Installation (Art)

Belgian artist Lili Dujourie, whose career spans close to 60 years, achieved acclaim in the 1980s with her use of velvet as a sculptural substance rich in implications. Many artists who appropriate largely ignored materials continue to exploit them for years as a trademark, but not so with Dujourie. She focuses on a medium or material for a relatively short period and then jumps on to something else that requires other techniques and brings up new themes. Or does the wish to take on new subjects lead to a search for the appropriate medium to render those ideas? Dujourie leaves the question unanswered. Because she does not divulge much by way of words, we must conclude that Dujourie wants her work to speak for itself. Her range is remarkable, going from Minimalist geometric abstraction to a lush, mid-career, neo-Renaissance or neo-Baroque form of sculpture in her signature velvet pieces, which straddle the edge of a fragmentary figurative representation, replete with references to draperies. She has taken on the human body-reclining and standing, in motion and repose-architectural space, variations in natural light over the course of an open span of time, and still-life, using a wide variety of materials, techniques, and compositional strategies over the years. Her works, with their often-allusive titles, explore authoritarianism at a cultural and political level, memory, and thus history, stagings for undetermined performances and stories without narrative".

In an era when architecture and cultural experiences often occur in virtual sites, Zenovia Toloudi’s Yellow + Blue is conceived as a labyrinth experienced in a public space. It is presented through its life at the campus of Carleton University in Ottawa, as well as theoretically through a glossary of terms defining architectural apparatuses. An architectural apparatus is an individual element with various forms, materials, textures and perforations, an opening and a threshold, a design of scales, geometries, proportions and dimensions or a strategic positioning of a building to produce an effect in the eyes of the beholders. Architectural apparatuses intervene in buildings to transmit light or recreate an image interrupting and revealing hidden or overlooked nuances of daily routine through the production of ever-changing
phenomena or to produce an illusion of infinity in an interactive futuristic model. Through experiment and experience, certain ideas prevail about architectural apparatuses: they are non- representational artifacts; they become portals for phantasmagoria; they disrupt spatial homogeneity; they recalibrate the senses and cognitive abilities of viewers; they displace
temporarily one’s image in relation to the surroundings; they are theatrical, literal and temporal; they become transitional objects or communicative devices; and they become co-producers of space.

As we move towards a design world that values ethics and democracy, we must be mindful of the risk of bureaucratization—something Krzysztof Wodiczko calls ‘bureaucratic aestheticism.’ In my essay, ‘Building a Language on the Interrogative Form,’ I dive into how Wodiczko’s approach can help us rethink design. I explore how architecture can connect to social needs and everyday rituals, while introducing ‘Tectonics of Democratization’—designs that merge play, democracy, and architecture. This approach opens new possibilities for practice and theory. 

Toloudi, Z. Building a Language on the Interrogative Form, Interrogative Design, ed. Ian Wojtowicz (MIT Press, 2024) p 116-120

Abstract: Intersections of Digital Craft and Heritage: Computational Tatreez and Material Experimentation
This paper examines how computational design can engage with cultural heritage through the project Tatreez Patterns in Python, which reinterprets traditional Palestinian embroidery using generative code. The project translates the geometric principles of Tatreez into programmable systems, offering a method for exploring cultural identity through digital pattern-making.
Using Python-based scripting, the project applies rule-based logic to construct compositions rooted in repetition, symmetry, and modularity—features that define both embroidery and architectural ornamentation. The algorithm is designed to generate dynamic visual outcomes that echo the mathematical structure of traditional craft while introducing opportunities for abstraction and variation. Through this process, the project repositions Tatreez as an adaptable system rather than a fixed visual tradition.
The research approaches computation as a creative material, examining how digital tools can support both preservation and innovation. By shifting heritage from static reference to procedural framework, the work encourages new forms of authorship, storytelling, and formal exploration. It highlights the potential for code to serve as a medium that interacts with cultural logic and spatial rhythm.
This paper contributes to broader conversations about the role of digital craft in contemporary art and design in preserving heritage. It proposes a methodology that combines computational aesthetics with historical knowledge, bridging traditional textile practice with current design technologies. In doing so, it offers new ways to understand and activate cultural heritage through system-based design thinking.

Duo corpo, é uma publicação de artista que contém os textos e escritos poéticos realizados durante a exposição Duo Corpo, de Elaine Stankiwich e Cassia Perocco, em outubro de 2025, na Escola de Artes da UFMG. Os textos relatam os processos de elaboração da mostra e do encontro poético entre as duas artistas. O encontro está separado geograficamente, no entanto a ausência, a falta da presença de uma delas resultou em narrativas que possibilitassem criar uma imagem da criação poética, ainda que em geografias distintas.

Esta pesquisa investiga a materialidade da arte em ecossistemas úmidos e quentes, com ênfase na adaptação das práticas artísticas e de design às condições ambientais brasileiras. O estudo se justifica pela crise climática e pelo excesso produtivo global. É proposto refletir sobre o frequente desengajamento entre materiais e clima nas produções contemporâneas. Supõe-se que a estética atual, influenciada por uma visão de futuro imutável, é moldada por fatores como: a natureza perecível que somos e a ilusão de controle humano sobre o meio ambiente; valores culturais e históricos importados; e a expectativa comercial em torno da arte. A pesquisa busca compreender como o tempo, enquanto fator entrópico geralmente associado à degradação, pode ser reinterpretado como uma força geradora de novas poéticas. Este trabalho desafia paradigmas sobre a conservação e eternização de objetos, abrindo espaço para reflexões sobre tecnologia, materialidade e transformação na arte contemporânea.

This research investigates the materiality of art in hot-humid ecosystems, emphasizing how artistic and design practices adapt to Brazilian environmental conditions. It is justified by current climate crisis and global overproduction, and reflects on the frequent disengagement between materials and climate in contemporary productions. The study posits that the current aesthetic—shaped by a vision of an immutable future—is influenced by: the perishable nature of our existence and the illusion of human control over the environment; imported cultural and historical values; and the commercial expectations surrounding art. It aims to understand how time, typically conceived as an entropic factor associated with degradation, can be reinterpreted as a generative force for new poetics. By challenging paradigms of conservation and the eternalization of objects, the work opens space for renewed reflections on technology, materiality, and transformation in contemporary art.

Moving beyond the concept of the archive as a static repository, this paper theorizes the "Socially Engaged Archive" within the context of East Asian contemporary art. It investigates how art projects function as media of public memory, actively intervening in the construction of history. By analyzing the intersection of Socially Engaged Art (SEA) and archival science, I argue that these practices create a new "public sphere" that preserves marginalized voices and challenges official historical narratives.

Prenant en considération la polysémie du monde sensible, les auteurs de ce volume se confrontent à l'expérience esthétique occasionnée par de nouveaux objets (jeux vidéo, tatouages, installations, interactions inter-espèces, marionnettes,  ...) pour trouver de nouvelles voies philosophiques.

This research aims to examine the comparative effects of design choices made in commercial interior arrangements on user perception and spatial experience through a case study. The study's material consists of the Belizze Cafe (Nostalgic Theme) and
the Tarz-ı Hayal Cafe (Innovative Theme), both located in Bilecik's city center and featuring distinct design identities. The study first analyzed design elements (color, light, furniture, material) within a theoretical framework. Subsequently, data were collected
through on-site observations and a quantitative survey method administered to cafe customers. The study is an analysis that combines quantitative and qualitative approaches to investigate the relationship between interior design components and user
perception.

Odo Marquard claimed with some humor that Gadamer replaced Heidegger’s “Being towards death” with a “Being towards the text”, thus suggesting that Gadamer dedramatized Heidegger’s thought and did not have a philosophy about death. The following study aims to show that there is indeed a fundamental reflection on our mortality in Gadamer, from his earlier up to his very last work. It rests on Aeschylus’ suggestion that hope makes it possible for humans to forget and to quell the thought of their mortality. This hope, understood as faith in the future, makes it possible for them to devote themselves to the arts and sciences. According to Gadamer this repression of our mortality, which he finds richly documented in votive offerings, is constitutive of our humanity, as it is of art and language themselves. This reflection on death and hope can be contrasted with Heidegger’s who tends to see in the repression of death a form of inauthentic being.

Zusammenfassung: Odo Marquard hat mit etwas Humor behauptet, Gadamer hätte Heideggers Sein zum Tode durch ein Sein zum Text ersetzt. Er suggerierte damit, dass Gadamer Heideggers Denken entdramatisiert und keine eigene Philosophie des Todes hätte. Dagegen möchte die folgende Studie zeigen, dass es doch eine grundlegende Besinnung über die Sterblichkeit bei Gadamer gibt, die sich von seinen früheren bis hin zu seinen spätesten Schriften erstreckt. Sie fußt auf der Einsicht des Aischylos, wonach dank der Hoffnung die Menschen ihre Sterblichkeit vergessen und verdrängen können. Diese als Lebenszuversicht gefasste Hoffnung erlaubt es ihnen, Kultur und Wissenschaft zu treiben. Nach Gadamer ist diese an den Votivgaben reichlich dokumentierte Verdrängung sogar konstitutiv für unser Menschsein und selbst für die Kunst und die Sprache. Diese Besinnung über den Tod und die Hoffnung lässt sich mit der Heideggerschen kontrastieren, die dazu neigt, im Verdrängen des Todes eine Form der Uneigentlichkeit zu sehen.

Integrating contemporary art into restored historical and industrial buildings has become a significant interdisciplinary practice that bridges heritage conservation, spatial design, and artistic production. This study investigates the conversion of Şerefiye Cistern, Çubuklu Silos, Museum Gashouse, Artİstanbul Feshane, Casa Botter, Cendere Art Museum, Metrohan, and Yedikule Gashouse, restored under the Istanbul Metropolitan Municipality (IMM) Heritage projects, into spaces that serve artistic functions. Post-restoration evaluations focus on spatial organization and interior components such as form, material, light, and color. The research is theoretically grounded in Henri Lefebvre's Production of Space and Christian Norberg-Schulz's Genius Loci. Within this framework, the study explores how space is shaped through perceived, conceived, and lived dimensions, and it offers a comprehensive analysis of spatial meaning and identity. The findings reveal that digital art interventions enhance space's aesthetic and functional qualities, while interior architectural decisions play a direct role in shaping artistic perception. Ultimately, integrating digital art into restoration processes, when approached holistically, supports both the cultural continuity and artistic transformation of historic spaces.

“Loop Dreams: Rodney Graham’s Vexation Island,” Artforum International, 36:6 (February 1998), 72-75, 108; republished as “Rodney Graham Vexation Island: Schleifen-Träume,” in Loop--Alles auf Anfang, exh. cat. (Munich: Kunsthalle der Hypo-Kulturstiftung, 2002), 92-95. In English and German.

The sky has fascinated humans since ancient times, prompting attempts to explain the phenomena within it. It became necessary to use instruments to observe the movements of planets and stars, among which the astrolabe stands out as one of the most important observational tools that contributed to the development of astronomy. In this research, we introduced the science of the astrolabe, then highlighted its importance and its relation to Arab and Islamic civilization, where it was used to determine the direction of the Qibla and prayer times. We also studied the importance of the astrolabe in surveying science, where it served as a surveying device to measure areas and lengths.
We explored the mechanism of observation with the astrolabe and how to operate it, noting that it does not require great difficulty to use, but rather a simple understanding of some basic principles and components specific to the making of the astrolabe. We then discussed the role of Arab scholars in the development of the astrolabe. We studied the working mechanism of the astrolabe, its observation method, and attempted to explain its operation and applications used by humans in ancient times. We also examined the role of Muslim Arab scholars in advancing astronomical observational instruments and the impact of these devices on human life in ancient times.

This research explores the emergence of a new consciousness in Indian art during the late 19th and early 20th centuries, focusing on the pivotal role played by E. B. Havell in the development of the Bengal School. The decline of traditional Indian art forms, influenced by the colonial power and the fall of Mughal emperors, created a vacuum that was filled by Western influences in Kolkata, the capital of British colonial power. The rise of the Bengal School, with its emphasis on Indian subjects and styles, marked a transformative period in Indian art. E. B. Havell, as the head of the Art School in Kolkata, challenged Westernised artistic styles and advocated for a return to Indian artistic traditions. This research examines Havell's foresight and influence, as well as his collaboration with Abanindranath Tagore, in shaping the Bengal School and fostering a nationalistic approach to art education.

Anyone who enters the drawing installations and graphical artworks of Nic Hess (*1968, Zürich, CH) must be prepared to travel a long way: on upward, downward and diagonal paths, on circuitous paths, on side paths—and on what Paul Klee calls Hauptweg und Nebenwege [Highway and Byways]. This description applies on a physical level and on a mental level. Physically, a drawing installation by Nic Hess may extend over several storys—across the full height of the space’s walls and across ceilings and floors. The viewer is expected to access the installation in its totality through movement and from different perspectives—but also to be aware of all the dimensions of the space, to look forwards and to look back in order to develop a vision that unites the miniature details with the huge, bill-board-like surfaces and signs. The mental requirements that Nic Hess’s installations impose on the viewer are still more complex—he draws his graphical rhetoric from a freely and imaginatively deployed reservoir of art history, from the language of signs, from the aesthetic of our everyday lives, from symbols from the worlds of politics and fi-nance and from a number of other spheres. [Renate Wiehager, Nic Hess. History Pictures of our Aesthetic-Political Situation, in: Renate Wiehager, Christian Ganzenberg (Ed.), Nic Hess. Drawing Installations 1995 – 2014, Snoeck Verlag, Cologne 2014, German/English. 304 pp. ISBN: 978-3-86442-079-5]

Contrary to the view of Modernism (Michael Fried) that works of art should create a “static image” that can be grasped by the observer at first glance, Robert Morris advocated a dynamic perception of the observer moving around and within the work (as a multi-part installation). With in the work Morris reflected on the work: the production process, the form of presentation, and the changing circumstances of presentation. Installations with mirrors, the “Blind Time” series begun in 1973, and works from the 1980s (until 1987) show how Morris addressed the modern “delusional identity.” He responded to the postmodern debate in a way that provokes the question of whether this had always been inherent in his work.

Nietzsche gehçrt zu den wichtigsten unter jenen Philosophen, die man als Wissenschaftsphilosophen in einem breit-angelegten und somit explizit kontinentalen Sinne als Wissenschaftsphilosophen bezeichnen kann. 1 Doch dies gilt gerade nicht ohne einen gewissen Zwang zur Apologie der Begriffsverwendung: entweder will man die Wissenschaftsphilosophie auf einer Metaebene betreiben (und dann kann man eine Vielzahl von Gelehrten darunter summieren, einschließlich Goethe, Hegel und viele andere) oder, und dieses kommt eher vor, ist Nietzsche aufzuputzen und zu glätten, um ihn in diese Rubrik zu bringen. Es ist dann dies und jenes wegzuerklären, gemäß der anständigen Etablierung in einem bereits vorgeprägten wissenschaftsphilosophischen Verständnis, ganz ordentlich, fachgemäß. Hier sollte man jedoch nicht vergessen, dass es noch nicht lange her ist, als Arthur Danto betonen musste, Nietzsche sei "als" Philosoph zu betrachten, was nur unter gewissen Schwierigkeiten im Sinn der etablierten ,mainstream-', oder ,analytischen' Philosophie mçglich ist, jener philosophischen Richtung, die bis heute definiert, wer ,richtig' oder philosophisch respektabel philosophiert (Danto [1965]]). Im deutschen Sprachraum hat Jürgen Habermas, fast zur gleichen Zeit wie Danto, durch altmodischere Denker der kritischen Schule wie Jacob Taubes und Theodor Adorno selber dazu motiviert, seinen Lesern in den 1960ern geglaubt versichern zu kçnnen, dass Nietzsche doch endlich "nichts Ansteckendes mehr" an sich habe (Habermas 1968, 257). Ein Wort, das in dem Sinne gewirkt hat, dass Nietzsche aus dem Umkreis der Frankfurter Schule bis heute verbannt werden konnte. Und in den dreissiger Jahren, hat auch Martin Heidegger in einem tief ironischen Sinne fast die gleiche Geschichte seinen Studenten noch damals erzählen kçnnen. Aehnlich wie bei Danto und Habermas, so blühte auch in der Zeit von Heideggers Nietzsche-Vorlesungen eine damals weit verbreitete Gelehrtenmeinung, wonach, so Heidegger, der: "Nietzsche kein strenger Denker [sei], sondern ein Dichterphilosoph. Nietzsche 1 Siehe dazu Babich (2009a, 210 -232). In diesem Sinne sollten wir Nietzsche an vorderster oder führender Stelle unter die kritischen Wissenschaftsphilosophen einreihen. Man vergleiche dazu die ersten beiden Absätze in: Babich (2010b, 344 -353).

Frage nach Nietzsches Wissen schaftsverständnis beschäftigen. Es gilt dabei im Voraus zu bemerken, dass die Art und Weise, wie Nietzsche die Wissenschaft auffasst, als einesolche dem philosophischen Diskurs, insbesondere der Wissenschaftstheorie, fremder sein könnte, und zwar von der Geburt Tragödie an, wo "als problematisch, als fragwürdig" Versuch einer 2) bezeichnet wird, d. h. als das zentrale Problem eines Buches, Nietzsche selbst retrospektiv als von Grund auf "fragwürdig" Versuch einer Selbstkritik 1) betrachtet hat. In der modernen post modernen und "globalisierten" Welt der Gegenwart nimmt die Wissen schaft ungeachtet gewisser Ausnahmen 1 nicht nur unhinterfragt, sondern in wachsendem Maße Platz der Philosophie ein, ein Wechselspiel insofern, die etablierte Philosophie lange durch das besetzt war, was Richard "Physikneid"2 nannte und als die "Sorge, auch ja ausreichend wissen schaftlich vorzugehen "3 charakterisierte. Doch die meisten Forscher, ob nun Spezialisten oder nicht, si nd relativ dass Nietzsche nur unzureichend "wissenschaftlich" ist, und Zusammenhang nicht ganz unerheblich, dass sein von Anfang an nicht als Philosophie im wahren Sinne betrachtet kritische Auffassungen der Wissenschaft sind in der akademischen Philo selten; Autoren wie Th. W Adorno oder Martin Heidegger, die sich hier erwähnen ließen, blieben einander fremd.

Белград  2024 с б о р н и к с т а т е й Корнелия Ичин (Белград) МЫСЛИТЬ СВЕТ, ИЛИ ТВОРЧЕСТВО ЭРИКА БУЛАТОВА Э рик Булатов, неоднократно называвший своим учителем Владимира Фаворского, также много раз упоминал имена Малевича, на супрематизм которого был ориентирован весь московский концептуализм, и Всеволода Некрасова, стихи которого находили свое пространственное воплощение в картинах художника. Все они пытались разрешить вопрос предела картины (а заодно и картины мира), ее плоскости и пространства, устремленности за горизонт, к бесконечности и свету. Об этих задачах говорит Булатов в статье «Поверхностьпространствосвет», называя поверхность картинымиром в профиль, а пространство картинымиром анфас, который есть «стремление за его пределы, направление пути»¹. Данная проблематика, осознанная в юношеские годы благодаря разговорам с Фаворским, когда картина представлялась ему не только как плоскость, но и как пространство со всеми присущими ему элементами («она имеет центр, периферию, край, располагающие разной по характеру и по количеству энергией, у нее есть свой горизонт и две диагонали»)², оказалась существенной для творчества Булатова. В статье «О картине и о себе» Булатов писал о том, что Фаворский «сумел теоретически артикулировать, классифицировать опыт мирового искусства в построении пространства на плоскости», и что он на основании этих сознаний Фаворского пытался создать пространство картины, которое «развивалось бы в обе стороны от поверхности: и к зрителю, и в глубину картины»³. Это двойственное направление пространства картины Булатов разрешал с помощью слова, адресованного зрителю, и заодно находившегося «между картиной и зрителем», что давало ему «естественную возможность владеть пространством»,

Oppenlaender, J., Johnston, H., Silvennoinen, J. M., & Barranha, H. (2025) "Artworks Reimagined: Exploring Human-AI Co-Creation through Body Prompting". In: Proceedings of the ACM on Human-Computer Interaction, 9(4), Article EICS012. https://doi.org/10.1145/3734189

The art critic and curator Nicolas Bourriaud and artist and EHESS researcher Roberto Cabot exchange on the work of Roberto Cabot discussing epistemological and philosophical issues of Art related to the practice of the artist. Text published in the catalog of the solo Exhibition "The Search for the Aleph" at the Museu de Arte Moderna do Rio de Janeiro. (https://issuu.com/villegagnon/docs/cat_ing_apresentacao)

本論の目的は、1950 年代にフランスにあらわれた音声詩の二つの起源を明らかにすることである。20 世紀前半の前衛詩の成果を引き継ぎつつも、独自の発展を遂げた音声詩の発生の経緯からして、きわめて還元主義的で、テクストやその意味作用よりも声や音に重きを置いたレトリスムの詩の影響は否定できない。なぜならそのレトリスムで活動行っていたフランソワ・デュフレーヌが発明した「叫びのリズム」が初期の音声詩とされるからである。しかし彼自身、『ピエール・ラルースの墓』(1958)においてテクストの意味作用に回帰し、またフランス音声詩の中心人物ともいえるベルナール・ハイツィックも同様に意味作用を決して放棄することなく、レトリスムとは全く違う文脈から音声詩に独特なアプローチを行っている。そこで本論では、フランスの音声詩を特徴づけたこのテクストの意味作用への回帰が、20 世紀前半にその活動を行い後の詩人たちに多大な影響を及ぼしたアントナン・アルトーの詩学と関連づけることで、フランスにおける音声詩の「退行」とも呼ぶべき現象を理論的に明らかにする。The present article lights two theoretical sources of French sound poetry that appearedin the 1950s and originally developed succeeding the fruits brought by the avant-garde poetry of the first half of the 20th century. Historically the influence of Isidore Isou and the lettrism\u27s reductionist theory, according to which the text - more exactly the signification of language - must be left, is important because François Dufrêne, whoparticipated in lettrist movement, creates phonetic poems called "Crirythme&qu...

O artigo explora os desafios dos museus ao integrar a arte da performance em suas coleções, uma vez que são espaços que tradicionalmente estão focados nas características materiais das obras. Algumas linguagens artísticas, como a performance, provocam reformulações de práticas e de teorias, bem como de processos institucionais, contribuindo para que profissionais e demais pesquisadores (re) considerem os modos de preservação, pesquisa e comunicação. Neste sentido, obras de arte podem contribuir para a criação de novos modos de documentar e apresentá-las ao público, envolvendo o desenvolvimento de protocolos de preservação. Assim, a partir de pesquisa bibliográfica e pesquisa documental com abordagem exploratória, o texto dedica-se ao projeto Performance at Tate: Into the Space of Art, investigando a presença da performance na Tate e analisando três obras abordadas no projeto para entender como performances influenciam a documentação, os processos institucionais, especialmente, o desenvolvimento de protocolos de preservação.

las -er las es mehrmals, zunächst mit freudigem »Schrecken« und »als wars ein Stück von« ihm/ zuletzt dann noch während der Arbeit am Doktor Faustus2 -, setzte er die Bemerkung »Hchstplr« neben Nietzsches Prophetie von der Wiederkunft des griechischen Geistes, die Vision vom ganzheitlichen Menschen, die Nietzsches Art der »Theodizee« verkündet: »Solche vollkommenen und wohlgeratenen Menschen empfinden an sich eine Art Vergöttlichung des Leibes . . . Von jener Höhe der Freude, wo der Mensch sich selber und sich ganz und gar als eine vergöttlichte Form und Selbstrechtfertigung der Natur fühlt, bis hinab zu der Freude gesunder Bauern und gesunder Halbmensch-Tiere: diese ganze lange ungeheure Licht-und Farbenleiter des Glücks nannte der Grieche, nicht ohne die dankbaren Schauder dessen, der in ein Geheimnis eingeweiht ist/ nicht ohne viele Vorsicht und fromme Schweigsamkeit -mit dem Götternamen: Dionysos.«3 Gleichzeitig schrieb er -ein seltener Vorgang -einen Teil dieses Passus ins Tagebuch ab und identifizierte ihn erneut mit dem »Griechisch-Goethesche[n] Element im >Hochstapler<«/ nachdem er die Bertramsche Nietzsche-Goethe-Parallele (»Faust -Zarathustra«) zustimmend notiert hat.4 Mit Sicherheit waren es zwei Reizwörter, die die Reaktion Thomas Manns veranlaßten: einmal das von der Vergöttlichung des Leibes/ zum ändern das vom Glück. Beide treffen den Kern der KruJJ-Konzeption;

“Belgian artist Johan Muyle found his voice 40 years ago with "La Modification" (1984), an aptly named assemblage sculpture that borrows its title from Michel Butor's celebrated 1957 novel. Consisting of a recliner attached to ropes and nooses, with a crate suspended between bicycle wheels placed behind, the entire ensemble evokes an instrument of torture or execution. This grim assisted readymade may echo Dadaist or Surrealist practice (and the spirit of Kienholz at his best), but Muyle's intent runs deeper than provocation. His frequently motorized assemblages and cryptic performances create enigmatic and often unsettling allegories that burrow down into the state of the world and the contradictions of human nature. The range of themes, ideas, forms, and sensations that he has explored through his collection, assembly, and modification of objects is astounding. And yet, no matter how dark the subject, he adheres to his humanist faith and never loses his questioning spirit or his interest in people-their beliefs, rituals, images, and stories producing work that simultaneously mirrors and transforms the real world”.

Dwarfs are popular heroes of legends and fairy tales, but Waldemar Major Fydrych "derived" them from traditions and beliefs, and gave them a completely urban character, using them as symbols of protest in a new contestation-cultural dimension. In the anti-communist Orange Alternative movement, street protesters dressed as dwarfs in orange caps, and drawings of dwarfs marked the place of opposition slogans covered by white painting by authorities' representatives, and the figure of the dwarf became a symbol of free, uncensored thought. • Details • Contents

Artists have been looking at the world for thousands of years, and thus paintings and drawings can be considered to form a  -year-old corpus of experimental psychology of perception. Through observation and trial-and-error they have exploited the principles of how our brains interpret the input from the retina, giving priority to only certain regularities of the visual pattern. Thus, a study of pictorial cues can tell us about the way that the brain recognizes objects, understands spatial depth, and uses illumination information in natural environments. Conversely, a better understanding of visual perception may help to explain the effectiveness of certain techniques used by artists. Therefore this essay will focus on some basic techniques in pictorial depiction that allow blobs of paint or charcoal marks to evoke objects, depth, movement, transparency, illumination, and refl ection. The development of these pictorial techniques by artists can be considered as fundamental disco...

The Interrogative Design Symposium is organized as a celebration of the artistic and intellectual legacy of Krzysztof Wodiczko, ACT's Professor Emeritus, with the launch of the book Interrogative Design, edited by ACT alumnus Ian Wojtowicz SMACT '12 and published by the MIT Press. The Symposium examines the role of art and design in activating the public sphere and enriching public discourse through the production of critical questions. These events are free and open to the public. Pre registration is strongly encouraged. Register here.