Fluxus and Political Propaganda: Social Goals, not Aesthetic ones. For the members of the Fluxus group, modern art opened up a whole gamut of possible modes of liberty, including the social and the political realms. It follows that the artistic project must therefore involve the incorporation of such liberty within the order of the everyday. Only thus can life and art become an art of living. To this end, art must become a form of organised leisure, or what (...) we could qualify as a kind of play, since, to quote Guy Debord, « the liberation which results from play has to do with the creative autonomy of the latter ». For the achievement of such a condition to be possible, art must be more than a mere form of leisure, becoming a poetic form of leisure. (shrink)

In this paper I try to shed light on the relationship between Ugo Nespolo and the Fluxus group, which the artist contributed to import to Italy in the late Sixties. I then argue that, thanks to the fact that Nespolo’s artworks (especially in the avant-garde period) are documents, it is possible to look in a new and different way at an (anti)artistic movement that sought, in vain, to undermine the idea of objectivity and authorship of the work of art.

We need to give up single visions that are supposed to embrace social and place totalities. We live in overlapping nets rather than single places. We cannot plan unlimited geometrical vistas a la Versailles; but that was always an illusion, and today it would be an oppression. Can we still plan like Sixtus at Rome? Only if we also encourage other modes of organization at the same time. The whole may often end up more like Tokyo, with corners of design (...) and beauty that do not make an overall plan. (shrink)

At the 50-year anniversary of Fluxus, Ken Friedman looks back on the activities and achievements of a laboratory for art, architecture, design, and music. This article examines the political and economic context of the 1950s against which Fluxus emerged to become the most radical and experimental art project of the 1960s, thoroughly international in structure, with women as well as men in central roles. The article examines the hermeneutical interface of life and art through 12 Fluxus ideas: (...) globalism, the unity of art and life, intermedia, experimentalism, chance, playfulness, simplicity, implicativeness, exemplativism, specificity, presence in time, and musicality. (shrink)

Este artículo se centra en la música en el entorno Fluxus entendida como creación artística de aproximación a la conquista del espacio y de superación de los límites sonoros, en aras a potenciar su expresión a través de la acción del intérprete y la utilización de artefactos. El resultado de todo ello fue un repertorio de imágenes de una gran potencia connotativa en el panorama artístico de los años sesenta.

The forma fluens/fluxus formae debate concerns the question as to whether motion is something distinct from the body in motion, the flow of a distinct form identified with motion , or nothing more than the successive states of the body in motion, the flow of some form found in one of Aristotle's ten categories . Although Albertus Magnus introduced this debate to the Latin West he drew his inspiration from Avicenna. This study argues that Albertus misclassified Avicenna's position, since (...) Albertus could not conceptualize motion at an instant, whereas it is claimed here this was the very position Avicenna adopted. The paper includes an overview of Albertus's discussion and a brief survey of the Avicennan sources upon which Albertus drew. The heart of the paper treats Avicenna's analysis of motion at an instant. Avicenna's general argument was that since spatial points have no extremities, nothing in principle prevents a moving object from being at a spatial point for more than an instant, understood as a limit. It is then argued that Avicenna had the philosophical machinery to make sense of a limit, albeit not in mathematical terms, but in terms of an Aristotelian potential infinite. (shrink)

Among the authors of the 13th century, Albert the Great is perhaps - together with Thomas Aquinas - the one who chose to confront more closely the metaphysical instances of the Liber de causis. The anonymous work, an original readaptation of Proclus’ Elementatio theologica, not only found in Albert one of its most passionate interpreters, but also profoundly shaped his thought. It is difficult to establish whether it was more the Liber de causis that modelled Albert’s philosophical and theological reflection, (...) or Albert’s reading of it that profoundly influenced the posterity of the De causis. One of the best known aspects of Albert’s thought is undoubtedly his metaphysics of flow, and more particularly his attempt to harmonise the Christian doctrine of creatio ex nihilo with the Neoplatonic model of procession and emanation. In this article I jointly analyse: Albert’s definition of the flow; the way he describes the process of creation by the First Cause; the different definitions he offers of the first product of the First Cause. In this way, I hope to show that the nature of the flow - considered in its moment of origin - can be more adequately understood if considered in its relationship to that of the first created product, and vice versa. (shrink)

Among the authors of the 13th century, Albert the Great is perhaps - together with Thomas Aquinas - the one who chose to confront more closely the metaphysical instances of the Liber de causis. The anonymous work, an original readaptation of Proclus’ Elementatio theologica, not only found in Albert one of its most passionate interpreters, but also profoundly shaped his thought. It is difficult to establish whether it was more the Liber de causis that modelled Albert’s philosophical and theological reflection, (...) or Albert’s reading of it that profoundly influenced the posterity of the De causis. One of the best known aspects of Albert’s thought is undoubtedly his metaphysics of flow, and more particularly his attempt to harmonise the Christian doctrine of creatio ex nihilo with the Neoplatonic model of procession and emanation. In this article I jointly analyse: Albert’s definition of the flow; the way he describes the process of creation by the First Cause; the different definitions he offers of the first product of the First Cause. In this way, I hope to show that the nature of the flow - considered in its moment of origin - can be more adequately understood if considered in its relationship to that of the first created product, and vice versa. (shrink)

As Aristotle classically defined it, continuity is the property of being infinitely divisible into ever-divisible parts. How has this conception been affected by the process of mathematization of motion during the 14th century? This paper focuses on Nicole Oresme, who extensively commented on Aristotle’s Physics, but also made decisive contributions to the mathematics of motion. Oresme’s attitude about continuity seems ambivalent: on the one hand, he never really departs from Aristotle’s conception, but on the other hand, he uses it in (...) a completely new way in his mathematics, particularly in his Questions on Euclidean geometry, a tantamount way to an atomization of motion. If the fluxus theory of natural motion involves that continuity is an essential property of real motion, defined as a res successiva, the ontological and mathematical structure of this continuity implies that continuum is in some way “composed” of an infinite number of indivisibles. In fact, Oresme’s analysis opened the path to a completely new kind of mathematical continuity. (shrink)

This essay focuses on the Portraits Not Made (1970) by Robert Filliou, a French artist of the postwar neo-avant-garde and a founding member of the international transdisciplinary art movement Fluxus. Interrogating originality and authorship, these ‘Intermedia’ works ‘depict’ artists: George Brecht, Dieter Rot, Dorothy Iannone, Irmeline Lebeer, Josef Beuys, Andy Warhol, John Cage, Arman, and Toi (you). Though virtually blank, they translate between binaries: visual/textual, material/immaterial, made/not made, artist/viewer. Inherently performative, Filliou’s portraits draw the viewer into a ‘poetic economy’ (...) based on three systems: Permanent Creation, the Eternal Network, and the Principle of Equivalence (well made, badly made, not made). Drawing on economic theory shaped by Fluxian absurdity and a Zen-like understanding of reality as at once empty and full, Filliou’s works undermine hierarchies – artistic and political – that privilege individual genius and art as capital exchange. His works propose alternative systems of value by acknowledging the viewer as co-creator. (shrink)

Le travail de Christian Marclay, artiste multiforme, improvisateur et performer, explore systématiquement un espace au confluent des arts sonores et visuels (vidéo, photos, installations, sculptures). Comment réfléchir sur le son à travers les objets tangibles et les représentations visuelles qui le réifient ? Comment produire – par une pratique musicale de platiniste notamment – de nouveaux sons et de nouveaux rapports à la musique ? Ce double axe d’interrogation rencontre nécessairement la question de l’instrument. Iconoclasme musical dans la double lignée (...) du mouvement punk et de Fluxus ? Ou /et interrogation sur le fonctionnement de l’instrument dans la pratique vive d’une musique à réinventer ? On voudrait suggérer qu’une telle approche esthétique peut nourrir l’approche ontologique de l’instrument et, en paraphrasant Nelson Goodman, poser la question « quand y a-t-il instrument ? ». (shrink)

In lieu of an abstract, here is a brief excerpt of the content:'I am cringe, but I am free':A Reparative Reading of Assuming the Ecosexual PositionVanesa Raditz (bio) and Jess Martinez (bio)Annie Sprinkle, Beth Stephens, Jennie Klein, and Linda Montano. Assuming the Ecosexual Position: The Earth as Lover. University of Minnesota Press, 2021. ISBN 9781452965796.INTRODUCTIONEcosexual: Eco from the ancient Greek oikos; sexual from Latin, sexuales 1. a person who finds nature romantic, sensual, erotic, or sexy, which can include humans or (...) not. 2. A new sexual identity (self-identified). 3. A person who takes the Earth as their lover. 4. A term used in dating advertisements. 5. An environmental activist strategy. 6. A grassroots movement. 7. A person who has a more expanded concept of what sex and orgasm are beyond mainstream definitions. 8. A person who imagines sex as an ecology that extends beyond the physical body.Assuming the Ecosexual Position: The Earth As Lover (Sprinkle and Stephens 2021, 2)What does it mean to take the Earth as a lover? How does it change our experiences of pleasure in our bodies to give attention to the eroticism of air in our lungs, mud on our skin, or water in our throats? How would it shape our ethical commitments to these elements that we depend upon for life if we were to reconnect with them as pleasurable extensions of our own bodies? These questions are at the heart of the decades-long research-creation performance-art collaboration between Annie Sprinkle and Beth Stephens that has built an international "ecosexual" identity and movement, a tale that they document in their new book, Assuming the Ecosexual Position: The Earth as Lover. Part travelog, part relationship memoir, part how-to guide, Assuming the Ecosexual Position chronicles [End Page 105] the emergence and evolution of their ecosex concept and community through a playful recounting of over a decade of productions: performative weddings to the earth, moon, lakes, rocks and beyond; theatrical two-women sexecology performances that culminate in explicit sex in piles of earth; ecosex walking tours; workshops; public sex clinics; documentary films; and so much more.Woven throughout are philosophical reflections on the entanglements between bodies, land, sex, eroticism, and love, many of which emerge from ecofeminist thought, pollinated with the post-porn, sex-positive, queer feminism of the 80s and 90s. In introducing their philosophical inspirations, they name Greta Gaard's classic piece on queering ecofeminism (18) which stimulated a body of work describing the ways that patriarchal systems of power simultaneously oppress women, the erotic, and nature (1997). Drawing upon Sprinkle's background in porn and post-porn modernist theater, Stephens' background as a queer artist with a doctorate in Performance Studies, their mutual interest in sex education, and their love for the redwoods of Santa Cruz, the pair crafted ecosexuality as a particular lens for expanding queer ecofeminist inquiry into the power of sexual liberation for ecological liberation, which they do through the creative methodologies of performance. The performance art practice that they develop has significant inspiration from the Fluxus art movement, which resisted the authority of museums to define the meaning or value of art, and encouraged the active practice and production of art throughout life.Among the inspirations they list in the introduction to Assuming the Ecosexual Position, Donna Haraway and Kim TallBear stand out. Donna Haraway's presence is felt throughout the book—as a colleague of Stephens at UC Santa Cruz, as a friend at their Wedding to the Earth, as a collaborator in the documentary Water Makes Us Wet, and ultimately, as a posthuman philosopher (Haraway 2000) who has inspired Stephens and Sprinkle to "see ecosex as a conceptual art practice and a way of thinking beyond individual identity, and even beyond human beings, to envision a larger system—an ecology of relationships" (8). The authors also express the influence of their evolving relationship with Kim TallBear, with whom Beth studied while pursuing her PhD, and who has encouraged the pair to leverage this posthuman and new materialist consciousness towards decolonial politics (TallBear 2015). They cite one of TallBear's blog posts on ecosexuality, where she encourages ecosexuals to use a critical eye towards "New Age" appropriation of Native American ceremonies... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 107-115 [Access article in PDF] The Search for Narrative Laura Felleman Fattal The most cursory cultural investigator cannot help but notice that the visual arts have become a significant source and impetus for the narrative of contemporary books, theater, and dance. In recent memory, the following theatrical and dance performances "Contact" by Susan Stroman and John Weidman, "Art" by Yasmina Reza, "Sunday (...) in the Park with George" by Stephen Sondheim, book by James Lapine, "Les Miserables" by Claude-Michel Schfonberg/music and others, "Picasso at the Lapin Agile" by Steve Martin, and "The Sleep of Reason," by Antonio Buero-Vallego have taken the not-so-dead-life (natura morta) or still life of painting into the vital arena of the performing arts. The quest to seek intra-discipline aesthetics among dance, music, theater, and the visual arts is not the charge, but instead a turn to establish a narrative that has brought about this invasion of interactivity between the arts. Clearly defined boundaries between the arts have beenfading since Fluxus, Happenings, and Performance Art for over half a century. In the early part of the twentieth century, Marcel Duchamp's chess games and use of the fourth dimension of time in his numerous produced and pondered pieces all speak to the interrelatedness of the arts.Contemporary novels based on historical themes and subjects have created characters based on the lives and works of famous and intriguing artists such as Michelangelo Caravaggio, Georges de La Tour, and Jan Vermeer. The silence and pensive qualities of the figures of Jan Vermeer, the seventeenth-century Dutch painter, have been the catalyst for two books, The Girl in Hyacinth Blue by Susan Vreeland and the Girl with the Pearl Earring by Tracy Chevalier.1 Vreeland combines the mystic of the Vermeer paintings' characters with the impoverished history of the refugee status of its owners. In various parts of Vreeland's book the authenticity of the Vermeer painting becomes a subtext for describing the work. [End Page 107] Just the lament of some Dutch art historians. Where has such a treasure gone, or some such thing? He turned to pour us both a brandy. So why could this not be? It's his same window opening inward at the left that he has used so often, the same splash of pale yellow light. Take a look at the figures in the tapestry on the table. Same as in nine other paintings. Same Spanish chair with lion's head finials that he used in eleven canvases, same brass studs in the leather. Same black and white tiles placed diagonally on the floor.2A few pages later the interest in the authenticity of the painting continues: No, no signature. But that was not unusual. He often failed to sign his work. Besides, he had at least seven styles of signature. For Vermeer, signatures are not definite evidence. Technique is. Look at the direction of the brush's stroke, those tiny grooves of the brush hairs. They have their lighted and their shaded side. Look elsewhere. You'll find overlapping layers of paint no thicker than silk thread that give a minute difference in shade. That's what makes it a Vermeer.3In Girl with a Pearl Earring, Vermeer's slow and meticulous technique, obsessive involvement with his models and his assiduous composition of light over textures of both animate and inanimate surfaces in the painting become the core of the novel. He had come in and was standing in the studio, looking out a window. "Take a seat, please, Greit," he said, his back to me.I sat in the chair by the harpsichord. I did not touch it — I had never touched an instrument except to clean it. As I waited I studied the paintings he had hung on the back wall that would form part of the concert painting. There was a landscape on the left, and on the right a picture of three people — a woman playing a lute, wearing a dress that revealed much of... (shrink)

What is the 'good life'? Is it a life completely devoted to intellect, or should we take for granted the hedonistic position, which says that pleasure is the absolute good? The hedonist subordinates everything to pleasure, and tests anything in a rigorous calculus for the amount of pleasure it yields. It is against this hedonism that Plato turns himself in a unique manner in his dialogue Philebus. After having reached a deadlockin a sterile opposition between hedonism and intellectualism in his (...) former works, Platonow wants to dig deeper. He wants to criticize hedonism from within. In the first place, Plato investigates the proper nature of pleasure. It is to be situated within the continuous fluxus of our lives; a going back and forth between lack and replenishment. The limit that gives sense to this movement is the 'natural state', which we never attain in its purity. The role of intellect is hereby reduced to a strictminimum. It seems to be mainly a faculty which concerns the recognition and experience of pleasure as pleasure. In this way, Plato strives to establish a certain degree of consensus of opinion with hedonism, in order to be able to refute it afterwards. This refutation is supported by the formal structure of the dialogue: it consists in a gradual 'conversion' of a hedonist, who will eventually be brought into the intellectualist camp of Socrates. The critique to which Socrates' interlocutor yields is based on three main ideas. 1.Hedonism pretends to know what the good is. Plato counters this with a moderate intellectualism, taking the good to be undecided, and providing a place also for pleasure within the good life. 2. Moreover, Plato reveals an internal contradiction in hedonism: every hedonist will, if possible, prefer a 'pure' pleasure, in which the mixture with its contrary, pain, is as small as possible. However, this purity cannot be reduced to the hedonistic calculus. 3. Finally, the choice of the title of this dialogue is to be seenas a part of Plato's critique against hedonism. The main character Philebus refuses to engage in the debate. Plato suggests by this that he who proclaimspleasure to be the only intrinsic good is unable to partake in a discussion about pleasure. For he would, before any argument whatever, subordinate pleasure to truth and reason. If a hedonist is willing to argue he has already surrendered, and will be 'converted' whether he wants it or not. (shrink)

"Quelles sont les origines de l'esthétique contemporaine, les raisons qui l'ont installée si durablement dans le paysage artistique et celles qui l'ont amenée à séduire un public toujours plus nombreux? Après avoir souligné l'incompréhension initiale du public, nous montrerons que le surgissement de mouvements artistiques comme Fluxus et, surtout, l'adoption par l'avant-garde artistique américaine de concepts de la philosophie analytique, ont été déterminants dans son avènement. L'insistance de cette nouvelle esthétique sur les objets et le langage a rencontré les (...) fondamentaux de notre "société du spectacle". Ainsi les intérêts industriels et artistiques ont-ils fusionné en un marché global de l'esthétique qui consolide leurs intérêts communs. Enfin, notre société individualiste a dénié toute autorité aux institutions pour juger de l'art. L'individu est maintenant souverain juge. C'est en cédant son privilège d'unique représentant de l'esthétique postmoderne que l'art contemporain a trouvé sa rédemption aux yeux du public.". (shrink)

This article investigates the concept of sound, in relation to the new means and sciences from different perspectives, ultimately providing an analysis of the newborn artistic movement of bioart. It is divided into two parts. The first part of the study is based upon reference, investigating the interconnection between art and science. This mechanism is characterized by transformation processes in the interdisciplinary practices that are applied mainly by various artists and movements of the post-Second World War period. The expressive element (...) seeks an unworldly explanation through audio and visual conjunctions. This nature is obvious in Paul Klee’s reflections of musical elements in his paintings, and Rimmington’s attempts to marry audio-visual influences in his ‘colour organs’. The experimentations of composers such as Xenakis and Stockhausen at various locations with light and colour illustrate the continuous quest to render sound by the use of new means. Technology is a vital component of transformation as it enhances syncretic creativity for various art domains such as those that Fluxus deployed. Nam Jun Paik and Dick Higgins introduce radical techniques in their performances as they detach their selves from the parameters that define composition, and use the mind and power of sentiment in order to identify reality aurally and optically. Towards the end of the twentieth century, we witnessed the appearance of new art forms such as bioart. The human body, host of material and immaterial functions, comes to the forefront of art prac¬tice. Its relation to elements such as oscillations and vibrations that express the energy flow is analysed through the model of spiritualism that came from eastern thought. The notion of digital embodiment is presented as a reminder, highlight¬ing the importance of technology in biotechnology and genetics. The second part of the article involves an experiment. This describes how the concept of biomusic is applied with the use of electrocardiography (ECG) data from the MIT PhysioNet database. As sound penetrates the entire human body, it can be analysed in all of its phasma. Using this information, we attempt to translate/transform these biological sound phenomena into music. The sound produced by the elaboration of data that result from biological functions can be described as biomusic. It can be transformed into frequencies related to time and can be expressed in musical themes. Sonification plays an important role in this research as it constitutes a rapid and precise rendering of polymorphic information (in this case the ECG) in musical notes. This modelling and musical attribution leads to two distinguishable results, each concerning different clinical cases (all data belong to a normal heart function and a pathological one). The invention of this novel system is suggested for scientific as well as musical disciplines. It has the ability to be implemented in an experimental form and obtain an educational character. The transformation process avoids compensation throughout the matching process between ECG functions and music, while focusing on the aesthetic factor at the same time. Sound meets art in the world of biomusic as it takes shape through technology, constituting a new medium to further evolve the model of ‘biology into art’ transformation. (shrink)

In the mid 1960s two artists associated with Fluxus, Milan Knk and Ken Friedman, began corresponding about the possibilities for conceptual and material exchange through the new media, or intermedia, of actions and correspondence art. To make connections across the geographic and political barrier between Eastern Europe and the West, they used flexible media within a distributive cognitive network to communicate about living and working counter to conformity and inertia in both places. Their use of intermedia reveals a pattern (...) of international information exchange that distinguishes contemporary art and experience from the modern. (shrink)

The experimental art and poetry of the last half of the twentieth century offers a glimpse of the emerging networked culture that electronic devices will make omnipresent. Craig J. Saper demarcates this new genre of networked art, which uses the trappings of bureaucratic systems - money, logos, corporate names, stamps - to create intimate situations among the participants. Saper explains how this genre developed from post-World War II conceptual art, including periodicals as artworks in themselves; lettrist, concrete, and process poetry; (...) Bauhaus versus COBRA; Fluxus publications, kits, and machines; mail art and on-sendings. The encyclopedic scope of the book includes discussions of artists from J. Beuys to J. S. G. Boggs, and Bauhaus's Max Bill to Anna Freud Banana. -- Publisher. (shrink)

By pitting John Cage against Andy Warhol, Arthur Danto shows how the arts themselves were gripped by a progressive logic that aimed at only one goal: to overcome the gap between art and life. The non‐tautological reading preserves a fundamental, philosophical difference between commonplace and art objects. The semantical space accounts for the aboutness of the work and is thus the necessary condition for something to be an artwork. Together with other Pop artists, Rauschenberg transformed the Artworld, while Cage aimed (...) at a re‐enfranchisement of the commonplace. Danto writes that his Buddhist phase came to an end when he, as a philosopher, felt the need for theories. The works of Fluxus and Cage, in the end, accepted asylum within the sanctuary of the Artworld, where they became less radical, and perhaps less radical than Pop. (shrink)

The following paper investigates the concept of motion in Jacques Legrand, a hitherto little-studied author of the early fifteenth century. Legrand, an important member of the Order of Hermits of Saint Augustine, wrote a philosophical Compendium for the students of his Order. This contribution first attempts to provide a contextualization of Legrand’s treatment of motion within this work. Legrand’s contribution to philosophical encyclopedism is here discussed. Secondly, it reviews the most important theories on the nature of movement in the Middle (...) Ages. Thirdly, it offers a detailed analysis of Legrand’s arguments in support of the nominalist view that it is unnecessary (if not wrong) to consider the local motion as a fluxus added to the moveable body. The article suggests that Legrand’s generalized nominalist position may be connected with certain lines to be followed within his own Order or even with the anti-realist ideology of the conciliarists philosopher, like Pierre D’Ailly and Jean Gerson. (shrink)

Los planteamientos de A. C. Danto sobre el pluralismo en el arte y la crítica de arte contemporáneos toman como punto de referencia los años ochenta, un corto periodo en el que el pluralismo afloró como tema para la conciencia artística. Movimientos artísticos de los sesenta como el pop, el minimalismo, fluxus, habían derogado la estética como criterio para la definición del arte: obra de arte podía ser cualquier cosa. Esto ya no lo podía asimilar la crítica sino la (...) filosofía del arte, única capaz de un concepto del arte transhistórico y pluralista de por sí. Sin embargo, el pluralismo en el arte requiere también de la crítica. El artículo expone la diferencia entre filosofía del arte y crítica de arte, y para afrontar el reto del pluralismo, la diferencia entre crítica de arte libre y crítica dependiente del mundo del arte institucionalizado. Finalmente, el artículo aprovecha una alusión de Danto para asociar el espíritu del pluralismo en el arte y la política. (shrink)

Cultural Writing. This classic of alternative art theory is available again in this second edition. Dick Higgins was co-founder of Happenings and later Fluxus. He was active in music, studying with John Cage and Henry Cowell and is the author of many books of poetry including Buster Keaton Enters Into Paradise (Left Hand) and Book About Love And Death (Something Else), also available from SPD. From his early (1964) essay on Intermedia, which gave the term to the language, up (...) through the his influential essay on the concept of an allusive referential, the impulse of his work was to describe rather than to prescribe. These essays continue to offer tools which may be useful in developing theories and opinions for the next generation of artists, writers and critics. A Dialectic Of Centuries is book to work within the new century. (shrink)

The doctrine of motion elaborated by Albert the Great has often been interpreted in the light of the debate, which developed in the 14th century, on the alternative between motion as a forma fluens, according to the Avicennian approach, or as a fluxus formae, more in line with Averroes’ position. Projecting this alternative onto Albert retrospectively, however, does not seem to be very productive for at least two reasons: (i) there is not a sufficient textual basis to affirm that (...) he understood the syntagmas forma fluens / fluxus formae as indices of two different and opposing ways of interpreting physical motion; (ii) Albert actually proposes his own interpretation of motion that does not really coincide with either Avicenna’s or Averroes’. In this article, I intend to show how Albert understands motion – particularly in his Physics – as a forma fluens, but in a determinate sense, i.e. as changing according to its being and not according to its essence (secundum suum esse et non secundum suam essentiam). This qualification means that Albert’s position does not coincide in a strict sense with either Avicenna’s or Averroes’, and must instead be understood in close connection with Albert’s doctrine of incohatio formae and the presence, in matter, of a kind of ‘intellectual appetite’. My aim is thus to show how Albert found a way to inscribe the doctrine of the flow of form and the inchoative presence of forms in matter in a Neoplatonic emanationist system (mainly influenced by the Liber de causis) and to rethink the nature and function of the ‘giver of forms’ with respect to the Avicenna model. (shrink)

Volker Harlan, Rainer Rappman, Peter Schata – Plastica sociala. Materiale despre Joseph Beuys Editura IDEA, Cluj-Napoca, 2002, 159 p.