and painting, meta-philosophy, meta-philosophical methods.

The paper argues that the digitalization enterprise revives, beyond the post-modern period of interpretive anarchism, the XIXth century ideal of philological probity.

En el presente trabajo, analizamos el cuento El Inmortal de Borges prestándole principal atención a las situaciones donde se entrelazan, o se tratan sin diferenciar demasiado, cuestiones vinculadas con la animalidad y la divinidad. Sostenemos que esta especie de confusión o falta de precisión al tratar cuestiones que se alejan tanto de la identidad personal y del Yo, como la inmortalidad, no es un elemento casual ni sin fundamento, sino que puede ser analizado filosóficamente adentrándonos la otredad animal. El Inmortal (...) nos manifiesta que la filosofía podría no haber sido lo suficientemente precisa al tratar la otredad, permitiendo que animalidad y divinidad, o más bien ciertas propiedades características de cada una, puedan amalgamarse dentro de los lindes de este concepto. Que el cuento de Borges haga convivir de forma tan característica la inacción con la inmortalidad hace de esta obra un objeto de reflexión obligatorio para todos los interesados en el concepto de otredad. (shrink)

HIV and AIDS is still menace bedeviling society particularly in 3rd world countries such as Zimbabwe. The impacts of HIV/AIDS are gravely felt within workplaces as affected employees suffer from stigma and prejudice. Organizations also suffer as the pandemic leads to high absenteeism and a high rate of employee turnover. This writing therefore addresses the impact of HIV/AIDS in organizations and communities and how the Zimbabwean Government, NGOS, Trade Unions and Companies have been battling this pandemic and the achievements made (...) to date. (shrink)

Theatre, commonly seen as an audiovisual art, has performance at its core. Performance is mainly narrative through language, movement, dance, music, art and other forms to create an artistic image for the stage, which contains verbal and non-verbal elements. Non-verbal elements have crucial implications for theatre practice and theoretical perception. The present research investigates non-verbal performance in theatre based on semiotics and non-verbal communication theory. The study found that non-verbal performance includes (not limited to) posture, movement, gestures, props, and costumes. (...) To make a more comprehensive analysis of non-verbal performance in theatre, a mixed research method combining textual analysis and questionnaire survey to collect data was employed, comprehensively investigate non-verbal performance in theatre, and comprehensively discuss the definition, classification and characteristics of key elements of non-verbal performance in drama based on the research design of analytical study, and reveals how non-verbal performances are expressed in theatre. Then, it provides ideas for the theatre creation and education. (shrink)

We are considered to be highly evolved conscious beings, but if we look at ourselves, do we actually feel that we are there; wise men or Homo sapiens as we call ourselves? In today’s world, reward based conditioning forms our contemporary culture that deeply defines how we look at life and how we intuitively perceive our consciousness. Presently, acquisitions are our priority and we behave as narcissistic conditioned puppets and let governments and corporations rule our lives. We are hypocrites that (...) can see, but behave blind; blinded within the realms of our short-termed thrills, joys and beliefs. Augmenting logical questioning and logical conditioning is the only way we can come out of this state that cannot be done individually, it has to be a collective effort. This paper is an attempt to understand our very own evolved consciousness and its relation to the current world with the true meaning of our existence, where we seek to understand it from a logical sense. (shrink)

Modern cognitive and clinical psychology offer insight into how people deal with natural disasters. In my methodological paper, I make a strong case for incorporating experimental findings and theoretical concepts of modern psychology into environmental historical disaster research. I show how psychological factors may influence the production and interpretation of historical sources with respect to perceptions of and responses to disasters. While previous psychological approaches to history mostly involve psychoanalysis, I focus on empirical psychology. Specifically, I review a number of (...) well documented heuristics, biases, and memory modulations as described by cognitive psychology. Moreover, I argue that including investigations on disaster related mental disorders would complement the environmental historical research of natural disasters. My approach highlights a strong potential for interdisciplinary collaborations among environmental historians and psychologists. (shrink)

This paper employs the theoretical framework of phenomenology of the body to explore embodiment and existentialism in contemporary Chinese dance. With the backdrop of the current status and influence of Chinese contemporary dance in the realm of dance arts, it analyzes the unique forms and techniques of bodily expression in Chinese contemporary dance, attempting to explore how personal emotions, inner experiences, and spiritual states are conveyed through bodily expression in Chinese contemporary dance. The paper utilizes case analysis and observational research (...) methods to delve into the cognition of bodily expression and identity construction in Chinese contemporary dance, as well as how the body is used to reflect on the cognition and positioning of Chinese traditional and modern cultural identities, exploring the diversity and changes in Chinese cultural identity. Finally, by applying Merleau-Ponty's phenomenology of the body theory, it deeply analyzes the significance and existentialism of bodily expression in contemporary Chinese dance, experiencing and understanding the relationship between bodily subjectivity and self through dance. Through these studies, we can gain a deeper understanding of the complexity and diversity of bodily expression in contemporary Chinese dance, enabling dancers to reassess their ability to express emotions, as well as the application and insights of Merleau-Ponty's phenomenology of the body therein. (shrink)

In the spring of 2015, a series of shanshui landscapes by cartoon artist Feng Zikai decorated official China Dream posters in Shanghai, and could since then be encountered in the streets and subway stations of all major cities. While the dissem- ination of national values and active citizen participation in the government’s envi- ronmental modernization program is clearly the major trajectory, this rapprochement towards a formerly prosecuted artist concomitantly illustrates the current reorientation towards local traditions and cultural continuity in China’s (...) state ideology and propa- ganda work. At the same time, the 2014/15 Shanghai arts scene contributed a number of avant-garde landscape art works that pronounced their creators’ concern about the environmental crisis. It will be argued that there is a subliminal dialogue between Xi Jinping’sproject of landscaping the China Dream and the artists’ selective reclamation of shanshui aesthetics in their ecocritical approaches. Whereas the national propa- ganda machine strives to appease opposition against rampant industrial pollution and heritage demolition, the cultural sphere responds by taking the government’s tam- pering with traditional ethico-aesthetic principles at its word. (shrink)

This article presents a quantitative way of modeling the interim decisions of clinical trials. While statistical approaches tend to focus on the epistemic aspects of statistical monitoring rules, often overlooking ethical considerations, ethical approaches tend to neglect key epistemic dimension. The proposal is a second-order decision theoretic framework. The framework provides means for retrospective assessment of interim decisions based on a clear and consistent set of criteria that combines both ethical and epistemic considerations. The framework is broadly Bayesian and addresses (...) a fundamental question behind many concerns about clinical trials: What does it take for an interim decision (e.g., whether to stop the trial, or continue) to be a good decision? I provide simulation illustrating the modeling of interim decisions counterfactually using the framework. (shrink)

Thật là mừng khi thấy ngoài 80, cậu Biên vẫn mạnh khỏe, minh mẫn, hỏi những câu hỏi của sự kiện cũ mà tôi phải lục tìm trí nhớ mãi mới trả lời được.

In this short invited chapter, I argue that whereas some people may be warranted in thinking that God is what Thomas Jay Oord refers to as “amipotent,” or only empowered to be perfectly loving, other people may be equally as warranted in thinking that God is instead omnipotent, or all-powerful, depending upon pragmatic considerations.

This open access book gathers the latest advances and innovations in the field of architectural education, as presented at the 2023 annual conference of the European Association for Architectural Education (EAAE AC), “School of Architecture(s)”, held in Turin, Italy, on August 30–September 1, 2023.

[114 pages] This special issue “Understanding Chinese Culture in the World” represents contributions to the Young Experts Symposium 2022 (YES 2022). The event was held online at Beijing Normal University, Zhuhai (China) and provided a platform for topics related to classical, modern, futuristic, and comparative perspectives on Chinese culture—across generations, cultures, and disciplines.

Explores the significance of postwar German representations of violence in other places and times. -/- .

Thepaperaimstoexplorethepotentialofresearchbydesigninarchi- tecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similar- ities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge through visual, associative, (...) and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university pro- grams in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the inten- tion to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared? (shrink)

“Adaptive Reuse. Theoretical Glossary and Design Labs” is an incoming book, featuring essays on the topic of “adaptive reuse” from worldwide academics and selected projects from Reuse The Ruin summer workshops (2021, 2022, 2023), to be published in 2024.

“Adaptive Reuse. Theoretical Glossary and Design Labs” is an incoming book, featuring essays on the topic of “adaptive reuse” from worldwide academics and selected projects from Reuse The Ruin summer workshops (2021, 2022, 2023), to be published in 2024.

“Adaptive Reuse. Theoretical Glossary and Design Labs” is an incoming book, featuring essays on the topic of “adaptive reuse” from worldwide academics and selected projects from Reuse The Ruin summer workshops (2021, 2022, 2023), to be published in 2024.

Cả một vạt hoa vối lúc tháng 5-6 chi chít khắp các cành nay đã rụng tơi tả sau nhiều cơn mưa lớn của tháng 7.

El 13 de julio de 2021 se realizó una entrevista a Adolfo Elizaincín, miembro de número de la Academia Nacional de Letras de Uruguay. El motivo de esta conversación fue que se resolviera la interrogante de saber cuál es la razón por la cual existen constantes modificaciones del habla y la escritura del idioma castellano. Frente a esta incógnita, se pudo reconocer que habrá variantes en cada país o región según el tiempo y el espacio en los que se usa (...) tal lengua. Eso originará creación de palabras, desaparición de estas o adaptaciones a formas inusitadas. A su vez, el intercambio de ideas que se efectuó con el académico sirvió para dilucidar la función que tiene todo hablante con respecto a su idioma. Entre los que mencionó, fueron la preservación del idioma y la promoción de actividades culturales que dejaran un rastro de la producción de cada quien, ya sea a través de proyectos de investigación o de la misma literatura. De igual manera, el entrevistado recalcó la diferenciación que emerge a partir de dos lenguas: la dominante y las regionales, puesto que habría una mayor predilección sobre la base del idioma según la mayor cantidad de hablantes en un solo país. (shrink)

Il presente volume ibrida in modo originale il libro d’arte e il libro d’artista. I testi, ispirati da alcune parole presentate in forma aggettivale e pertanto più poetica e connotativa, non costituiscono un commento alle immagini create da Laura Pitingaro, ma sono chiavi interpretative che esplorano la varietà ambientale da prospettive culturali eterogenee (filosofiche, scientifiche, artistiche). Queste stesse parole costituiscono al contempo l’elemento seminale da cui germoglia la creatività immaginifica dell’artista. Da questa coesistenza e varietà di forme interpretative ed espressive (...) deriva la natura biodiversa del libro che trasforma concetti astratti in esperienze sensoriali, visive e linguistiche. Pertanto, il libro nasce con il proposito sperimentale di creare un mosaico di parole e immagini per una più profonda comprensione della biodiversità in chiave multidisciplinare e transdisciplinare. Tuttavia, il suo scopo va al di là della mera divulgazione di informazioni. Tra- smettendo non solo la conoscenza razionale, ma soprattutto la consapevolezza sensibile (dal greco aisthesis = sensazione) della biodiversità, questo libro d’arte aspira a suscitare emozioni, trasportando il lettore in un viaggio sensoriale attraverso cui idee e concetti complessi sono veicolati in modo accessibile e coinvolgente. Dunque, perché un libro d’arte per riflettere sull’ambiente? Perché è un’opera bella e preziosa come il suo contenuto, la biodiversità. (shrink)