The Onion is a 1995 video performance by Marina Abramović. The essay aims at analyzing some central themes of the artist’s path, taking this work as reference text. First of all, by including the artist in the process of dissolution of beauty marking the art of the Twentieth century and regarding performance art as one of the outcomes of this process inaugurated by the avant-gardes. Secondly, by showing the link between the political dimension and an existential reflection focused (...) on the role of the artist and the woman in the contemporary world. (shrink)

Describing some of Marina Abramović’s performances, this essay aims to provide one possible philosophical framework in what concerns this form of art. The scope of presence in Abramović is enlighten by employing some vocabulary from a certain body poetics into the embodiment reflection, and ontological issues in performance come out when thinking about re-performance possibilities.

This essay analyses the opera project 7 Deaths of Maria Callas by Marina Abramović, premiered in Munich in September, 2020. The first section reconstructs the role that the Greek soprano played in the life of the Serbian performer, bringing the latter to a gradual sense of self-identification. Then, the thirty-years-long development of the original concept of the video piece How to Die into the actual project through its various stages is taken into account, and the stage realisation of (...) the work is described in detail. The third section focuses on the representation of death in Marina Abramović’s performances, while section four compares Callas and Abramović’s works and lives, and their status as iconic women. The last section retraces Abramović’s artistic path which has led her from her extreme and essential performances of the 1970s to her recent experimentations with other media and to her meditation on immaterial art. (shrink)

Bajo la inspiración de la performance Lips of Thomas de Marina Abramovic, se examinan en este trabajo las fisuras y las paradojas que plantea un posible circuito interpersonal del dolor, en el que se distinguen al menos cuatro momentos: experiencia álgica, expresión doliente, reconocimiento y comportamiento de ayuda. Nos detenemos especialmente en el caso de una experiencia álgica a la que no corresponde sorprendentemente una expresión, y también en el caso de una expresión doliente que ha de superar múltiples (...) dificultades para su reconocimiento. Mientras que el dolor agudo parece el verdadero actor que se despliega y manifiesta en la escena sin abrir apenas espacio a una modulación personal, el dolor crónico puede llegar a exigir una cuidadosa puesta en escena para alcanzar paradójicamente el reconocimiento de su mera realidad. Las múltiples fisuras y paradojas en la experiencia, expresión y reconocimiento del dolor pueden deberse, en definitiva, no a una disfunción casual de un circuito funcional y operante, sino al carácter disruptivo, destructivo o aberrante de una experiencia álgica que se manifiesta en último término como experiencia del mal. (shrink)

Lyotard’s references to film and video are so limited, it should be relatively easy to expand his repertoire and consider his thoughts in relation to those of my own. But I have struggled, and skirted round my chosen topic for too long; how can his ideas be brought to play productively to my own ends – to consider the relationship of performance art to film? Perhaps that is the problem: I have sought a productive return on my investment, rather than (...) light that match simply to watch it burn. Listen to me, then, as I set fire to the skin of the film and confront the tangled mess of melted celluloid: after the performance. This article considers aspects of Marina Abramović in The Artist is Present (dir. Akers, 2012), Stuart Brisley’s performance in Ghost Dance (dir. McMullen, 1983) and a short video and dance by Kiff Bamford. (shrink)

Contemporary theatre allows for a script, a scenario, that is exclusively visual. If action is no longer supported by dialogue, this does not mean that it will disappear. It will undoubtedly return in gestural exchange and in a temporality that is expansive or contracted and condensed. Action becomes an opaque enigma. The interpretation of performative action is a journey that the spectator undertakes in a foreign country, where we are forced to learn a new language. It remains to be seen (...) what the reaction and the work of interpretation of the spectator would be when confronted with an action knowingly deprived of any meaningful anchor or referent. Would it merely be confusion? Confusion and an interpretative effort that often comes to an end by a harsh defeat: the aesthetic of the performative represents a moment of rupture in the process of rethinking of the traditional relationship between artist and spectator. (shrink)

Throughout the 2016 US presidential election, pundits repeatedly described Donald Trump as a performance artist and his campaign as performance art. Meanwhile, his alt-right supporters were mounting performance art shows, debating the meaning of Marina Abramović’s work, and developing their own theories of political performance. For experts in performance theory, such punditry and provocation is like the image in a funhouse mirror. It’s hard to make sense of such bizarre, distorted images—let alone to recognize ourselves in them. This (...) article insists that, nonetheless, we should try. Trump and his movement pose special challenges to American political culture—and also to academic performance theory. His rise has revealed the limitations of a politics (and performance theory) based on norms and their transgression. It has also given the lie to politicians’ false belief that they (and only they) are not performing their politics. The challenge now—for academics, activists, citizens, and journalists alike—is to articulate how performance works, how it provides models of cultural power. (shrink)

This book examines transmissibility to remind us why the vitality and epistemic significance of an artwork is anachronistic and futural. Transmissibility: Writing Aesthetic History performs a transdisciplinary philosophy of aesthetic history via the work of Gilles Deleuze and Félix Guattari, Cy Twombly, Marina Abramović, Paul Celan, Cecil Taylor, Italo Calvino, Candida Höfer, and others by focusing on the artistic and historiographic labor that differentiates artworks from other modes of creation.

This article discusses works of two artists—Marina Abramović and Elżbieta Jabłońska —who explore a clash between heroism and everydayness in the kitchen space. Everyday routine inexorably demands being performed. Its uncompromising decrees spare neither mystics nor the free souls of artists. Even the most spiritual people must eat and drink. To solve the conflict of matter and spirit, these artists draw on different traditions that transcend reality: mysticism and the superheroes of popular culture, respectively. Abramović enters the (...) kitchen as St. Teresa of Avila while Jabłońska dons Superman’s cap. Does one have to rise above the ground to feel that cooking, cleaning, and washing up are not beyond the powers of an average woman? Are the body and the soul doomed to fight each other permanently? Each artist’s work suggests different answers and solutions. (shrink)

This study examines how hunger narratives and performances contribute to a reconsideration of neglected or prohibited domains of thinking which only a full confrontation with the body's heterogeneity and plasticity can reveal. From literary motif or psychosomatic symptom to revolutionary gesture or existential malady, the double crux of hunger and disgust is a powerful force which can define the experience of embodiment. Kafka's fable of the "Hunger Artist" offers a matrix for the fast, while its surprising last-page revelation introduces disgust (...) as a correlative of abstinence, conscious or otherwise. Grounded in Kristeva's theory of abjection, the figure of the fraught body lurking at the heart of the negative grotesque gathers precision throughout this study, where it is employed in a widening series of contexts: suicide through overeating, starvation as self-performance or political resistance, the teratological versus the totalitarian, the anorexic harboring of death. In the process, writers and artists as diverse as Herman Melville, Percy Bysshe Shelley, Christina Rossetti, George Orwell, Knut Hamsun, J.M. Coetzee, Cindy Sherman, Pieter Breughel, Marina Abramovic, David Nebreda, Paul McCarthy, and others are brought into the discussion. By looking at the different acts of visceral, affective, and ideological resistance performed by the starving body, this book intensifies the relationship between hunger and disgust studies while offering insight into the modalities of the "dark grotesque" which inform the aesthetics and politics of hunger. It will be of value to anyone interested in the culture, politics, and subjectivity of embodiment, and scholars working within the fields of disgust studies, food studies, literary studies, cultural theory, and media studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Eternal Present: Slow Knowledge and the Renewal of TimeDouglas E. ChristieA woman is seated in a chair at the center of a large, light-filled atrium. Across from her sits an adolescent girl, Asian or Asian-American, maybe thirteen years old. They are both perfectly still. They look intently at each other. That is all. Minute after minute passes. Neither of them moves. I look more closely. Utter stillness. Not (...) quite repose, for there is a sense of intentionality to their engagement with each other, but deep stillness and calm. I look around the room and see a hundred or so persons also taking in the scene. Everyone is silent, though there are occasional sounds—shoes shuffling on the floor, a cough, a sigh. It takes me a few minutes to understand what is going on, what I am seeing. I feel my own anxiety to place myself somehow in this scene, to find the appropriate categories for grasping what is unfolding before me. I ask a person nearby; he tells me: it’s Marina Abramovic. She is performing “The Artist Is Present,” part of a retrospective of her work at the Museum of Modern Art in New York City.1 “Oh,” I say, “thanks.” It’s performance art. Got it. But knowing this only helps a little. What are they doing? What is going on here? What is my part, if any, in what is happening? My mind, as usual, is racing ahead trying to figure it out. Which in this moment I cannot do. So, I pause (inwardly), take a step back and try to reorient myself. I take a breath, then another. I look again at the two figures.Their stillness is uncanny. This is part of what is making me anxious, I think. They are absorbed completely in the simple act of gazing at each other. I smile, thinking at first of the “stare-downs” I used to have with my brother when we were kids. Who would flinch (and fall into uncontrollable laughter) first? It was a game of chicken. With the eyes. Usually it was of short duration, and someone had to lose. This is different. The quality of attention, in particular, feels utterly different. These two are not trying to knock each other off their chairs. No one is trying to “win” at anything. They are, it seems, simply giving themselves to the work of beholding and being beheld. Extraordinary. I am not sitting in the chair. But I feel a jolt run through my body as I begin to feel the depth and power of this moment. The sense of nakedness, of naked abandon, of vulnerability. What else? Tenderness. Yes, I sense a certain tenderness passing between these two figures. And not just between them. Also touching those of us gathered in the room watching them. How is that possible? We are all [End Page 13] strangers to one another after all. And yet within this space, for these few moments there is a remarkable and palpable sense of intimacy.I am not sure at how long I stand there. But after a while, I feel the need to move, to get some relief from the intensity of this exchange. I leave the room where the artist and her companion are sitting and walk into a nearby gallery. (Later I learn that anyone visiting the museum can occupy the chair opposite the artist and that over the course of the exhibit many, many people do just that.) I am not ready to look at anything else, not yet. I have to gather myself a little first.Eventually, I do begin to take in some of the other art in the museum. But my mind keeps returning to that room and to those two seated figures. During the next couple of hours, I return to the atrium several more times. Each time I do, I am struck by how still these two figures are, how alive. Also how still and alive I feel entering into that space. Those of us beholding the scene are respectful and quiet but also animated, exchanging brief whispers, glances, smiles. We are captivated, enthralled.Suddenly... (shrink)

Currently, art takes on the characteristics of a secular religion: it offers identity, dogmas, canons, experiences of transcendence and provides a certain worldly salvation without demanding any commitment to a creed or a doctrine. I will illustrate this through the example of the performance Marina Abramovic carried out at the Museum of Modern Art (MoMA) in The Artist is Present (2010). I will connect this to the distinction that Agamben has set between the concepts of secularization and desecration: while (...) secularization displaces the forces from one place to another, leaving them intact, desecration involves neutralizing the desecrated, eliminating its aura and putting it back to use. Even though it is commonly believed that contemporary art desecrates realities, I will try to show that actually it secularizes them. Art brings with it the strength and meaning of the religious and keeps the integrity of the auratic space within the artistic realm. This is one of the reasons why transgression in art is such an important topic for theorists: it is a constant effort to redefine the limits between what is considered sacred (and art has a decisive power on that) and what is profane (not sacred anymore or not yet). (shrink)

Eschatologies often associate this world with darkness and the beyond with light, seeking a move from the former to the latter. This article rethinks the importance of darkness through a reading of Heidegger’s concept of Augenblick, a blink of an eye, which exhibits a moment and site of a “beyond” coming to presence. Thus, the article contributes to approaches that seek to explore the ontological and poetic dimensions of politics. An onto-poetics of darkness draws attention to the presence of the (...) concealed in each moment of actualization and it highlights the way in which the beyond created in the Augenblick involves relation both to other beings and to Being itself. The conceptual problematic of a “beyond” is further explicated through an engagement with Marina Abramović’s performance “The Artist Is Present.” Instead of a move from darkness to light, such eschatology implies inhabiting the darkness of the blink of an eye. (shrink)

This original study offers a timely reconsideration of the work of French philosopher Jean-François Lyotard in relation to art, performance and writing. How can we write about art, whilst acknowledging the transformation that inevitably accompanies translations of both media and temporality? That is the question that persistently dogs Lyotard's own writings on art, and to which this book responds through reference to artists from the recently-formed canon of performance art history, including the myths of seminal figures Marina Abramovic and (...) Vito Acconci, and the controlled documentation of Gina Pane's actions. Through the unstable, untranslatable element that Lyotard calls the figural, his thought is brought to bear on attempts to write a history of performance art and to question the paradoxically prescriptive demand for rules to govern 're-performance'. Kiff Bamford contextualises Lyotard's writings and approach with reference to both his contemporaries, including Deleuze and Kristeva, and the contemporary art about which they wrote, whilst arguing for the pertinence of Lyotard's provocations today. (shrink)

The relation between “presence” and “representation” is an age-old topic in the arts, but it is further complicated in our time of advanced media conditions. Pierre Huyghe is one artist who has consistently addressed questions of presence and representation throughout his artistic oeuvre, including the role of the witness within it. Considering the sophistication of Huyghe’s work with regard to the riddle of presence in the realm of contemporary means of representation, the artist’s work is taken as a case study (...) for a broad range of artists exploring related topics within the arts and the media. This paper argues that art that interrogates the question of presence within the context of contemporary media culture—from Marina Abramović to Stelarc, Jeffrey Shaw to Julia Scher—asks for being interpreted through presence theories developed within the field of media studies in addition to methods of art theory and criticism. Accordingly, Huyghe’s work is productively related to one such theory, namely the YUTPA model by Caroline Nevejan, which theorizes the interrelated concepts of natural, mediated, and witnessed presence. (shrink)

M’appuyant sur la pratique de l’artiste Marina Abramović qui vise à constituer la performance en art de répertoire, je propose dans cet article une ontologie des œuvres performatives. Est-il possible de re-performer une œuvre du passé, comme on exécuterait une œuvre musicale définie par sa partition? La question philosophique que j’adresse s’inscrit dans le cadre d’une ontologie appliquée sensible aux problèmes concrets que soulèvent certaines pratiques bien identifiées dans le monde de l’art : identification, préservation et conservation des (...) œuvres. J’examine successivement différentes hypothèses : une performance artistique est un événement typique identifié par son script et multiplement instanciable ; la performance artistique est l’énonciation d’une idée ; la performance artistique est un événement doublement initié et par le contexte de sa composition et par celui de son exécution. Ces différentes formulations conduisent à interroger la place de l’interprète dans les performances artistiques. Ma contribution principale consiste à mettre au jour les conditions de félicité des œuvres performatives et à interroger la relation que ces conditions de félicité entretiennent avec les critères d’identification des œuvres dans le cadre d’une interprétation contextualiste de l’ontologie. (shrink)

Hans Peter Riegel zählt zu den wenigen Künstlern, die gleichzeitig als Autor tätig sind. Aus dieser Position schreibt er kenntnisreich und kritisch über den Kunstmarkt sowie Künstlerinnen und Künstler. Während der Recherchen zu seinen erfolgreichen Biographien über Joseph Beuys und Jörg Immendorff hat er viele Gespräche geführt, die bislang nur in Auszügen veröffentlicht wurden. Immer wieder hat er auch für namhafte Medien geschrieben, Künstler und Kreative interviewt. Jetzt hat Hans Peter Riegel eine Auswahl dieser Texte in diesem Buch zusammengefasst. Unter (...) anderem mit Beiträgen zu Marina Abramovic, Helge Achenbach, Joseph Beuys, Tina Brown, Jörg Immendorff und Eva Presenhuber sowie Interviews mit Jörg Immendorff, Diane Keaton, Marc Spiegler und Klaus Staeck. (shrink)

The relation between “presence” and “representation” is an age-old topic in the arts, but it is further complicated in our time of advanced media conditions. Pierre Huyghe is one artist who has consistently addressed questions of presence and representation throughout his artistic oeuvre, including the role of the witness within it. Considering the sophistication of Huyghe’s work with regard to the riddle of presence in the realm of contemporary means of representation, the artist’s work is taken as a case study (...) for a broad range of artists exploring related topics within the arts and the media. This paper argues that art that interrogates the question of presence within the context of contemporary media culture—from Marina Abramović to Stelarc, Jeffrey Shaw to Julia Scher—asks for being interpreted through presence theories developed within the field of media studies in addition to methods of art theory and criticism. Accordingly, Huyghe’s work is productively related to one such theory, namely the YUTPA model by Caroline Nevejan, which theorizes the interrelated concepts of natural, mediated, and witnessed presence. (shrink)

This essay explores the nature of being visible and its normative dimensions. In a first part, core traits of an anthropology of visibility are sketched, drawing mainly on Hans Blumenberg’s phenomenological studies. In a second part, human visibility is investigated regarding its implications for our self-understanding, for our relation to others, and for the publicness of our existence. Apart from Blumenberg, also Jean-Paul Sartre, Charles Taylor, Hannah Arendt are involved in this examination. In a third part, two ‘basic rights’ are (...) brought into focus: the right to be seen and the right to remain unseen. In addition to the philosophical exploration, texts by Ralph Ellison, Elena Ferrante and Dave Eggers are discussed as literary references. In a fourth part, a performance by Marina Abramovic that thematised the connection of visibility and recognition is introduced and analysed. (shrink)

In this new book, Florian Klinger gives readers a basic action-theoretical account of the aesthetic. While normal action fulfills a determinate concept, Klinger argues, aesthetic action performs an indeterminacy by suspending the action's conceptual resolution. Taking as examples work by Tino Sehgal, Kara Walker, Mazen Kerbaj, Marina Abramović, Cy Twombly, and Franz Kafka, the book examines indeterminacy in such instances as a walk that is at once leisurely and purposeful, a sound piece that is at once joyous and mournful (...) and mechanical, or, a sculpture that at once draws one in and shuts one out. Because it has irresolution as its point, aesthetic action presents itself as an unsettling of ourselves, our ways, our very sense of who we are. As performers of such action, we don't recognize one another as bearers of a shared human form as we normally would, but find ourselves tasked anew with figuring out what sharing a form would mean. In conversation with philosophers such as Kant, Hegel, Wittgenstein, and Anscombe; political thinkers such as Marx and Lorde; and contemporary interlocutors such as Michael Thompson, Sebastian Rödl, and Thomas Khurana, Klinger's book makes a case for a conception of the human form that systematically includes the aesthetic: an actualization of the form that is indeterminate and nevertheless rational. The book gives the project of Western philosophical aesthetics a long-overdue formulation for our present that aims to do justice to contemporary aesthetic production as it actually exists. It will appeal to those working in philosophy, art, and political thought. (shrink)

The purpose of this paper is to examine how different aspects of aesthetic theory can be utilized in education so as to contribute to a workable, coherent, and multifaceted arts integration approach in elementary education. The authors begin by presenting specific aspects of aesthetic theory as indicative of the basic theoretical and philosophical approaches to the phenomenon of art. They then refer to examples of activities designed on the basis of these different aesthetic aspects, and finally, they present the findings (...) that came out of these activities’ pilot implementations in preschool and school classrooms. Based on the methodological analysis of these implementations, the authors examine the benefits of the activities deriving from each of the different aspects of aesthetic theory; how they differ depending on the aspect from which they arise; and how the implementation of these types of activities as multi-theoretical sets can reveal a new way to design a coherent and multifaceted arts integration curriculum. What the authors attempt to do is show that the variety of approaches to the definition of art and the analysis of aesthetics can be the touchstones for organizing arts integration in elementary education. (shrink)

El artículo propone indagar cómo los sujetos se vinculan con lo cultural a través de prácticas y consumos que están inscriptas en diversos vínculos de sociabilidad —que recomiendan, llevan, acompañan— y que se combinan y entrelazan para conformar repertorios culturales complejos. Esta indagación fue desplegada a través de una reconstrucción de biografías culturales que se basó en la realización de entrevistas semi-estructuradas con un conjunto de sujetos que fuimos definiendo a través de los criterios del muestreo teórico. Del conjunto de (...) entrevistados, seleccionamos algunos casos que nos permitían construir perfiles de practicantes culturales. El desarrollo concluye con una caracterización de las prácticas culturales registradas como “sociales”, “reflexivas” e “interconectadas”, y apunta a describir un proceso emergente de singularización de las trayectorias culturales de los sujetos y de constitución de perfiles de gusto plurales y heterogéneos. (shrink)

Este trabajo está divido en dos partes: en la primera de ellas se aborda la novela decimonónica de Eça de Queirós El crimen del padre Amaro: Escenas de la vida devota, así como la adaptación cinematográfica de Carlos Carrera y el guión de Vicente Leñero para la película El crimen del padre Amaro. Y un particular retorno al género novelístico El padre Amaro de Vicente Leñero. La metodología que se usará en este primer apartado será: exégesis de la adaptación, resumen (...) y elementos característicos de la novela Eça de Queirós, la denuncia social, y la relación amorosa; en una segunda parte se realizará un análisis de El crimen del Padre Amaro bajo la perspectiva de semiótica de la cultura de Yuri M. Lotman basada en su texto Estructura del texto artístico. (shrink)

This article presents the results of the analysis of a number of linguistic metaphors found in a corpus of opinion articles published in the Spanish newspaper El País. The authors included in the corpus, who tend towards the left of the political spectrum, use metaphor to express moral judgements on the actions and decisions of the conservative, centre-right People’s party, which governs Spain with an overall majority. With the aim of describing this discourse, we have undertaken a qualitative analysis with (...) a conceptual framework deriving from CDA and cognitive linguistics. First, therefore, we have made use of the methodology developed by Steen and the Pragglejaz group to extract the discourse units that could be considered as the lexical expression of an underlying mapping between domains, that is, the metaphors; second, according to the descriptions of Talmy, Croft, Sweetser, Sullivan, and Dancygier and Sweetser, we have verified that the different types of grammatical structure in which the lexical items appeared also indicated the existence of a metaphorical thought process; and third, in the words of van Dijk, we have studied the ideological semantics underlying conceptual structures and conceptual content. As we have demonstrated, all the samples of linguistic metaphors found led readers to construct the same interpretation of the meaning: The Spanish People’s party government is the past, a past that provokes rejection and which was thought to be definitively ended. (shrink)

This is a review of the book Mozg - kultura - socium. Kantianskaya programma v cognitivnykh issledovaniyakh by Bazhanov V.A. The author`s main aim is a reconsideration of some fundamental principles of epistemology and philosophy of science in the light of state-of-the-art advancements of neurosciences. According to the author of the book, social and cultural revolution in neurosciences has been crucially modifying the initial Kantian program of consciousness research and the modes of linguistic representation of its results. In particular, in (...) epistemology the universal concept of transcendental subject has been altered with regard to neurobiological and social data, which concern some preconditions of cognitive activity. In philosophy of science such a shift of research perspective allows to implement a naturalistic interpretation of natural sciences, clarifies the problem of empirical foundations of mathematics and sheds a new light on the problem of apriori elements of mathematical thought. The analysis of evolutionary and neurobiological preconditions of logical thought leads to the sort of revival of psychologism program in logic, which enables author to put forward an original interpretation of the problem of plurality of logical systems. Finally, some topics of social sciences as well as problems of genesis of art, ethical and religious systems, can acquire new interpretation with respect to modern investigations in cognitive science. (shrink)

This paper establishes that Robert Boyle’s complex chemical ontology implies a non-reductionistic conception of chemical qualities and, more specifically, a conception of chemical qualities as being dispositional and relational. Though Peter Anstey has already shown that that Boyle considered sensible qualities to be dispositional and relational, this moves beyond Anstey’s work by extending his arguments to chemical properties. These arguments are, however, merely a first step in establishing a non-reductionistic interpretation of Boyle’s chemical ontology. A further argument will show that (...) Boyle regards chemical and other higher-level properties as being emergent and supervenient properties. These arguments are supported by substantial textual evidence from Boyle’s writings, which show that he clearly conceived of chemical substances as functional wholes whose properties emerge not only from the microstructural ordering of their parts but also from their relationship with other chemical substances within the context of experimental practice. (shrink)

In the article the problem of the system of urban management in emergency and crisis situations were considered. Composition and functions of the municipal government have been characterized. It was disclosed the concept of "emergency" and "crisis". Typology of crisis and emergency situations include: natural disasters, manmade disasters, sanitary-epidemiological, socio-political and economic crises. Crises have been classified: the reasons of occurrence, in the sphere of manifestation, on the possibilities of forecasting and duration. Typical measures to manage the liquidation of emergency (...) situations in the city have been identified. Principles and steps of the City of crisis management are presented. Analysis was performed operational management experience life support in an emergency situation caused by the fighting. Was justified by the implementation of additional features for managing urban emergency response and overcome the consequences of the social, economic and environmental crisis. Perform additional functions involves restoration of vital facilities of the city, which are damaged by the fighting. Additional features of urban governance provide fault detection of communal, social, engineering, road infrastructure. Function provides an assessment permanently damaged facilities. Function ensures the development of the investment project for restoration of urban infrastructure. Analysis functions provide resource support the restoration project. Functions provide monitoring restoration projects of urban infrastructure. (shrink)

This paper presents the collective reflection of a temporary community of inquiry (COI) created during an international workshop at the 20th biennial ICPIC conference--“Philosophy In And Beyond the Classroom: P4wc Across Cultural, Social, and Political Differences”-- and the suggestions emerging from that event. The workshop, entitled “Pedagojazz—improvising and inquiring, community interplay”, was conducted via Zoom, but participants were both online and present in person. The topic focused on the pedagojazz perspective, and the short activities proposed were aimed at involving the (...) (temporary) COI in a collective discussion about how it would be possible to transform a community of inquiry into an inquiring-jazzing community. Three premises were introduced as common background on which to develop our reflections: the pedagojazz perspective; the connection between pedagojazz idioms and the different roles of the facilitator in P4wC; and the idea that jazz, and collective improvisation in particular, can inform COI development. The principles and practices of pedagojazz and collective improvisation are presented in detail here. During the workshop, Zoom chat and the Wooclap site were used to involve all participants and to gather their contributions and suggestions. A word cloud and three tables were produced and are presented here. Interesting themes, questions and perspectives emerged that can help us reflect in a more complex way on the education of P4wC facilitators across cultural, social and political differences. (shrink)

In this article, we review the Agrarian Question focusing on dairy farms. We have the dual aim of adding to the debate surrounding the economic profitability of small and large dairy farms and increasing what is known about the decline of dairy farms. The agrarian question at the heart of our research centres on the paradoxical endurance of family farms, despite predictions from both liberal and Marxist perspectives that they would diminish in number over time. By addressing these complex issues, (...) we hope to shed light on the challenges and opportunities facing the dairy industry today. We focus on analysing dairy farms in the European Union countries, using panel regressions from 2008 to 2018 to define the relationship between the average number of cows per farm, profit margins and Farm Net Income. The most important results show that (i) paradoxically, profits were higher on smaller farms; (ii) however, empirical data show that small dairy farms are disappearing; (iii) this is because when including subsidies, farms with a higher number of cows are more profitable than smaller farms. (shrink)

Interest in Japanese language, and consequently the number of students of the Japanese language is constantly growing, both globally, and on the national level. Pula University undergraduate study program of Japanese Language and Culture and graduate program of Japanese studies with Japanese Language Teaching module, the first accredited Japanese study programs in Croatia, open up the possibility of introducing the subject curriculum of the Japanese language in secondary schools in the Republic of Croatia. Creation of educated teaching staff and the (...) publication of Japanese language textbooks in Croatian are important prerequisites for teaching in secondary schools, as the results of surveys in secondary schools and the number of students enrolled in Japanese study program indicate a great interest in this language. The aim of this paper is to develop a proposal for a subject curriculum of the Japanese language for secondary schools in the Republic of Croatia with content and structure based on an analysis of existing Japanese language curricula of foreign countries (the curricula of Germany, Serbia, Canada, and Ireland) and on the foreign language subject curricula of the Republic of Croatia (French, Serbian, Greek and Latin). The proposal presents parts of the elaborated learning outcomes and suggests selected topics and language content for two classes of secondary schools. In addition, cross‑subject topics correlated with Japanese language were also listed. (shrink)

This paper applies an Intersectionality Based Policy Analysis Framework to Ontario’s current mental health plan – The Roadmap: A Plan to Build Ontario’s Mental Health and Addictions Services – in order to identify the contextual influences, underlying values and assumptions, which promote or undermine the uptake of human rights and equity as a mental health policy priority in Ontario. We found that dominant framings of the “problem” of mental health (as lack of access, coordination or integration, as a fiscal drain, (...) as an economic burden, and as a clinical or medical problem) served to obscure and ignore the underlying social and structural conditions that impact mental health and the human rights violations that routinely occur in the context of “care.” We discuss the implications of The Roadmap ignoring social and structural determinants of health, and by way of contrast, explore how citizen engagement and activism can support rethinking mental health policy so that it is more just and equitable. (shrink)

The \\)-Robertson–Walker spacetime is under investigation. With the derived Hamilton operator, we are solving the Wheeler–De Witt Equation and its Schrödinger-like extension, for physically important forms of the effective potential. The closed form solutions, expressed in terms of Heun’s functions, allow us to comment on the occurrence of Universe from highly probable quantum states.

The article is devoted to Miguel Servet (Michael Servetus, Spain – Miguel Serveto, also known as Miguel Servet, Miguel Serveto, Revés, or Michel de Villeneuve) – the XVI century Spanish thinker who was recognized as a heretic and burnt at the stake in Geneva in 1553.The author discusses the specifics of Servet’s philosophical system, the scientific background of his system, and his key ideas that have become a matter for auto-da-fė. The author argues that Servet’s concept was aimed to reconstruct (...) the “pure” Christian dogma, although he was not a professional theologist. The author claims that Servet used the deep knowledge in geography, astronomy, medicine, linguistics to create his complex system which was aimed to rescue the mankind from total destruction (Apocalypse). The author claims that Servet’s system could be considered as an example of interdisciplinary approach in the pre-disciplinary epoch. Moreover, Servet’s approach to the problem of personal salvation and the transformation of the humane nature is based on empirical scientific data. Hence, it is appropriate to consider his philosophical system as a mixture of theology, natural science and humanities. (shrink)

Let \(\textbf{K}\) and \(\textbf{M}\) be locally finite quasivarieties of finite type such that \(\textbf{K}\subset \textbf{M}\). If \(\textbf{K}\) is profinite then the filter \([\textbf{K},\textbf{M}]\) in the quasivariety lattice \(\textrm{Lq}(\textbf{M})\) is an atomic lattice and \(\textbf{K}\) has an independent quasi-equational basis relative to \(\textbf{M}\). Applications of these results for lattices, unary algebras, groups, unary algebras, and distributive algebras are presented which concern some well-known problems on standard topological quasivarieties and other problems.

A development in anthropological theory, characterized as the 'moral turn', is gaining popularity and should be carefully considered. In examining the context, arguments, and discourse that surrounds this trend, this volume reconceptualizes the discipline of anthropology in a radical way. Contributions from anthropologists from around the world from different theoretical traditions and with expertise in a multiplicity of ethnographic areas makes this collection a provocative contribution to larger discussions not only in anthropology but the social sciences more broadly.