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  1. Derek Allan, Goya and the Dark Side of the Enlightenment.
    Conventionally lauded as the luminous Age of Reason in which the fogs of religious superstition lifted to reveal a new world of tolerance and human dignity, the Enlightenment also possessed what one might term its “dark side”. A small number of writers and visual artists – such as Sade, Choderlos de Laclos (author of Les Liaisons dangereuses) and Francisco Goya – recognised that the newfound paths of Reason and empiricism could lead in unexpected directions and reveal aspects of human experience (...)
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  2. Derek Allan, Literature and the Passing of Time: Reflecting on the Temporal Nature of Art.
    The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.
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  3. Derek Allan (2016). The Death of Beauty: Goya's Etchings and Black Paintings Through the Eyes of André Malraux. History of European Ideas.
    Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of the time. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a significance of a much deeper kind. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the European artistic tradition that began with the Renaissance, an essentially humanist (...)
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  4. Derek Allan (2016). Vanquishing Temporal Distance: Malraux, Art and Metamorphosis. Australian Journal of French Studies 53 (1-2):136-148.
    How does art – literature, visual art, or music – endure over time? What special power does it possess that enables it to “transcend” time – to overcome temporal distance and speak to us not just as evidence of times gone by, but as a living presence? The Renaissance, which discovered this transcendent power of art in the classical sculpture and literature it admired so strongly, concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief (...)
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  5. Emmanuel Alloa (2013). Visual Studies in Byzantium. A Pictorial Turn Avant la Lettre. Journal of Visual Culture 12 (1):3-29.
    As Hegel once said, in Byzantium, between homoousis and homoiousis, the difference of one letter could decide the life and death of thousands. As this article seeks to argue, Byzantine thinking was not only attentive to conceptual differences, but also to iconic ones. The iconoclastic controversy (726-842 AD) arose from two different interpretations of the nature of images: whereas iconoclastic philosophy is based on the assumption of a fundamental 'iconic identity', iconophile philosophy defends the idea of'iconic difference'. And while the (...)
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  6. Emmanuel Alloa (2010). Bildwissenschaft in Byzanz. Ein iconic turn avant la lettre? Studia Philosophica 69:11-36.
    As Hegel once said, in Byzantium, between homoousis and homoiousis, the difference of one letter could decide over the life and death of thousands. As the present essay would like to argue, Byzantine thinking was not only attentive to conceptual, but also to iconic differences. The iconoclastic controversy arose from two different interpretations of the nature of images: whereas iconoclastic philosophy is based on the assumption of a fundamental ‘iconic identity’, iconophile philosophy defends the idea of ‘iconic difference’. While the (...)
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  7. Emmanuel Alloa (2010). Changer de sens. Quelques effets du tournant iconique. Critique 758 (8):647-658.
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  8. Emmanuel Alloa (2007). The Madness of Sight. In Karin Leonhard & Silke Horstkotte (eds.), Seeing Perception. Cambridge Scholars Publishing: 40-59
    Viewing Vermeer with Merleau-Ponty's eyes.
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  9. Andrea Baldini (2015). An Urban Carnival on the City Walls: The Visual Representation of Financial Power in European Street Art. Journal of Visual Culture 14 (2):246-252.
    By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...)
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  10. Andrea Baldini (2015). An Urban Carnival on the City Walls: The Visual Representation of Financial Power in European Street Art. Journal of Visual Culture 14 (2):246-252.
    By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...)
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  11. Arnold Berleant (ed.) (2002). The Environment and the Arts. Ashgate Press.
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  12. Jenifer Booth (2007). The Contemporary Aristotelian Museum: Exploring the Museum as a Site of MacIntyre's Tradition‐Constituted Enquiry. Journal for Cultural Research 11 (2):141-159.
    The connection is made between the Royal Museum of Scotland and encyclopaedia, one of MacIntyre's three rival versions of moral enquiry. It is then asked how MacIntyre's other two methods, genealogy and tradition‐constituted enquiry, would function within a museum. It is proposed that the museum fulfils Haldane's criterion for tradition‐constituted enquiry in that it combines the immanence and open‐endedness of the methods of enquiry with transcendence in the objects of enquiry. The ethical judgments of the visitors constitute transcendent truth in (...)
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  13. Paul Boshears (2011). Orbital Contour: Videos by Craig Dongoski. Continent 1 (2):125-128.
    continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...)
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  14. Miro Brada, We Are Again at the Very Beginning. Nove Slovo.
    About selected philosophical questions of the past and today, with Egon Bondy (1930-2007). In a reaction to his response, I'll add a redefinition of the existential view of decision that is incomplete, and an explanation why 'social science' can be mathematized. The article also include my other ideas which have been developed since 1995. The interview was published in Blisty and Nove Slovo (2003), and some experts were published in The Ice House, Holland Park, London (2013), and Parallax Art Fair (...)
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  15. Francesca Brencio (ed.) (2014). Corpo e spazio. A partire da Francesca Woodman.
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  16. Robert Briscoe (forthcoming). Depiction, Pictorial Experience, and Vision Science. Philosophical Topics 44 (2).
    Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience or ‘seeing-in’, to use Richard Wollheim’s familiar expression. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that seeing-in and seeing face-to-face are experiences of the same psychological, explanatory kind. (...)
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  17. Austin Corbett (2009). Beyond Ghost in the (Human) Shell. Journal of Evolution and Technology 20 (1):43-50.
    The cyborg inscribes itself nearly everywhere, forcing us to re-examine discourses of humanity, modernity, Japan, and technology. I will trace the early history of the cyborg, from its hidden roots and precursors in fin de siècle Gothic fiction to its fully formed conception in 1990s science fiction and Donna Haraway’s Cyborg Manifesto. I will then move beyond the well-known cyborg genealogy to delve into contemporary portrayals that radically expand the cyborg’s political potential, and posthuman role, through an analysis of Kenji (...)
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  18. Luc Delannoy (2015). Neuroartes: artes para la salud. Revista Del Hospital de Vina Del Mar 2015 (71 (3)):111-117.
    We introduce Neuroartes as a biological humanism that concentrates on the development of social interventions. We review several connections between art and the human body, mainly the brain. We suggest art, painting in the present case, as a tool to work with the elderly with cognitive and/or motor impairment for the purpose of helping them with their subjectivity and autonomy.
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  19. Garin Dowd (2006). Introduction: Genre Matters in Theory and Criticism. In Garin Dowd, Lesley Stevenson & Jeremy Strong (eds.), Genre Matters. Intellect Ltd. 11--27.
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  20. Thomas Dreher (2014). History of Computer Art. IASLonline.
    A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, evolutionary art (...)
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  21. Thomas Dreher (2001). Performance Art Nach 1945 Aktionstheater und Intermedia. Monograph Collection (Matt - Pseudo).
    The outline of the development of Performance Art features happenings in New York and Vienna in the sixties as well as body art and performances with closed circuits in the seventies (among others). Action Art, Environmental Theater and Intermedia are the terms defining the main characteristics of the works discussed. The research method is mainly based on Intertextuality (Mikhail Mikhailovich Bakhtin) and Systems Theory (Niklas Luhmann).
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  22. James Elkins (2012). Whitney Davis's General Theory of Visual Culture. [REVIEW] College Art Association Books Reviews.
    This is a brief essay on Whitney Davis's book. A shorter version, edited down by the College Art Association, is on their online book reviews site (protected by a paywall).
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  23. C. E. Emmer (2008). Crowther and the Kantian Sublime in Art. In Valerio Rohden, Ricardo R. Terra & Guido A. de Almeida (eds.), Recht und Frieden in der Philosophie Kants: Akten des X. Internationalen Kant-Kongresses [Right and Peace in Kant's Philosophy: Proceedings of the 10th International Kant Congress] 5 vols. Walter de Gruyter
    Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.
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  24. C. E. Emmer (2004). Representing Place. [REVIEW] Review of Metaphysics 57 (3):610-612.
  25. C. E. Emmer (2001). The Senses of the Sublime: Possibilities for a Non-Ocular Sublime in Kant's Critique of Judgment. In Volker Gerhardt, Rolf Horstmann & Ralph Schumacher (eds.), Kant und die Berliner Aufklärung: Akten des IX. Internationalen Kant-Kongresses, Vol. 3. Walter de Gruyter
    It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.
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  26. J. Eric T. Taylor, Jessica K. Witt & Phillip J. Grimaldi (2012). Uncovering the Connection Between Artist and Audience: Viewing Painted Brushstrokes Evokes Corresponding Action Representations in the Observer. Cognition 125 (1):26-36.
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  27. Helen Fielding (2015). Filming Dance: Embodied Syntax in Sasha Waltz' S. Paragraph 38 (1):69-85.
    This paper brings Merleau-Ponty’s phenomenological approach to Sasha Waltz’s dance film S, which focuses on the relation between sexuality and language. Maintaining that movement in cinema takes place in the viewers and not the film, the paper considers how the visual can be deepened to include the ways we move and are moved. Saussure’s insights into language are brought to the sensible, which is here understood in terms of divergences from norms. Though film would seem to privilege vision, viewing this (...)
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  28. Helen A. Fielding (2015). Cultivating Perception: Phenomenological Encounters with Artworks. Signs 40 (2):280-289.
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  29. Fimiani Filippo (2014). Only noise if you can see. Lebenswelt. Aesthetics and Philosophy of Experience 1 (4).
    What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a so-called (...)
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  30. Furmuzachi Gabriel, Stalling for Time.
    Carel Fabritius left behind few but important works of art. We are concerned here with the View in Delft, and attempt to make two points about it. The first is that this small painting manages to break away from the classical perception of perspective, an endeavor informed mostly by new findings in the field of optics of the time. The second point, theoretically related to the first, stresses compositional elements that would bring View in Delft closer to a meditation on (...)
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  31. Michalle Gal (2015). Aestheticism: Deep Formalism and the Emergence of Modernist Aesthetics. Peter Lang AG.
    This book offers, for the first time in aesthetics, a comprehensive account of aestheticism of the 19<SUP>th</SUP> century as a philosophical theory of its own right. Taking philosophical and art-historical viewpoints, this cross-disciplinary book presents aestheticism as the foundational movement of modernist aesthetics of the 20<SUP>th</SUP> century. Emerging in the writings of the foremost aestheticists - Oscar Wilde, Walter Pater, James Whistler, and their formalist successors such as Clive Bell, Roger Fry, and Clement Greenberg - aestheticism offers a (...)
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  32. Bennett Gilbert, Certeau: The Question of the Subject.
    A reading of two essays by Certeau against spatialized critical theory and in support of a critical rhetorical approach to dialectic. (Draft.). (2010).
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  33. Bennett Gilbert (2014). Johannes Fontana’s Drawing for a Castellus Umbrarum, Udine or Padua, C. 1415–20. Mediaevalia 35 (1):255-277.
    A finished sketch for a light-and-shadow projection device by the Paduan mechanical artisan Johannes de Fontana (c.13951455), in his manuscript book of drawings now (...)known as Liber Bellicorum Instrumentorum, depicts a machine for communicating ideas or information through spectacle. The manuscript is fairly well known, and this sketch is just one of many interesting images worthy of study in its 70 leaves. A couple dozen manuscripts of the mechanical arts from this period survive, the best-studied of which fall into theSienese schooland theGerman school.” Fontana falls outside these, for he had far less influence than the Sienese. His work also is too early, it seems, to count in narratives directed toward the flowering of technological illustration in the sixteenth century. Of his images of subjects other than hydraulic and military machines only one deep study has been made, concerning two of the automata, although the present sketch has lately attracted a glance or two. Historians of technology pay scant attention to the first half of the fifteenth century, five decades that seem merely to repeat medieval knowledge and have the disadvantage to their prestige of fallingbefore Leonardo.” Whether one views Fontana as an engineer or as a science fiction illustrator, a great deal in the manuscript has not been given its due. The brief normative account in the literature so far on Fontana focuses on politics and warfare. My account in the case of his castellus image in this paper emphasizes issues of imagery, communication, subjectivity, moral feeling, spiritual life, and personhood. This account runs along two lines. For the first, I will suggest some untried ideas for approaching this image. In part this is in pursuit of what Jonathan Sawday calls the imaginative history of machines and mechanisms, though more largely it concerns contributing to a broad-range history of communication and persuasion. If we look at the image from our standpoint in aworld accustomed to the reproduction of images, we readily see in it an early step toward our present control of the display and diffusion of images. Fontanas castle of shadows(castellus umbrarum), based on a worldwide transfer of technical knowledge about imagery in antiquity (and even in pre-history), presents some of the continuing questions driving thereproduction of imagery and the dispersal of information. As a practical matter, a sense ofproximity to Fontana and his time, as opposed to a sense of untranslatable distance, helps to broaden the historiography. My second line of thought is to oppose my account of Fontanass castellus to an interpretation, and to the thinking behind it, that has started to appear on the borders of disciplinary history. This other interpretation reflects an increasingly influential approach to the history of technology and cultural theory that employs a growing and powerful line of philosophical thought. In 2003 Philippe Codognet, a philosopher of technology, published an essay in which he described Fontanas castle of shadows as a specimen of the pre-historyof virtual reality devices. His reference of the castle of shadows is a bit casual, perhaps accidental in feeling; but it has begun to stimulate interest in Fontanas striking idea and hasgiven it a bit of renown. Codognets view (along with his reproduction of the image) has been picked up by thinkers who are concerned with post-humanistic ideas derived from philosophical work in which the distinction between human persons and objects is deflated in such a way that both persons and objects are correctly characterized by attributes commonly divided into subjective and objective. Whats more, they are characterized by attributes that, under this view, are incorrectly distinguished from one another as the human, the organic, and the inorganic. The ontology supporting this approach denies the privileged epistemological relationship of humans to the world. This school of thought is object-oriented ontology, also known in a more radical form as speculative realism. Its potential influence on historiography is great, and part of it is and will be valuable. Its current actual influence is centered on medieval cultural studies and on the history of technology. (shrink)
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  34. Carrie Giunta (forthcoming). A Question of Listening: Nancean Resonance, Return and Relation in Charlie Chaplin. In Carrie Giunta & Adrienne Janus (eds.), Nancy and Visual Culture. Edinburgh University Press
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  35. Carrie Giunta & Adrienne Janus (eds.) (forthcoming). Nancy and Visual Culture. Edinburgh University Press.
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  36. Cristian Hainic (2011). The Nuts and Bolts of Arts Management: A Discussion on a Recent Handbook in the Field. [REVIEW] Journal for Communication and Culture 1 (2):167-170.
    Brindle, Meg and Constance DeVereaux, eds. The Arts Management Handbook: New Directions for Students and Practitioners. Armonk, New York: M.E. Sharpe, 2011.
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  37. Melinda C. Hall (2014). Picturing Disability: Beggar, Freak, Citizen, and Other Photographic Rhetoric. [REVIEW] Journal of Literary and Cultural Disability Studies 8 (1):121-124.
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  38. Gizela Horvath (2012). Les chaussures de qui ? L'identité des oeuvres d'art. Synthesis Philosophica 26 (2):283-297.
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  39. Napoleon Ono Imaah (2013). The Architecture of History. Dialogue and Universalism 19 (3/5):307-323.
    The paper examines the bond between architecture and history on the premise that everybody is familiar with both architecture and history. The paper views architecture as a profession that is satiated with imaginative and creative thinking; and contends that architecture extends, historically, into wherever human beings live their life. The author opines that architecture easily extends its influence, as a vivid universal metaphor into every sphere of human activity as a synonym, in building either concrete or abstract forms. Thus, the (...)
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  40. Napoleon Ono Imaah (2006). Synergy and Dialogue. Dialogue and Universalism 16 (11/12):57-67.
    This paper acknowledges the fact human beings are social animals, as they tend to live in well-organized societies. However, human population expansion explodes into internal implosions that continue to wreck havoc globally on the social, economic, political, architectural, and aesthetic environments. To harness the universal territorial imperatives, of contending components harmoniously, the world requires synergy and dialogue.
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  41. Tony E. Jackson (2009). The Technology of the Novel: Writing and Narrative in British Fiction. Johns Hopkins UP.
    This book explains the novel as a genre in terms of spoken language, oral story, and writing. It begins by laying out certain grounding concepts. The cognitive sciences have established that language and story are constitutive elements of the human animal. Both language and story are built into our cognitive make-up and have specifiable qualities. It is also the case that if we think historically and anthropologically, then we can establish that oral story in oral culture is the default kind (...)
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  42. Marzenna Jakubczak (2011). Natura i Bogini. Ekofeministyczna rewizja mitów według Mariji Gimbutas. Kultura I Historia 20.
    In this paper I reflect on the mythocreative potential of Gimbutas’ narrative reconstruction of archaic culture and its impact on the contemporary critique of culture. First, I revise the notion of ‘nature’ in the context of two opposing conceptual paradigms of change-over-time, namely cyclic and linear. Then, I discuss symbolic connotation of ‘Nature – Culture’ interrelationship with special reference to the ‘idyllic vision of Goddess’ proposed by Marija Gimbutas (1921-1994), American archaeologist of Lithuanian origin, the author of the groundbreaking books (...)
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  43. Galen A. Johnson (2008). Présence de L’Oeuvre, Un Passé Qui Ne Passe Pas: Merleau-Ponty and Paul Klee. Alter: revue de phénoménologie 16:227-242.
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  44. Albert A. Johnstone (1984). Languages and Non-Languages of Dance. In Maxine Sheets-Johnstone (ed.), Illuminating Dance: Philosophical Explorations.
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  45. Gerald Keaney (2014). The Life and Times of Johnny Xerox. Philosofict (2).
    A superhero story where the protagonist questions the purpose of being a superhero in the first place.
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  46. Gerald Keaney (2012). Free Play and the Foreclosure of New Babylon. Environment and Planning D 30:418-433.
    Automation may be able to completely eliminate the need for labour. But how should we use the freed-up time? In his proposal for a future urbanism, New Babylon, Constant Nieuwenhuys thought people would engage in nonstop free play, remaking surroundings. I argue that at the core of New Babylon is an intuition about a satisfying life, that of Homo ludens. This intuition had a broad appeal in the 1960s. New Babylon is an intuition pump, not a utopia, and Constant wants (...)
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  47. Magda Keaney & Gerald Keaney (2007). The DNA of DIY. Photofile (81):60-63.
    We argue DIY art provides a relatively pressure-free learning environment, using self-portraits as our main examples.
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  48. Gavin Keeney, Mad Square.
    Review of “The Mad Square: Modernity in German Art 1910-37”, National Gallery of Victoria, Melbourne, Australia, November 25, 2011-March 4, 2012. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 153-57.
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  49. Gavin Keeney, Notes on the Artistic Ego.
    Essay on the modern artistic ego as sponsored by the exhibition, "Gustav Courbet," February 27-May 18, 2008, Metropolitan Museum of Art, New York, New York, USA. A version of this essay appeared in Gavin Keeney, "Else-where": Essays on Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 191-98.
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  50. Gavin Keeney, Pure Visuality: Notes on Intellection & Form in Art & Architecture.
    Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...)
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