A quest for meaning characterizes the thought of this century everywhere in humanistic studies, and it is a quest justified by exploring and mapping old and new terrains of which the resources are still uncertain. The Monastery of Escorial today raises so many questions about the traditional ideas with which we treat the history of art in the sixteenth century, that they are the subject of this paper. It is in four parts: the Escorial as Mannerism; as estilo desornamentado, as (...) Renaissance magic; and as an application of the aesthetic system of Saint Augustine. (shrink)

The ArgumentIn the first part of this paper, issues concerning an “epistemology of time” are raised. The Derridean theme of the historial movement of a trace is connected to Prigogine's notion of an operator-time. It is suggested that both conceptions can be used to characterize the dynamics of experimental systems in contemporary science. It is argued that such systems have, to speak with Hacking, “a life of their own” and that this is precisely the reason for their inherent unpredictability.In the (...) second part, a case from the history of virology and cytomorphology is presented. The movement of a particular experimental system is followed in its peculiar tension between deferring and becoming different—i.e., between the persistence of a problem and the vagaries of its successive transformations. They are rendered possible by novel technical implementations, but they are not determined in any meaningful sense on a mere technological level.In conclusion, a point is made for a deconstructive approach to the history of science. (shrink)

The essay aims to outline an epistemology of photography through the critical issues that arise from the encounter between photography and sculpture. In particular, it investigates the aesthetic and semiotic constraints that define the specificity of the photographic look with respect to a sculptural three-dimensional vision. The relationship between documentary and art photographs is the main area of research; specifically, the essay tries to highlight the interpretative value that can also be attributed to documentary photography, underlining the boundaries of a (...) complex distinction. A specific section is devoted to Medardo Rosso’s photographs of his own sculptures. Rosso’s work solicits a reflection on the status of photography and on some theoretical problems such as reproducibility, the relationship between original and copy, and the creative gap produced by variation in a series. The artist suggests a peculiar “grammar” of photography by virtue of his relationship with another art – sculpture. (shrink)

Creativity is often portrayed as an X-factor that accounts for the spontaneous generation of the absolutely new. Yet the obsession with novelty implies a focus on final products and a retrospective attribution of their forms to unprecedented ideas in the minds of individuals, at the expense of any recognition of the form-generating potentials of the relations and processes in which persons and things are made and grown. In these processes, practitioners are characteristically called upon to copy the works of past (...) masters. However, though they may be guided by a script or score, every practitioner has to improvise his or her own passage through the array of tasks the performance entails. With examples from music, calligraphy and lace-making, I show that the wellsprings of creativity lie not inside people’s heads, but in their attending upon a world in formation. In this kind of creativity, undergone rather than done, imagination is not so much the capacity to come up with new ideas as the aspirational impulse of a life that is not just lived but led. But where it leads is not yet given. In opening to the unknown — in exposure — imagination leads not by mastery but by submission. Thus the creativity of undergoing, of action without agency, is that of life itself. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

Basandomi su (Harvey 2012) argomenterò che la struttura architettonica della città deve seguire un determinato modello morale: gli edifici devono adattarsi alla persone e alle loro esigenze, e non il contrario. Definita la città come un particolare tipo di oggetto sociale, difenderò la tesi della possibilità di cambiamento “qui e ora” delle strutture architettoniche delle città sulla base del modello che, come mostra (Sudjic 2011), è attualmente ribaltato in una situazione in cui gli agglomerati urbani seguono sostanzialmente una struttura che (...) sposa le sole esigenze dei costruttori. Una volta argomentato che la città deve tenere conto degli interessi di tutti, modificando di continuo le proprie strutture, mi baserò su (Frau 2009) per sostenere che la città deve anche trasformarsi in un luogo in cui anche i “ diversi” (malati mentali, ecc.) trovano un loro spazio non dissimile da chi è definito “normale”. (shrink)

The title of my thesis is Time, Truth and Accountability in Information Control and Dissemination. The central argument of the thesis is that accountability is an illusion. We take accountability to mean being liable for actions and answerable to some body, but then we encounter the opacity of ‘liable in what particular respect?’ and ‘answerable to whom?’ Accountability is muddled with other concepts which we take to be implicit in its meaning. We appeal to ‘transparency’, but transparency is never absolute, (...) and how would we know if it were? To make all processes and all information transparent to everyone who needs to know, wants to know, or claims to have an interest, would be a stifling endeavour. I will show that ‘accountability’ is a term much used but rarely understood, and that this can have tragic consequences not only for individuals but for society as a whole. Using Plato’s allegory of the cave as a structure for the thesis, I will develop the argument by following the prisoner’s journey through changing contexts, towards self-awareness and the understanding that our knowledge is always open to revision. Within accountability and audit culture, I will explore the entangled notions of transparency, truth, trust, freedom of information, justice and democracy, considering how our interpretation of concepts is context-dependent and how this affects communication, our understanding of our experience, ourselves and our world. The thesis is essentially phenomenological in style and approach. Integral to my inquiry is an examination of how our experience influences our understanding. Over time and in the process of everyday living, we accumulate experience and we interpret this experience. Our conclusions change, are constantly open to revision and are dependent on both our individual perspective and the wider context; our perspective and context are themselves subject to change with the passage of time. Awareness of this variability is fundamental to effective human communication because it allows us to move across different domains, maintaining some level of mutual understanding even as it is transformed by context. Yet, not withstanding this awareness, there is also the potential for intentional and non-intentional misuse of terms, resulting in misunderstandings and a failure of intelligibility and communication. If concealed and exploited rather than acknowledged and disclosed, this failure can alter the course of events irrevocably, and with disastrous consequences. This breakdown results in an erosion of trust on all scales, international, national, corporate, and individual, and once lost, this trust is hard to re-establish. Paradoxically, even when we discover the fragility of trust, we are drawn to trust again, sometimes with little choice, but the consequences of a continuing implicit trust can be serious, and I will elaborate on this idea with reference to several high profile examples. Finally, I will argue that we often seek security in our illusions, like Plato’s prisoner we can be dazzled by them and pained when they are dispelled, yet even when we are disabused of our illusions, we are never entirely free of them. We can never escape the Cave for we must trust in the potential for accountability of those responsible to us. I suggest then that we must move away from the rituals of accountability and towards an honest accountability where our common project is to seek truth, however painful that might be. (shrink)