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The article is devoted to the actual problem in design projection of children’s choreographic costumes based on a bionic creative source. The analysis aimed to identify the scope of use of vegetables as a creative source for the production of fashion collections. It has been found that designers use vegetables for making clothes, for sketching the models of clothes, as well as a source of inspiration for form, decoration and colour choices. A figurative and stylistic analysis of bionic creative sources and the transformation of plant images into stage costumes for a children’s dance show was carried out in order to come up with models of stage costumes. During the process of costume design, the following principles were adopted: imitation of the bioform in separate elements of the costume, analogousness of silhouette solutions to natural bioforms, bionic design projection with the identification of functionality, and figurative and associative expressiveness of the costume. As a final step, the scenario of performance, as well as the requirements of the children and the creative source were considered when designing a collection of children’s stage costumes.

Resumo: O trabalho retoma algumas teses do teórico da dança André Lepecki (2008), com o objetivo de apontar limites de sua aposta na recusa do movimento como caminho de ruptura com a modernidade e com determinada noção de coreografia. Para tanto, efetua-se uma leitura crítica da narrativa da história da dança desenvolvida em uma obra desse autor, para que então sejam propostos três nuançamentos da noção de movimento, a fim de apontar, desse modo, que a articulação entre dança e movimento não é necessariamente unívoca e nem sempre tem as mesmas implicações com relação a dado projeto político ou metafísico característico da modernidade.

The authors have collaborated on a machine learning multiscreen video installation powered by computer algorithms and inspired by mimicry in the natural world. The artwork explores a pseudo-environment loop system in nature and artificial mechanical organisms combining living flowers with projectors, webcams, and computer monitors. Technically, the software adopts a genetic algorithm to simulate the process of mimicry; conceptually, this real-time art installation is in conversation with Nam June Paik's piece TV Garden. The project explores the possibilities of integrating artificial intelligence and nature in the landscape of the future.

This study aimed to test a hypothesis about the correlation between levels of gelotophobia, gelotophilia, and katagelasticism and understanding of Internet memes as a specific form of humour. Participants were 45 native speakers of Russian (aged 18 – 30; 73,3 % female). The levels of Internet memes understanding were assessed independently by two judges with the use of criteria based on the results of a series of semi-structured in-depth interviews. Gelotophobia, gelotophilia, and katagelasticism were assessed with PhoPhiKat questionnaire. J. Raven’s “Standard Progressive Matrices” test was used to control the level of psychometric intelligence. Concordance of judges’ scores for the understanding of memes was assessed with Kendall’s W and ranged from 0.71 to 0.84. Spearman’s rank correlation coefficient was used to test the main hypothesis. We found no correlation between the scores for gelotophobia, gelotophilia, and katagelasticism and understanding of Internet memes. Presumably, the type of attitude towards humour does not play a significant role in the understanding of comical texts. The qualitative content analysis of the interview protocols revealed some specific features of cognitive mechanisms of Internet memes understanding. Namely, successful participants with higher levels of understanding of Internet memes reflected more on their thinking process than those with lower levels of understanding of Internet memes, easily switched from an abstract level of reasoning to a concrete one, and tended to consistently develop detailed mental representations of the memes.

Since the 1970s, hundreds of thousands of migrant domestic workers from the Philippines have moved to Hong Kong. As they filled the city’s growing demand for care work, they also altered the city’s art practice and cultural landscape. In this article, I propose to consider a double meaning of ‘domesticity’ ‐ in both the language of motherhood and motherland ‐ as a productive framework to investigate the migratory experience of Filipina domestic workers. Focusing on Cedric Maridet’s Filipina Heterotopia and Xyza Cruz Bacani’s We Are Like Air, I examine how ‘domesticity’ has become particularly pertinent to understanding the ‘border’ through the movement of bodies and the global transferral of care labour.

Conservators, museologists, and architects make extremely complex decisions capable of affecting the way people perceive monuments. One might give this idea deeper consideration while pondering anastylosis. One of the things a designer should do when selecting a method of merging together parts of a damaged monument is answer the question whether the chosen method will facilitate the interest of onlookers in the presented object. In which case will the observers spend most of their time looking at the authentic relic fragments and distinguishing between the old and the new parts? The definitions in force do not explain how to approach this topic. By using eye-tracking research, we can learn how observers look at historical objects that have been reassembled again. By combining the observation of visual behaviours with a survey of people looking at such objects, it is possible to see how the process of classifying what is new and old actually works. This knowledge allows for more conscious approach to heritage management processes. In future, results of eye-tracking experiments should help experts plan sustainable conservation projects. Thanks to knowing the reactions of regular people, one will be able to establish conservation programmes in which the material preservation of a monument will reflect the way in which this object affects contemporary onlookers. Such an approach ought to result in real social and economic benefits.

This article examines joint creation in contemporary performance making by analysing the collaboration between two prominent Finnish artists ‐ costume designer Karoliina Koiso-Kanttila and choreographer Carl Knif. Using personal interviews along with performance analysis framed in relation to the Aristotelian term ‘friendship’ as components of this case study, the author draws conclusions from the process of a solo performance and its costume that foregrounds elements of friendship: sharing time, being and discourse. Viewing this relational understanding between parties as an asset, this study introduces elements of a positive approach and tools to achieve such in the making of dance performance.

In the first part of the article, the author analyses the appearance of the director and the changes in his position in Slovenian theatre from the second half of the 19th century to the present day. In this context, he is particularly interested in the changes in theatre directing that took place in the second half of the 20th century with the emergence of collective theatre. The author methodologically combines historical and comparative analysis, as these processes still take place today, when devised theatre and other forms of theatrical creation are increasingly spoken and written about, moving away from the conventional process by which a playwright writes a dramatic text as a literary work of art and the director then transforms it into a theatrical work of art. There are more and more performances in contemporary Slovenian theatre in which a pre-written dramatic text is not crucial for the final product of the creative process. The two most commonly used terms for this type of performance are po motivih (based on the motifs) and avtorski projekt (auteur performance). Although the terms are not synonymous, both terms imply a devised type of theatre. The author compares group creation with the devised way of creating and points out that although these are practices that can take place in parallel, they cannot be equated. The author concludes that for collective theatre, the specific relationship between the creative group and the director’s position is constitutive. In contrast, for devised theatre, the relationship between the creative group and the playwright’s position is crucial. Finally, the author also touches on the connections between postdramatic and post-directors’ theatre and the emergence of the creative group as a collective subjectivity.

"The article deals with the issue about the relationship between the notions of “monumental” and “miniature” in various types of art. A very conditional division of these notions is noted. These notions are characteristic of artistic creativity in general and, as a result, determine the genre definitions of creative achievement in each of the types of art. It has been established that the results of this process are directly embodied in the genre system of musical art, which is influenced by the action of general trends and reflects general processes with a significant degree of mediation. It is noted that the manifestation of “monumental” and “miniature” in different types of art is characterized by a common basis, but different ways of embodiment, which are explained by the various systems of artistic creation means. The historical variability of the notions “monumental” and “miniature” is traced in accordance with the change in aesthetic preferences of a particular historical era. The tendency of unification of the notions “monumental” and “miniature” in the system of contemporary art as special concepts, the mixing of which sets out the pluralism of postmodern cultural space (the idea of space in space), is indicated. Keywords: art, monumental, miniature, genre system, means of expression. "

Environmental art education is gaining importance in schools as arts education begins to acquire a more significant role in environmental education. This emerging field of study is an interdisciplinary endeavor that is centered on the different fields of environmental education and visual art education and provides a means of making students aware of environmental issues through environmental art education. It has been suggested that students get into a relationship with nature prior to the request to conserve the environment in order to be nature connected. This abstract focuses on teaching and learning through the arts, a pedagogical way in which students discuss the challenging aspects of environmental issues. The aim of this study is to make students act like protectors of their environment through an eco-art place-based curriculum. This paper’s pedagogies will provide educators with a framework for developing environmental art education lessons and curricula. This experimental study has been planned to gather data from interviews and observation of students and by making the students participate in nature-related activities. The findings show that students prefer to let go of their fascination with formulating better ecological perspectives. On the positive side, a few students went through some frustration during the program and the activities. Students have given positive feedback on the program in positive terms, such as “fun”, “interesting”, and “cool”, to express their experience gained through the class activities.

espanolLa arquitectura, como disciplina tecnica y humanistica, lleva decadas haciendose eco de la teoria feminista a traves de investigaciones academicas, practicas docentes y profesionales que toman a los estudios de genero, en general, y a diferentes tipos de feminismos, en particular, como puntos de partida para fundamentar teoricamente una critica a posicionamientos arquitectonicos modernos ligados a una vision trascendental e idealista de la sociedad que abstrae las diferencias entre las personas. Estas practicas feministas tienen el objetivo de proponer nuevas maneras de acercarse a la profesion y de conectarla, desde un posicionamientos materialistas, a la realidad vital de las sociedades en las que vivimos. A traves de tres apartados ligados a un entendimiento de las mujeres como sujeto historico, a la perspectiva de genero y a la cuestion de la feminidad, este texto analiza diferentes practicas feministas desde posiciones igualitaristas y de la diferencia sexual que estan teniendo una presencia sobresaliente en la arquitectura espanola reciente. El objetivo es organizarlas segun tres modo diferentes, aunque no excluyentes, en que se imbrican los estudios de genero y la arquitectura para con ello facilitar su comprension desde el pensamiento feminista. EnglishArchitecture, as a technical and humanistic discipline, has been echoing feminist theory for decades through academic research, teaching and professional practices. They take gender studies in general, and different feminist theories, in particular, as fundamental thinking to base a critique of modern architectural positions, linked to transcendental and idealism thinking that abstracts the differences among human beings. These feminist practices have the aim of proposing new ways of approaching the architecture profession and to connect it, from materialist positions, to the vital reality of the societies in which we live. Through three sections linked to an understanding of women as a historical subject, to the gender perspective, and to the feminine as a category, this text analyses different feminist practices, from egalitarian positions and from the sexual difference, that are having an outstanding presence in recent Spanish architecture practices. The objective is to organize them according to the way in which gender studies and architecture interweave, in order to facilitate their understanding from feminist thinking.

Introducción. A diferencia de lo que ocurre en las prácticas arquitectónicas contemporáneas, en la planificación urbana y en la gestión, o en las investigaciones recientes sobre arquitectura, donde la evolución de la perspectiva de género está bien documentada, su introducción en la docencia de estas disciplinas parece haber quedado a merced del voluntarismo del profesorado. Objetivos. Este artículo da cuenta de la implementación de este marco de análisis en la docencia de la arquitectura, concretamente, en el contexto de la Universidad de Alicante a través del caso del área de conocimiento de Composición Arquitectónica. Metodología. Para ello se ha propuesto una interpretación contemporánea de obras y proyectos de la historia reciente de la arquitectura desde los valores que aportan sus lecturas feministas, es decir, desde miradas más sensibles hacia la pluralidad de modos de ser y estar en el mundo. Resultados y discusión. El diseño de un nuevo programa de teoría e historia de la arquitectura moderna, articulado en ejercicios que abordan experiencias inclusivas del espacio, ha permitido, por un lado, aproximar al alumnado a la comprensión de la diversidad y complejidad del entorno construido y sus imaginarios; y, por otro, alentar su creatividad y espíritu crítico. Conclusiones. La confluencia entre pedagogías feministas y cultura del proyecto, entre la investigación y su aplicación en el aula, ha tenido como resultado la primera guía para la introducción de la perspectiva de género en la docencia de arquitectura publicada en España. Introduction. Contrary to contemporary architectural practices, urban planning and management, or to research in architecture, where the evolution of the gender perspective is well documented, its introduction in the teaching of these disciplines seems to be a matter of voluntarism. Objectives. This essay addresses the mainstreaming of this analysis framework in the teaching of architecture, specifically, in the context of the University of Alicante and the pioneering case of its Architectural Theory Department. Method. To do so, a series of contemporary interpretations of key buildings and designs in the history of modern architecture has been proposed to be studied from the values provided by their feminist reading, that is, from more sensitive approaches towards the plurality of ways of being in the world. Results and discussion. The design of a new program for the theory and history of modern architecture module, based on projects that explore more inclusive experiences of space, has allowed, on the one hand, to bring students closer to understanding the diversity and complexity of the built environment and its imageries; and on the other hand, to enhance their creativity and critical spirit. Conclusions. The confluence of feminist pedagogies and design culture, as well as the links between research and teaching, have resulted in the first guide to mainstreaming gender perspective in the teaching of architecture published in Spain. Este trabajo ha sido ha sido realizado con financiación del Ministerio de Ciencia, Innovación y Universidades del Gobierno de España (Agencia estatal de Investigación, Programa Estatal de Generación del Conocimiento y Fortalecimiento Científico y Tecnológico del Sistema de I+D+i, convocatoria 2018), a través del proyecto de investigación “Mujeres en la cultura arquitectónica (pos)moderna española, 1965-2000”, con código PGC2018-095905-A-I00 y duración de 4 años (2019-2022).

Современный танец – глобальный феномен, однако национальные и этнические аспекты регулярно проявляются и в содержании, и в форме постановок, и в судьбах артистов. Акрам Кхан – один из самых известных и высокооплачиваемых танцоров и хореографов нашего времени: член Ордена Британской Империи за заслуги в области танца с 2005 г., он – создатель множества балетов, представляемых различными труппами, а также автор и исполнитель сольных представлений. Каждое из его выступлений – событие, предлагающее новое видение как формы, так и содержания современного танца. Настоящая статья написана на основе многолетних исследований южноазиатской танцевальной культуры, а также личных бесед Светланы Рыжаковой с Акрамом Кханом в 2017 и 2019 гг. и анализа особенностей его семейной истории, творческого пути и особенности художественной деятельности. Обсуждение проблем этнокультурной идентичности, отношения к языку и к телу, исторической памяти, социальной напряженности, «своего» и «чужого», понятию родины, а также тех путей и способов, с помощью которых современность можно отражать на сцене легли в основу наших разговоров. Contemporary dance is a global phenomenon, but national and ethnic aspects are regularly manifested both in the content and in the form of performances, and in artists’ life-stories. Akram Khan is one of the most famous dancers and choreographers of our time. Member of the Order of the British Empire for Dance Merit since 2005, he is the creator of numerous ballets performed by various troupes and the author and performer of solo programs. Each of his performances is an event that offers a new vision of both the form and the content of contemporary dance. This essay is based on personal conversations of Svetlana Ryzhakova with Akram Khan in 2017 and 2019, as well as observations and analysis of his family history, career and artistic activity. Akram Khan was born and raised in England, but his parents are migrants from Bangladesh, a Muslim, although a very Westernized family. Problems of ethnic and cultural identity, personal attitudes towards language and the body, historical memory, social tension, “friends and foes”, homeland, as well as how modernity can and should be reflected on stage formed the basis of our conversations and reasoning of Akram Khan.

This article presents and discusses solo dance practices developed by Katrín Gunnarsdóttir during the years 2014–2020. She started to develop her practices with the solo work Saving History (2014), a chronological charting of her relationship with borrowing movement. As a consequence of that process she became interested in exploring the virtuosity of slowly morphing one movement into another, and that research developed into another solo work, Shades of History (2016). The act of warming up and getting ready for a performance formed the basis of the third solo, Dancing (to) (2020). Through this series of solo performances, Katrín has realized her ongoing interest in dancing labour, performing the archive and a focus on the dancing rather than the dancer.

This research analyses the impact of the Elektro Arts Festival on the attending audience, based on the responses offered by 98 respondents, highlighting the socio-demographic characteristics of the participants, the interest in computer art and realising an evaluation of the event’s quality by emphasizing preferences and customs of cultural consumption and identifying the communication and advertising channels preferred by the audience. The organizers of the future editions of the event obtained the necessary feedback on the interest manifested in digital arts as well as on the satisfaction and the preferences of the audience. The Elektro Arts Festival is considered an innovative environment propitious to IT-mediated artistic expression, and the newly organized editions have been linked to the research in the field of computer-based numerical technologies.

This paper focuses on how peritexts function in communicating a picturebook's narration and what impact they have on reading comprehension or interpretation. Based on modern narratological theory and research findings of metanarration, this study analyses the metanarrative function of peritexts in three picturebooks: Chester by Mélanie Watt, Black and White by David Macaulay, and Keine Angst vor gar Nichts by Gudrun Likar with illustrations by Manuela Olten. The findings of this study reveal that peritexts in picturebooks display metanarration at both a verbal and a visual level; they reflect the act or process of narration, highlight the book's narrative features, and affect the reader's reception of the picturebook.

Director and playwright Stan Lai premiered his marathon play Ago in Shanghai at the end of 2019. Staged in his signature “lotus pond” theatre-in-the-surround, Ago is fueled by Lai’s cross-cultural sensibilities and Buddhist philosophy. If theatre is an art of illusion-making and life is like a dream, Lai turns theatre-going into a ritual of self-encounter and self-reflection, where an illusion mirrors a dream.

Over the past three years, cinematic virtual reality (CVR) has emerged as a form of media storytelling that takes advantage of the immersive properties of VR technology. However, as a practice it poses a number of challenges for the writer‐director used to controlling the frame through which the viewer experiences the narrative. This research outlines the making of Entangled (a live-action, stereoscopic, VR experience incorporating ambisonic audio) and reflects on concept development and production decision-making with reference to the emerging body of academic knowledge about cinematic VR, in particular ideas about the position of the viewer and the nature of narration. The research addresses some of the gaps in knowledge in these areas, reconciling theoretical positions with a deep understanding of the realities of production processes.

Examining the surviving costumes of the 1913 production of The Rite of Spring, this article explores how costumes functioned in the Russian ‘new ballet’ choreography, of which the Ballets Russes Company is the most internationally famous example. The materiality of costumes ‐ the fabric, cut and dye ‐ organized the dancing bodies onstage in a manner that, in part, relied on Russian contexts invisible to the predominantly foreign audiences of the performances in Paris and London. Subsequently, these Russian reactions where The Rite of Spring was part of a continuum of representations of Russia’s past have been largely ignored in favour of the opinions of French and British critics, for whom the work appeared extraordinary and alien. The so-called reconstruction (1987), where the surviving costumes were used to compensate for the absence of choreographic understanding, has further obscured what the choreography was and what costumes actually did (and do) in performance. Although decisions made in recreating performance differ from historiographical research, exploring the practical making of costumes also draws attention to perspectives often forgotten in discussions of past performance more generally ‐ such as changes in how costumes are experienced, or what that experience explains of later reminiscences.

The second half of the 18th century was a time of active changes in the perception of art, rethinking many concepts and phenomena. One of them was the pictorial sketch, which transformed from a preparatory stadium work into an independent, complete piece of art. Many art theorists and critics, as well as painters themselves had contributed to this rethinking. Many young artists, bored of historical painting and indifferent to all the academic principles, were searching for new media of expressiveness, using the sketch-like pictorial manner to give their works a new dynamism and an impression of “easy production”. The article is dedicated to J.-H. Fragonard (1732—1806), an artist in whose works the “sketchiness” became a conscious artistic method used in small-format pieces, in large-scale canvases, and even in panels. The use of such a technique in grand scale works is considered to be an extreme unconventionality, which, however, was not appreciated by Fragonard’s contemporaries and even by scholars of the next two centuries. Fragonard’s series of ‘Fantasy Portraits’ attracted enough investigators’ attention, but his series ‘Progress of Love’ has only recently begun to be recognized by researchers as an unusual and bold for that time artistic experience. Based on the analysis of the artist’s selected works, the author builds her original research, designed to highlight Fragonard’s special role in the evolution of art on the way from the Modern Period to Contemporary History. The relevance of the present article is caused by too little examination of this topic: minimal in Russia and relatively small in France. Besides consultation with research literature, this required the author to constantly directly refer to the 18th-century sources, such as treatises by art connoisseurs and scholars, art criticism, and catalogues of exhibitions arranged by the Royal Academy of Painting and Sculpture or the Académie de Saint-Luc.

The outbreak of the COVID-19 pandemic from January 2020 necessitated significant changes, a transition from an actual to a virtual stage, as performing arts in Korea experienced economic difficulties. This study analyses a live-streamed performance of Shakespeare in Korea: Othello and lago (2020) by The Greatest Masque and considers how the theatre company used aesthetics and technology for its virtual presentation and social media sites for interaction with the virtual audiences. The study also presents a future model for Korean Shakespeare - with greater emphasis on liveness and communality - which could be fulfilled virtually through social media.

This paper explores the ways in which the materiality of the Achaemenian Empire was incorporated into the narratives of different polities and political groups on the Iranian Highlands. These approaches, which have continued into the present day, have marked these sites as objects of appropriation, imposition, resistance and negotiation by various actors in different discursive arenas. The current study further deals with the question of whether there was a biographical difference between distinct sites.

In his dialogue De vero bono, Lorenzo Valla (c. 1407-1457) aims to the thinking on pleasure (voluptas) and convenience (utilitas) as two inseparable aspects of an ethics based on the earthly human concerns. These two concepts are opposed to the honestas propter se, that is, the Stoic ideal of virtue as an end itself that should be pursued regardless of anything. In this paper we explore the interaction between the terms of this opposition considering ancient and medieval sources and how this operates in different passages of the De vero bono. Specifically, we will focus on the ways in which the voluptas-utilitas / honestas opposition is related to that of Agustin of Hippo’s (354-430) between uti / frui. By comparing them we will examine how in his dialogue Valla stages tensions between conceptions of ethics based on one side on earthly concerns and on the other on the Christian dogma.

One of the most memorable lines of Hegel's oeuvre is from the preface to his Phenomenology of Spirit: ‘Quite generally, the familiar, just because it is familiar, is not cognitively understood.’ Surprisingly, relatively little philosophical attention has been paid to the notion of ‘the familiar’ in Hegel scholarship. This essay aims to rectify this lack by offering a preliminary inquiry in what the notion means across Hegel's work. It does so by focusing on three underexplored moments in Hegel's work: (1) the exposition of the logic of appearance in the description and diagnosis of seventeenth and eighteenth century Dutch painting in the lecture notes from the 1823 Berlin lectures on the philosophy of fine art; (2) the function of institutionalized practice in Hegel's Tübingen essay of 1793; and (3) the conjunctural relation of the familiar with philosophical terminology in an entry from the ‘Aphorisms from the Wastebook.’ Through a careful reading of these three moments, I will show that the familiar is a point that constellates multiple processes, mechanisms and apparatuses that, when grasped in their complex totality, functions as the ‘prius’ (priority/prioritization/first moment) of Hegel's speculative philosophy.

Painters arrange white space in contrast with chromatic space composed of strokes. This research measures white space, color complexity and stroke density in Chinese ink paintings and examines how these attributes influence the paintings’ perceived complexity. Empirical evidence from 21 well-known modern Chinese artists’ ink paintings shows that white space decreases paintings’ complexity, while chromatic space and stroke density increase complexity. We also reveal that a large rate of white space guides the viewers’ attention on chromatic space and enhances the impacts of color complexity and stroke density on perceived complexity. An eye-tracker measures viewers’ elaboration duration on each painting, which provides consistent evidence to validate our conclusion based on subjective reported visual complexity. Our research provides insights into the rhetorical role of white space in sensory information processing.

Among the early medals made by Pisanello (Antonio Pisano, c. 1395–c. 1455), considered as the “inventor of the modern medal”, there are two of mercenary captains, Niccolò Piccinino and Francesco Sforza (the future duke of Milan). At the alleged moment of the medals’ execution both condottieri were in the service of Filippo Maria Visconti, Duke of Milan, who appears to have been the most probable commissioner. The pairing of these two captains was not coincidental – they were successors to the leaders of the two greatest Italian military companies, the bracceschi (led by Braccio da Montone) and the sforzeschi (of Muzio Attendolo Sforza), whose juxtaposition soon became a topos among contemporary chroniclers and biographers. The article outlines the political background of the commission and discusses the content and iconography of the two medals.

The article explores Mojisola Adebayo’s two-hander STARS (preliminary workshop performance, Ovalhouse, 2018) through the lens of Afrofuturism. The play will be discussed in regard to future-making technologies. By analysing the overt as well as subtle references to science fiction and its tropes, this article lays out how Afrofuturism informs the play and how it is formative in liberating the main character. Furthermore, questions of violence against women, forms of resistance, and the function of the imagination will be examined. Adebayo deftly weaves Afrofuturist concerns into the everyday experiences of marginalised groups who face discrimination and exclusion, irrespective of whether their marginalisation is based on culture, gender, or age. Through this, the play offers ways of dealing with bodily and historical trauma and exclusion, while simultaneously addressing violent and harmful practices and power relations. The play may be set in the present and deals with current issues, but its performance of the future – in regard to resistance and liberation – proves to be its central feature.

This article engages with French filmmaker Jean Painlevé’s experimental shorts on the physiognomy and behavior of marine animals. The article argues that Painlevé’s films establish a corporeal and nonlinguistic mode of interspecies communication that draws upon the spectators’ immediate emphatic and empathetic reactions to the animal creatures on-screen. By evoking affective responses below the visible and audible registers, the films place the human animal body both in proximity to and at a distance from the nonhuman animal, revealing ontological ties as well as uncanny encounters with other ways of living. In doing so, the films inspire a plurality of ethico-political perspectives on species entanglement that all propose distinct responsibilities without making any organism the center of agentic events. To illuminate those perspectives, the article brings Painlevé’s films into conversation with Massumi’s animal politics, Deleuze and Guattari’s idea of becoming-animal, and neuroscientific research. It thus shows how the cinematic medium can make palpable debates in environmental studies and political theory and installs communication as an interspecies phenomenon that involves human and nonhuman bodies in a shared affective space. Last, the article reclaims Painlevé for contemporary concerns, linking aesthetics to ethics and politics and bodily movement to care for the world.

This article examines the recent explosion of British dystopian plays, analysing their changing characteristics from the 1990 s to the 2010 s. After an initial brief look at precursors, it then focuses on examples of new writing which tackle the idea of dystopia in the absurdist manner typical of the 2000 s. In a third step, the focus is on the dystopian drama of the 2010 s and its more conventionally structured plots, which at the same time increasingly include ironic and parodistic elements. It becomes clear how this comparatively new genre is able to shake off the constraints of traditional dystopian writing and develop recognisable characteristics of its own. Throughout, emphasis is put on the “reality” of the plays’ fictional worlds, on the usage of the stage space, and on how the audience’s relationship with the stage is constructed as a double bind of distance and closeness.

Collage – the insertion of ready-made materials into artworks or texts – is a technique that has been used in all art forms since the experiments of the early twentieth-century avant-gardes and has, in its different shapes, often been used in theatre performances as well. The British theatre group Forced Entertainment provides a contemporary example of a (post-)avant-garde vocabulary that actively borrows from and transforms the practices of their precursors. They employ a palimpsest-like layering of visual and verbal elements, which I will here define as performative meta-collages. In this article, I will discuss their practice and take a look at the ways in which Forced Entertainment’s performative meta-collages verbalize and produce “future” in one of their recent performances, End Meeting for All, which imagines a scenario that takes place “a year and a day” after the beginning of the COVID-19-triggered lockdown in the spring of 2020.

Learning art online breaks the geographical barriers and frontiers between art students, artists, galleries, and museums. Studio critique can now be performed beyond the brick walls of a physical room through the virtual platform. This research studies on the impact of art criticism in an online gallery for independent artists which was developed through the design and development method (DDR) while Visual Culture Model was employed for Phase One in the Needs Analysis. The positive feedback obtained from five independent artists who participated in the research revealed that it is common for artists to use social networking sites as avenues for art criticism. The use of social networking sites is common among artists and regarded as valuable in their field. The respondents are supportive in the development of an online group for art criticism that could fortify their creativity and ultimately their artworks. Hence, the findings of the interview suggest that a social networking site like ARTIQUE would be a progressive platform for artists’ professional development.

In this article, we describe three layers of ruins related to computer game technology: in a surface layer, we examine the imagery of ruins in digital games, highlighting game design tools for developing in-game ruination. Secondly, we approach the industrial design model of technological obsolescence as an infrastructural layer that intrinsically demands the production of new provisional spaces for material decay. Lastly, through a waste layer, we unfold the geopolitical dimension of technological obsolescence, calling attention to the transcontinental flows of electronic waste, which also underscores a geological stage of ruination. While exploring these different layers of ruins, we wish to perceive how game design models might relate to different forms of contemporary ruination, inquiring what such material traces have to say as strata of the complex deterioration processes of present-day media.

This paper explores a form of sensuous methodology known as smellwalks. Smellwalks are a method which require a reorientation of the senses to temporarily emphasize the information received from the nose. During a smellwalk, the researcher employs an active form of smelling to examine their environment that diverges from normal smell perception. In this research, smellwalks are deployed to investigate the experience of lockdown in a suburban town in Aotearoa-New Zealand. Six solo walks were undertaken, three during lockdown and three out of it, to compare the presence and absence of smells during these periods. In attuning to the invisible, intangible, mundane, and small details of life via smell, smellwalks opened opportunities for new embodied and material knowledge about lockdown experience. It is argued that smellwalks offer a sensory and embodied method with the capacity to attend to more than vision and representation.

The aim of this paper is to examine and assess the portrayal of women and men in the visual contents of Moroccan English as Foreign Language (MEFL, henceforth) textbooks from a social semiotic perspective. Central to the analysis here is Goffman’s (1979) theoretical model of gender display recently heralded as a more powerful technique to unfold the semiotic positioning of women and men in visual images. The analysis of a corpus of photographic data has helped unveil an array of social and cultural misconceptions in discrimination of women. Female characters continue to be linked with submissiveness, absent-mindedness, and socio-psychological vulnerability. They are further presented associated with menial activities, low-status jobs, and oftentimes being positioned in the backstage behind men. The paper ends up presenting the conclusion along with some implications.

Exploring two recent examples of virtual reality (VR) short films designed to produce visceral experiences (on solitary confinement and on seeking asylum), we call into question claims that assign normative value and even transformative power to the VR medium – imagined as so-called ‘empathy machines’. Drawing on a growing body of literature that seeks to contest such claims, we point to and problematise both the manipulative intent of such projects and the liberal-humanitarian logic, which underpins them. Based on such a logic, advocacy through immersive technologies supposes that if only individuals can be made to ‘feel’ something they will be changed by it and so will their behaviour. Whatever progressive motivations of the content producers, the emphasis on empathetic identification threatens to by-pass critical engagement and raises wider questions about the potentially de-politicising effects of seeking technological solutions to effect social change.

On the Fourth of July, 1860, the New York Times introduced readers to a new persona treading the minstrel boards: Matinées are the order of the day, two at both the Bowerys, at George Christy's, at Bryant's, and at the Palace Gardens. Here “versatile performers” and “talented danseuses” will diversify the hours of patriotic emotion with comic pantomime and grand “Japanese ballets,” led by “Little Tommy.” Japan has dropped a little into the sere and yellow leaf, perhaps, for the natives, but for the “strangers from the provinces” the land of blacking may still have charms, and we desire that “all such” may understand that the Japan of their dreams will be on exhibition to-night at Miss Laura Keene's Theatre.

A surge in creative collaboration between fine artists and fashion designers might be troubling the art world, but these mergers have prompted little debate within academic research in the visual arts. Various artists now work directly with fashion designers, and though often derided by the art press, the growth of inter-disciplinary collaboration reflects a shift in how art is perceived, especially in relation to popular culture. This discussion considers historical moments when fashion and art found common cause, but we view the distinctive qualities of recent collaborative ventures as an entrenchment of postmodernist aesthetics in both realms. Since the mid-twentieth century, art-fashion interplays have disorganised disciplinary boundaries, but they also illustrate the unsettling effects of neoliberalism on cultural production. By exploring the fashioning of contemporary art through the work of various artists and designers, including Matthew Barney, Vanessa Beecroft and Yayoi Kusama, we ask whether shared concerns in art and design around power, spectacle and the somatic might signal the emergence of a new interdisciplinary aesthetics.

Истоки поздних версий скульптурной визуализации Александра Невского были заложены еще в древности; важно, что в допетровскую эпоху иконописный канон по преимуществу предусматривал изображение князя в образе схимника, но не был единственно возможным. Установлено с высокой степенью достоверности, что первым дошедшим до нас его изображением является неатрибутированная ранее фигура, представленная на иконе «Богоматерь Тихвинская с протоевангельским циклом и святыми» (первая половина XVI в.). Изменение иконописного канона на «светскую» версию (1724) имело объективные предпосылки, поскольку и до этого Александр изображался в княжеских одеждах в монументальной живописи, миниатюрах, на житийных иконах. «Переходный» характер имеет фреска из Софийского собора в Вологде. Изготовление первой скульптуры Александра Невского («грудной статуи», 1754) связано с именем М. В. Ломоносова, из мозаичной мастерской которого происходят и два портрета князя. Указанному скульптурному произведению предшествовал барельефный портрет князя на его раке (1747–1752, ГЭ (Санкт-Петербург)). В XIX в. статуи князя установили на южных вратах Исаакиевского собора в Санкт-Петербурге (И. П. Витали, 1841–1846) и памятнике «1000-летие России» в Великом Новгороде (М. О. Микешин, И. Н. Шредер, 1862). В постреволюционную эпоху власть отказалась от использования в идеологических установках прежних символов, и герой Невской битвы оказался в забвении. Ренессанс произошел после выхода кинокартины С. М. Эйзенштейна. Это привело к появлению новой версии визуализации князя – в образе Н. К. Черкасова. В послевоенные годы эта версия была отражена и в скульптуре (памятник в Переславле-Залесском). Однако в Российской империи и Советском Союзе скульптурных изображений князя было создано все же слишком мало. На примере установки стелы в Усть-Ижоре (Архив Санкт-Петербургского Дома ученых) показано, что процесс согласования даже небольших памятных знаков был крайне сложным. С начала 1990-х годов ситуация изменилась. Памятники князю и скульптурные композиции, связанные с его именем, появились во многих городах страны, что делает актуальной задачу их типологизации. Самым ранним по времени появления является тип «часовни», представляющий собой вертикальную архитектурно-пластическую композицию, завершенную «куполом» и крестом. Сам же князь представлен в виде воина (Пушкин, Усть-Ижора, Кобылье Городище, отчасти пос. Ленинское). К этим памятникам примыкает еще один тип – «инок» (Городец). Данные скульптурные изображения можно соотнести с образцами иконописной традиции – допетровской («инок», клейма житийных икон) и петровской («святой воин»), а также с миниатюрами лицевых сводов. Остальные типы монументов представляют князя в образе воина, где атрибуты его святости, за редким исключением, играют второстепенную роль. В первую очередь это относится к конным памятникам (Псков (гора Соколиха), Санкт-Петербург (пл. Александра Невского) и др.). В статье показана связь этих произведений с отечественной и зарубежной художественными традициями. Широко распространенным типом памятников Александру Невскому является скульптура в виде одиночной фигуры (Городец, Курск, Волгоград, Владимир и др.). Несмотря на то, что в большинстве случаев связь с тенденциями визуализации, идущими из глубины веков, в этом типе сведена к минимуму, тем не менее она прослеживается, прежде всего, через элементы православной символики. И только два памятника этого типа – в Петрозаводске и Александрове – представляют Александра Невского в образе и воина, и святого. The origins of the later versions of Alexander Nevsky’s sculptural visualization were laid back in ancient times. It is important that, in the pre-Petrine era, the icon-painting canon mainly provided for the image of Nevsky as a schemamonk, but it was not the only possible one. It has been established with a high degree of certainty that the first image of Alexander that came to us is the previously non-attributed figure represented on the icon “Our Lady of Tikhvin with the Proto-Gospel Cycle and Saints” (first half of the 16th century). The change of the icon-painting canon to the “secular” version (1724) had objective prerequisites, since, before that, Alexander had been depicted in princely robes in monumental painting, miniatures, on hagiographic icons. The fresco from Saint Sophia Cathedral in Vologda has a “transitional” nature. The creation of the first sculpture of Alexander Nevsky (the “chest statue”, 1754) is associated with the name of Mikhail Lomonosov; two portraits of Nevsky also come from his mosaic workshop. This sculpture was preceded by a bas-relief portrait of Nevsky on his shrine (1747–1752, State Hermitage, St. Petersburg). In the 19th century, statues of Nevsky were erected on the southern gates of St. Isaac's Cathedral in St. Petersburg (I.P. Vitali, 1841–1846) and on the monument “1000th Anniversary of Russia” in Veliky Novgorod (M.O. Mikeshin, I.N. Schroeder, 1862). In the post-revolutionary era, the government refused to use the old symbols in ideological settings, and the hero of the Neva battle was forgotten. The renaissance occurred after the release of the film Alexander Nevsky by Sergei Eisenstein. This led to the emergence of a new version of the visualization of the prince – in the image of Nikolay Cherkasov. In the postwar years, this version was also reflected in sculpture (a monument in Pereslavl-Zalessky). However, in the Russian Empire and in the Soviet Union, too few sculptural images of the prince were created. Using the installation of a stele in Ust-Izhora (Archive of the St. Petersburg House of Scientists) as an example, it is shown that the reconciling of even small commemorative plaques was extremely difficult. Since the early 1990s, the situation has changed. Monuments to the prince and sculptural compositions associated with his name appeared in many cities of the country, which makes the task of typologizing them urgent. The earliest type is a “chapel”. It is a vertical architectural plastic composition completed with a “dome” and a cross. The prince himself is represented in the image of a warrior (Pushkin, Ust-Izhora, Kobyl’ye Gorodishche, partly the Leninskoye village). One more type adjoins these monuments – a “monk” (Gorodets). The sculptural images of this type can be correlated with samples of the icon-painting tradition, both of the pre-Petrine (“monk”, the scenes of life of hagiographic icons) and Petrine (“holy warrior”) eras, and with miniatures of illustrated chronicles. The remaining types of monuments represent Nevsky in the image of a warrior, in which the attributes of his holiness, with rare exceptions, play a secondary role. First of all, this refers to equestrian monuments (Pskov (Sokolikha Mountain), St. Petersburg (Alexander Nevsky Square), etc.). The article shows the relationship of these works with domestic and foreign artistic traditions. A widespread type of monuments to Alexander Nevsky is a sculpture in the form of a single figure (Gorodets, Kursk, Volgograd, Vladimir, etc.). Despite the fact that in most cases the connection with visualization trends that come from the depths of centuries is minimized in this type, it can still be traced, first of all, through elements of Orthodox symbolism. Only two monuments of this type – in Petrozavodsk and Alexandrov – represent Alexander Nevsky in the image of both a warrior and a saint.

This article discusses the role of colonial oppression in creating conflicting perspectives in the reproduction of dance as Indigenous cultural heritage. The debate on kahiko, the ancient Hawaiian dance, of which practice was severely controlled and then revived through the cultural renaissance, demonstrates that the radical deprivation of the practice has created multiple understandings of the dance among different practitioners. Of primary importance in these respects is the intergenerational divide within the dance community, manifest in the critical perspective of the post-renaissance variant of kahiko, which highlights the “continuity” of the practice through the colonial rupture.

The Annunciation Broadcast by Prophets (1565) was an altarpiece created by Federico Zuccaro (1541–1609) for the Church of the Annunciation, Rome. It was the first image commissioned by the Order of the Jesuits, a movement involved in propagating the objectives of the Counter-Reformation Church. Altarpieces were particularly effective points of communication between the Catholic Church and the lay beholder, and used visual exegesis as a means to communicate appropriated receptions of biblical texts. The intimate connection that these objects have to their theological and political context marks them as significant moments of biblical reception, that have, up to this point, been overlooked by historians in the field. This article identifies the broader lacuna in scholarship surrounding the reception history of the Bible during the Counter-Reformation. Whilst this is due to a preference for studies of the Bible in the Protestant Reformation, the lack of scholarly investment poorly reflects the relevance of the Counter-Reformation period to the reception-historical methodology. The context prioritized the interpretation of the Bible through the lens of Church tradition, or in other words, the history of the Bible’s reception. This affinity is echoed in the reception-historical approach found in contemporary biblical scholarship, creating a hermeneutical link between the two contexts. Visual culture was a valuable expression of Counter-Reformation rhetoric and visualized the mediation of biblical texts through Church tradition. This article uses Zuccaro’s altarpiece as a tool to argue this hypothesis and postulate the intimate relationship maintained between texts and their reception in Counter-Reformation Catholicism.

This article focuses on the presence of ‘Blackness’ in Latin America, and the role/location of ‘Blackness’ in the necropolitics of Mexico, in particular, as a visual mode of aestheticizing violence in the aftermath of the 2010 Tamaulipas massacre of 72 undocumented migrants. As an act of remembering the victims, Mexican journalists, writers, and activists created a digital altar: 72 Migrantes. Focusing on photography and narrative as visual frames of Blackness, this article analyzes the representation of Black bodies in the digital altar to conceptualize Blackness as: a constitutive part of violent landscapes; a symptom and supplement of that violence; and, conversely, the location itself from which to critique that violence. At stake is a call for Blackness to be read within hemispheric Latin Americanist visual studies as a locus for understanding antisociality and critical race theory by closely studying the role of the human, social death, and the aesthetics of remembrance. Over 10 years after the massacre, the arguments raised in this article both implicitly and explicitly underscore the need to conceptualize contemporary Blackness and death in the wake of the growing anti-racism activism, Black Lives Matter, and the disproportionate number of people of color who have died as a result of the COVID-19 pandemic.

This article is a very short guide to navigating institutional racism within universities. Focal points of this piece are how institutional racism works, how it can be diagnosed, and how one can invent ways to survive it. The first section of this article is an overall analysis of how institutional racism is set up, particularly in the humanities and arts departments of North American universities. The second section is a step-by-step guide to surviving institutional racism in the university, and particularly in graduate programs. This article is distilled through and explained by first-hand experiences and observations and is written both to archive the structure and affect of the current atmosphere of institutional racism and to document and propose some strategies of awareness and resistance.

This article considers the historiographical challenges brought on by dislocation and, in response, shows how longstanding Black communities in Canada have collected and preserved photographs in order to combat institutionalized modes of erasure. Specifically, it investigates the role that nineteenth century photographs play in articulating Canada as a Black transnational space—part of the discourses of the Black diaspora and Black Atlantic. The main site of this investigation is the Alvin D. McCurdy fonds at the Archives of Ontario, a collection of photographs of communities in Amherstburg, Ontario—a major terminus of the Underground Railroad. Building on recent scholarship this study investigates the discursive continuity between archive and historical narratives, and reconceptualizes the "archive" to include alternative sites and materials for the reconstruction of historically marginalized groups. These "counterarchives" can perform a recuperative role in mapping the development of communal memory and in reinterpreting dominant narratives. This article explores how photographic archives can provide crucial visual documentation of the geographies of slavery, segregation, and dispossession, spatializing acts of resistance within the Canadian landscape (McKittrick 2013).

This article studies the rhythm of Norwegian telespringar, a tradition with an intimate relationship between music and dance that features a nonisochronous meter; that is, the durations between adjacent beats are unequal. A motion-capture study of a fiddler and dance couple revealed a long-medium-short duration pattern at the beat level in both the fiddler's and the dancers' periodic movements. The results also revealed a correspondence between how the fiddler and the dancers executed the motion patterns. This correspondence suggests that the performers share a common understanding of the underlying “feel” of the music. The results are discussed in light of recent theoretical perspectives on the multimodality of human perception. It is argued that the special feel of telespringar derives from embodied sensations related to the dance and how music and dance have developed in tandem over time. The study advocates a holistic view of music and dance, the importance of insider experience, and the role of embodied experience in guiding our understanding of the music as such.

Dance theorists and legal scholars argue that choreography is by nature ill-suited to the conceptual framework provided by copyright, even as there is widespread agreement that works of dance deserve the legal protection and cultural endorsement that its inclusion represents. I reexamine the factors that are often cited as barriers to choreography's suitability for copyright. I argue that choreography is better suited to the copyright regime than it appears, so long as we recognize that the artistic standard for substantial similarity should be different from the legal standard.

This article examines the rich visual culture of the medieval period in order to better understand dreaming as a kind of visual thought experiment, one in which ideas associated with cinema, such as embodied viewing, narrative sequencing, projection, and sensory engagement, are palpable in a range of visual and literary works. The author explores the theoretical connections between the oneiric qualities of cinema and the visual culture of medieval dreams, dealing in turn with the following themes: (i) media and mediation; (ii) projection and premonition; (iii) virtual spatiality; and (iv) automata and other animated objects. The wide swath of medieval literary dream texts, with their mobile perspectives, sensory plentitude, and gnostic mission, resonate with the cinematic in the structuring of the gaze. Investigating the codes of medieval culture provides us with an unusually rich episteme for thinking about how the dreamscapes of the Middle Ages evoke media dispositifs. Opening up these thought lines across distinct eras can help us extrapolate similarities around ways of imagining objects, spaces, sensations of embodied viewing or immersion, reminding us that our contemporary cinematic and digital landscapes are not divorced from earlier ways of seeing and believing. Whether stoking religious fear and veneration or providing sensual pleasure as in Le Roman de la Rose, the dreamworlds of the Middle Ages have bequeathed us a number of an extraordinarily rich creative works that are the imaginative building blocks of media worlds-in-the-making, as speculative in many ways as current discourses around new media.

Crystal Palace – Liminal ‘Self’ and Its Projectionin Anne Rice’s Interview with the Vampire and The Vampire Lestat This paper offers an analysis of the liminality of the ‘Self’ and its subsequent projection onto the material world in Anne Rice’s early novels, Interview with The Vampire and The Vampire Lestat. The study is focused on two characters of the said works – Lestat de Lioncourtand his long-time companion Claudia – and aims at examining their respective‘Selves’ as preternatural beings as well as unique individuals. The research draws on Judith Butler’s and Rosi Braidotti’s theories in order to examine the physical, emotional, and mental changes the characters under go. It subsequently shows that the preternatural ‘Self’exists in a constant state of non-telic transformation, as well as that the perennial metamorphosisis continuously reflected in the characters’ material homes.