In lieu of an abstract, here is a brief excerpt of the content:Virtual Gallery*Neil Hertz Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View (...) full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz.Footnotes* The photographs on the cover and back cover and pages 2, 14, 29, 43, 53, 66, and 80 were taken in Baltimore by Neil Hertz.Copyright © 1999 The Johns Hopkins University Press... (shrink)

Merleau-Ponty's phenomenological ontology engages deeply with visual art, and this aspect of his work remains significant not only to philosophers, but also to artists, art theorists, and critics. Until recently, scholarly attention has been focused on the artists he himself was inspired by and wrote about, chiefly Cézanne, Klee, Matisse, and Rodin. Merleau-Ponty at the Gallery expands and shifts the focus to address a range of artists (Giorgio Morandi, Kiki Smith, Cy Twombly, Joan Mitchell, and Ellsworth Kelly) whose work (...) came to prominence in the second half of the twentieth century and thus primarily after the philosopher's death. Véronique M. Fóti does not confine her analyses to Merleau-Ponty's texts (which now importantly include his late lecture courses), but also engages directly with the art. Of particular concern to her is the art's ethical bearing, especially as related to animal and vegetal life. The book's concluding chapter addresses the still-widespread rejection of beauty as an aesthetic value. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryPhotographs are by Christine Chin, a student in the MFA program in Photography at Purdue University. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger (...) view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2001 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GallerySarah Soquel MorhaimPhotographs in this issue are by Sarah Soquel Morhaim, a student at Cornell University. Morhaim is currently studying fine arts, political theory, and philosophy. The images were photographed at Coney Island, New York, and Ocean City, Maryland. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click (...) for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2000 The Johns Hopkins University Press... (shrink)

We live in a time when museum curators and gallery directors in the English-speaking world have to a distressing degree lost faith in the power of their own collections. Cowed by accusations of elitism, intimidated by nonsense academic art theory, worndown by guilt-inducing postcolonial victimology, they succumb to pressures either on the one hand to dumb down their presentations, or on the other hand to politicise them.

Traditionally galleries and museums were one-dimensional, visually.These curators, critics, artists and gallerists developed multi-sensory art galleries, involving all senses. as well as living installations such as bees producing honey their books published. This is far beyond traditional installations and exhibitions. Night tours by torchlight, education, accommodation, therapy, participation, exploration, local community involvement and more are available.

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryJessica Evett-Miller (bio) Click for larger view View full resolutionImage 1. Click for larger view View full resolutionImage 2. Click for larger view View full resolutionImage 3. Click for larger view View full resolutionImage 4. Click for larger view View full resolutionImage 5. Click for larger view View full resolutionImage 6. Click for larger view View full resolutionImage 7. Click for larger view View full resolutionImage 8. Click (...) for larger view View full resolutionImage 9. Click for larger view View full resolutionImage 10. Click for larger view View full resolutionImage 11. Click for larger view View full resolutionImage 12. Click for larger view View full resolutionImage 13. Click for larger view View full resolutionImage 14. Click for larger view View full resolutionImage 15. Click for larger view View full resolutionImage 16.Jessica Evett-Miller Jessica Evett-Miller took these photographs during a trip to Italy and Sicily and assembled them for her senior project at the Alternative Community School in Ithaca’ New York. Now a freshman at Cornell University, she is planning to design an independent major in visual studies. She would like to dedicate thesephotographs toherfather, John Miller, and to thank him for his inspiration.She paired the front and back cover images (the first and the last) to create an interplay between the two. They function together rather than separately.Copyright © 1996 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryDylan Litchman Click for larger view View full resolutionFront Cover.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 1.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 2.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 3.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 4.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 5.Photograph by Dylan Litchman. (...) Click for larger view View full resolutionFigure 6.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 7.Photograph by Dylan Litchman. Click for larger view View full resolutionBack Cover.Photograph by Dylan Litchman.Copyright © 1997 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryJohn Clair Miller* Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair (...) Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller.Footnotes* The photographs in this issue were taken by John Clair Miller, an architect who has a practice in the upstate New York area and is currently a Professor of Design in the Department of Architecture at Cornell University. The black border which frames each image was made in the darkroom by printing the edge of the negative at the same time as the picture was printed. These photographs are part of a series, “Reading the Surface,” and all are “Untitled.” Professor Miller began this series in 1977 on the coast of Maine, Down East.Copyright © 1998 The Johns Hopkins University Press... (shrink)

D. T. Lee and A. K. Lin [2] proved that VERTEX-GUARDING and POINT-GUARDING are NP-hard for simple polygons. We prove that those problems are NP-hard for ortho-polygons, too.

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryCarlo Zei Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8.Carlo Zei took (...) these photographs at Forte Belvedere in Florence, at the seaside at Forte dei Marmi, and in Prato. He is a PhD candidate in Comparative Literature at Cornell University and has published a few short works of fiction.Mario Ceroli’s sculptures are reproduced by kind permission of the artist.Copyright © 1997 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryHans Bellmer (bio) Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8. Click (...) for larger view View full resolutionFigure 9.Hans Bellmer Hans Bellmer (1902–1975), whose early work was published by Le Minotaure, is perhaps best known for Die Puppe, his variations on the Doll. The engravings in this issue were made for the 1955 edition of Georges Bataille’s novel Madame Edwarda [© 1996 Artists Rights Society (ARS), N. Y./ADAGP, Paris].Copyright © 1996 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryMao Ze Dong Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8.Fragments of (...) Mao Ze Dong’s poetry in his own handwriting are from a little red book of his poems. The superimposed characters, when read together, evoke a popular Chinese saying: “A monk holding an umbrella—no hair, no sky (no law, no higher principle).”Artwork for this issue was censored, pilfered, and assembled by the Committee for Global Enlightenment. Long live the people!Copyright © 1996 The Johns Hopkins University Press... (shrink)

The Dealing in the Art Galleries: How is Affecting the Contemporary Art World. The present study focuses on the different types of artist-gallery collaborations established in the contemporary art world, trying to underline the impact that such collaborations can have on the art world in general. I shall point several effects that these types of collaborations can have in relation to the art market or even in relation to the aesthetics of contemporary art. The role of private art collectors (...) is also of some importance in this equation and I shall also focus on some relevant examples of galleries or art dealers symptomatic to some of the issues discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang (bio) Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8.Emoretta Yang (...) Photographs by Emoretta Yang. She lives in Ithaca, New York.Copyright © 1996 The Johns Hopkins University Press... (shrink)

Increasingly, medical educators integrate art-viewing into curricular interventions that teach clinical observation—often with local art museum educators. How can cross-disciplinary collaborators explicitly connect the skills learned in the art museum with those used at the bedside? One approach is for educators to align their pedagogical approach using similar teaching methods in the separate contexts of the galleries and the clinic. We describe two linked pedagogical exercises—Visual Thinking Strategies (VTS) in the museum galleries and observation at the bedside—from “Training the Eye: (...) Improving the Art of Physical Diagnosis,” an elective museum-based course at Harvard Medical School. It is our opinion that while strategic interactions with the visual arts can improve skills, it is essential for students to apply them in a clinical context with faculty support—requiring educators across disciplines to learn from one another. (shrink)

Experimental research has shown that pairs of stimuli which are congruent and assumed to 'go together' are recalled more effectively than an item presented in isolation. Will this multisensory memory benefit occur when stimuli are richer and longer, in an ecological setting? In the present study, we focused on an everyday situation of audio-visual learning and manipulated the relationship between audio guide tracks and viewed portraits in the galleries of the Tate Britain. By varying the gender and narrative style of (...) the voice-over, we examined how the perceived congruency and assumed unity of the audio guide track with painted portraits affected subsequent recall. We show that tracks perceived as best matching the viewed portraits led to greater recall of both sensory and linguistic content. We provide the first evidence that manipulating crossmodal congruence and unity assumptions can effectively impact memory in a multisensory ecological setting, even in the absence of precise temporal alignment between sensory cues. (shrink)

ABSTRACT Utopias in Africa is an emerging academic field. While we are witnessing an increasing number of fictional and ideological utopias, little attention is paid to lived utopias. The Green Camp Gallery Project is such a lived utopia, which predominantly strives for realizing desired future imaginations in daily practices. Localized in the urban context of Durban, in a derelict house in the industrial area, the Green Camp strives for a “simple post-growth life,” which is closely related to nature and (...) the philosophy of Ubuntu. In so doing, the Green Camp responds to the overlapping crisis of urbanity and offers an alternative future aspiration. The Green Camp is not perfect and it is not able to solve the deep problems of South African society, but it offers an “island” of hope and imagination in a challenging urban environment. At the same time the lived utopia reveals the agency of the urban marginalized and contradicts widespread assumptions concerning environmentalism. Based on a qualitative study, the article takes an unusual perspective by analyzing the imagination of lived utopia in an emerging utopian hotspot—Africa. (shrink)

In this article we review the biosemiotic art exhibition «Signs of life» (Livstegn), that was organized by the Danish installation artist Morten Skriver and the biosemiotician Jesper Hoffmeyer in 2011 at the Esbjerg Art Museum (Denmark). The exhibition presented five central (bio)semiotic concepts using artistic tools: the semiosphere, the sign, semiotic scaffolding, semiotic freedom, and surfaces.

This book is a practical study of the forest industrial complex composed in analogical narratives of prosaic discourse and poetic themes presented in a gallery tour through the corporate moral forest. Its focus is on the changing of management by objectives policies to management by ethics philosophies and managing moralities.

This ethnographic account of a night spent in an African-American heroin shooting gallery in East Harlem, present the details of how heroin, cocaine and crack are bought, injected, enjoyed and suffered on New York City's most dangerous streets. Although the narrative spans only one ten-hour session, it builds upon the author's many years of participant-observation research among drug dealers and addicts. The observations and conversations evoke the roller coaster agonies and ecstasies of heroin and cocaine addiction. They also highlight (...) the structural contradictions and the human cost - in the form of immediate personal pain and fear - of US inner-city apartheid. By situating himself as a white researcher violating apartheid and challenging the taboos around class and sobriety, the author documents the polarization of street culture in the criminalized economy. The vacuum created by the breakdown of both the public and private sectors in inner-city communities has been filled by a dynamic underground drug economy. This expanding illegal industry, along with the state-sanctioned `war on drugs', has spawned an oppositional street culture of resistance that contradictorily is a central force in the community's devastation. While the drug addicts and dealers in this account are clearly victims, they are also the immediate agents for their neighborhood's destruction, and for their own violent suffering. At the same time, they remain `all-American' in their life view, internalizing the causes for their poverty and isolation. They direct their violence primarily against one another and against themselves. The desperation of the addicts is communicated in the minute details of how they inject themselves with potentially HIV-contaminated syringes. Simultaneously, however, the narrative emphasizes their professional skill at surviving on the street. It documents their extensive cultural capital in deploying interpersonal violence and economic deception, as well as their complex definitions of hierarchy and dignity. Ultimately, we are confronted by the banality of the painful contortions that are inherent in human quests for respect and meaning - if not ecstasy - in settings of extreme social misery. (shrink)