View allAll Photos Tagged Dialectics
alternative title : Master-Slave dialectic over 38° N
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
Studies of the day:
Men are wrong in what they think themselves free, a belief that consists only in this, that they are conscious of their actions and ignorant of the causes that determine them.
Les hommes se trompent en ce qu’ils se croient libres, opinion qui consiste en cela seul qu’ils sont conscients de leurs actes, et ignorants des causes qui les déterminent.
( Baruch Spinoza, Eth. II-35, scolie )
Just as monstrous and mutant algae invade the lagoon of Venice, so our television screens are populated, saturated, by ‘degenerate’ images and statements. In the field of social ecology, men like Donald Trump are permitted to proliferate freely, like another species of algae, taking over entire districts of New York and Atlantic City; he ‘redevelops’ by raising rents, thereby driving out tens of thousands of poor families, most of whom are condemned to homelessness, becoming the equivalent of the dead fish of environmental ecology.
De même que les algues mutantes et monstrueuses envahissent la lagune de Venise, de même les écrans de télévision sont saturés d’une population d’images et d’énoncés "dégénérés". Une autre espèce d’algue relevant, cette fois, de l’écologie sociale consiste en cette liberté de prolifération qui est laissée à des hommes comme Donald Trump qui s’empare de quartiers entiers de New York, d’Atlantic City, etc. pour les "rénover", en augmentant les loyers et refouler, par la même occasion, des dizaines de milliers de familles pauvres, dont la plupart sont condamnées à devenir "homeless", l’équivalent ici des poissons morts de l’écologie environnementale.
( Félix Guattari, Three Ecologies, 1989 )
__________________________________________________
Poem of the day:
And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And death shall have no dominion.
. . /. .
Et la mort n’aura point d’empire,
Les morts, nus, se verront unis
À l’homme dans le vent et à la lune d’ouest ;
Leurs os, rongés à blanc, leurs os blancs disparus,
Ils auront, coude et pieds, des étoiles pour lest ;
Ils seront sains d’esprits, bien que fous devenus,
Bien qu’immergés en mer, rejaillissant du bas ;
Si meurent les amants, l’amour, lui, ne meurt pas,
Et la mort n’aura point d’empire.
. . /. .
( Dylan Thomas - Twenty-Five Poems, 1936 )
__________________________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
The sharpened image quality of the release is quite striking, but what really jumps out at me is how dark everything is. This is no longer the brightly-lit, low-contrast, flat-colored material that we thought it was. Is this really what the original source material looked like? Visually, a moody tone shift seems to be imposed on the material. The contrast with what we've been seeing for so long in rebroadcasts is so great that I sort of wonder if they overcompensated while regrading for the release. I guess I have a sort of cognitive dissonance thing happening. :laugh: The contrast between bright, syndicated Batman 66 and dark DVD Batman 66 is so great that I'm looking for a Hegelian dialectic sort of truth, somewhere in the middle.
GKU 4K Camera
Aristotle said that tyrants “endeavour by every means possible to keep all the people strangers to each other.” Totalitarianism creates fragmented groups of isolated individuals. The people under such movements suffer a lack of normal social relationships. When isolation becomes commonplace in a society, the ground is fertile for totalitarianism. Therefore, isolation and loneliness in a society are precursors to totalitarianism. Tyrannical governments create isolated citizens. Terror works best against people who are isolated from each other. If people are afraid to speak to one another, they are more easily controlled. Indeed, “isolated men are powerless by definition.” Recent studies tell us that society is becoming increasingly isolated, lonely, and depressed.
“Millennials, Generation Z: Connected with thousands of friends—but feeling all alone” – USA TODAY
The more people are cut off from the world, the more they are cut off from reality. When they are cut off from reality, they are more easily manipulated and indoctrinated. The structures of the Nazis and Soviets were very cult-like. These structures created brainwashed conformists. Today socialist ideologies are still brainwashing people. Philosopher Nicolai Berdyaev stated that “Russian revolutionaries... had always been totalitarian,” and, “the revolution was a religion and a philosophy.” In the Doctrine of Fascism, Mussolini referred to Fascism as a religious concept. So why do we let schools teach our children neo-Marxist cult doctrines, such as Gender Theory and Critical Race Theory? The revolutionaries who follow these cult doctrines want to bring in totalitarianism. They want to usher in a communist revolution that will destroy democracy and free-market capitalism.
“Give me just one generation of youth, and I’ll transform the whole world.” – Lenin
The corporate-owned politicians and media act like patriotism is bad. (Patriotism is the glue that holds the people of a sovereign nation together). There is a big difference between patriotism and Hitler’s Germany. The National Socialist German Workers’ Party was a political party of “National Socialism.” Patriotism and National Socialism are two different things. The corporate entities listed above like to cry out: nationalism! Sorry, but nationalism and National Socialism are two different things. One is authoritarian and one is not. Trying to stretch the word nationalism into National Socialism is completely dishonest. Fascism is a form of socialism, and communism is a form of socialism. They are kissing cousins! One form revolves around race: the Aryan race vs supposed inferior races. The other revolves around class: the proletariat vs the bourgeoisie. On the far-right of the socialist spectrum is fascism. On the far-left of the socialist spectrum is communism. Socialism promotes centralized government, but democracy promotes decentralized government. Socialism promotes collectivism, but democracy promotes individualism. Socialism equals totalitarianism, and democracy equals freedom. Who would have thought: Big Brother government equals totalitarianism? And guess what? The fascists and communists hated one another, because they were both vying for power! They were archenemies. Nowadays the commies like to call all their enemies fascists. So they call conservatives far-right Nazis and white supremacists. Speaking of fascists! The globalists—with their neo-fascist stakeholder- capitalist (stakeholder-socialist) system, which they are working towards implementing—hate patriotism and want open borders and mass migration.
A tyrant also should rather admit strangers to his table and familiarity than citizens, as these are his enemies, but the others have no design against him.” – Aristotle
“For of all the states which appear well governed we find not one where the rights of a citizen are open to an indiscriminate multitude.” – Aristotle
The globalists want to overthrow Western democracy and free-market capitalism—degrowth. So they attack our heritage and culture by labeling them racist. The woke communists call our capitalist system systemically racist. They use their cult dialectic of oppressed vs oppressor as a battering ram to break apart our system. The funny thing about these new woke commies is that they are turning towards fascism (race socialism) like the Nazis did in Germany—can anyone say “Critical Race Theory!?!” The United Nations’ public–private partnership system is also a form of neo-fascism. “Fascism should rightly be called Corporatism, as it is the merger of corporate and government power.” These public–private partnerships involve governments, banks, multinational corporations (corporate fascists), and non-governmental organizations. Their Great Reset (Build Back Better) is an implementation of their New World Order system—the Sustainable Development Goals of the United Nations; Agenda 21; Agenda 2030—a neo-fascist system.
“The imperative of global governance, in particular, is irrefutable.” – United Nations
Our governments in the West have designed interventionist policies, which supposedly improve our ‘free-market’ capitalist system. There is no doubt that this interventionism will end in disaster, chaos and social unrest—the destruction of our current system. “Anti-capitalistic policies sabotage the operation of the capitalist free-market economy.” In the end their measures produce worse results, and in order to fix these results they add more anti-capitalist regulations. Their interventionism is slowly bringing about full-blown socialism. One step at a time they interfere with the economy, with the intent of one day controlling all economic activities. We will eventually end up with a controlled economy like they had in Nazi Germany. Then our economic freedom will be gone. Democracy goes hand in hand with capitalism. In the end, socialism cannot operate according to democratic or capitalist principles. They are like oil and water—they do not mix. So in the end our system will become a socialist system.
“According as circumstances are favourable, one should modify one’s plans.” – The Art of War
Our capitalist system is headed for a crash. A totalitarian system will replace it. This new system will revolve around digital surveillance. It will entail digital IDs, Central Bank Digital Currencies (CBDCs), Social Credit Scores, and Universal Basic Income (social(ist) welfare). They want to put the population in 15-minute cities, because totalitarian systems don’t like freedom of movement. They don’t like freedom of speech either. How about freedom? Do they like freedom?
“The presently popular liberal notion of a World Government is based, like all liberal notions of political power, on the same concept of individuals submitting to a central authority which ‘overawes them all,’ except that nations are now taking the place of individuals. The World Government is to overcome and eliminate authentic politics, that is, different peoples getting along with each other in the full force of their power.” – Hannah Arendt
Plato had his weird Platonic collectivist and Platonic proto-communist ideas. He called his ideal city-state Kallipolis—Beautiful City—in Latin. Kallipolis has occasionally been depicted in art as the Tower of Babel. These globalists are building their own global Chinese-style commu-fascist Tower of Babel—communist in governance, fascist in economics. Every socialist government has an authoritarian leader like Hitler, Stalin or Mao. This new antichrist government will also have its own antichrist. This charismatic leader (philosopher king) will introduce a globally centralized digital currency system. To participate in this system, you will have to take his digital smart-tattoo. You will have to join his cult and worship him. If you do not take his Mark and worship him, you will be an enemy of the state. You will then be exterminated. Welcome to Digital Babylon! Take the Soma-Vaccine, take the Chip-Mark! But beware: transhumanism will only cause you more isolation and loneliness. What fulfilling lives you will live, sheltered in the technological surveillance bubble of the Beast’s psychological warfare, which will control your minds and souls in the digital era of the all-seeing eye of singularity—the Fourth Industrial Revolution (the Fourth Reich). MK-ULTRA gone nuclear!
“All warfare is based on deception.” – The Art of War
A society of isolation and loneliness will produce decadence and nihilism. Decadence and nihilism yesterday: the Jews are parasites. Decadence and nihilism today: babies in the womb are parasites. Decadence and nihilism in the future: those who refuse the Mark of the Beast are parasites. The victims will no longer be human in the eyes of the antichrist-state and its executioners.
Habakkuk 1:5 “Look among the nations and see; be astonished and astounded. For a work is about to be done in your days that you will not believe if it is told.”
John 16:1 “These things I have spoken to you in order to clear stumbling-blocks out of your path.”
Matthew 15:16 “’Are even you,’ He answered, ‘still without intelligence?’”
Mark 8:21 “’Do you not yet understand?’ He said.”
John 16:31 “Jesus answered them, ‘Do you now believe?’”
1 Timothy 1:6 “From which some have been turned away, giving themselves to foolish talking.”
Science magazine:
“Is it time for a more subtle view on the ultimate taboo: cannibalism?”
For a good laugh, read this article/propaganda. These commies are taking the lust of the flesh to new heights….bahahahaha!!
www.newscientist.com/article/mg26134783-600-is-it-time-fo...
Now, let’s take a look at my “scientific” neoMarxist/postmodern dialectical “climate model” to see what their dialectic will accomplish: fornication to homosexuality to transgenderism to pedophilia to bestiality to necrophilia to cannibalism to savagery to destruction.
World Economic Forum (WEF): “Degrowth” broadly means shrinking rather than growing economies “humanity”.
WEF: You’ll own nothing and be happy!
1 John 2:16 “For everything in the world—the lust of the flesh, the lust of the eyes, and the pride of life—comes not from the Father but from the world.”
Rhythm of Line
In Early period Jaisini has more meaning manipulation creating concept of visual line’s enclosure in unison with logical line.
Movement in the space and constructed thinking process together seem to come to a deceptive simplicity of continuous line.
In reality the artist works in complicated manner of multiple approaches that has multi personalities united in one through a fight.
Was line predetermined in her movement?
But it is technically immediate, imaginative, and not prepared.
In accordance to the artist’s own assumptions, his line matures in his mind for long period of time before he could release it on the canvas together with the painting’s unique plot.
The plot of the picture’s characters usually serves purpose of mixing the originality of beauty with simple decorative purpose of line interlacing and sometimes it brings images in most unexpected connections, mixing such themes as classical music with semi erotic depictions where aesthetic flare of creative fertilization is deeply connected to erotic display of mastery, a dialectical incentive of creation.
Mixtures of refine eroticism and ultimately conservative in appearance subject of classical musicians brings the theme to unexpected prominence.
In paintings subject is not ever explicit or hidden too deeply between the lines to be hypocritically implied, to the opposite the artist sets his ideas in perfect harmony.
Jaisini tends to perfect all angles of his creation to the level of condition with constant curiosity about his art.
If you had learned the meaning you would start to see more of its visual technique.
Then it could start to change the meaning.
The process of growing together with Jaisini’s artworks is unlimited.
Just when you thought that you have grasped the capricious creation it starts to run away from you again.
And this is exactly what Jaisini stage in his art, the game that never ends and develops into new game.
Music is a particularly relevant aspect of Jaisini’s inspiration as a part of the artist’s daily life.
The connection of art images and subjects is not straightforward but still in many ways is connected to music sensitivity.
The immediate execution of Show Must Go On with the soundtrack of a song gave an impulse to conceive a concept of creation and destruction in the unusual visual image.
The conjunction of self-destructive meaning of true creativity and moment of elation often turns dreadfully in artist’s personal situation.
Jaisini’s paintings reveal a general tendency observed in almost every component of style he uses, the self-conscious rhythm of line that could be just as expressive as musical rhythm.
Rhythm has importance applied to musical composition but not to cacophonic sounds.
Same with the line with meaningful rhythm applied to significant composition.
The rule of content in Jaisini’s art is not the final.
The artist creates content to make see the form and reduce content in a process.
Content could be associated with human attributes.
For Jaisini content is a tool to express in art evolution of mind returning to beginning when line was a primary definition of childishness and purity.
The overall process of formalization of this line takes many stages but is rewarding as never before.
A style is new in its complexity mastering graphical with visual, logical with emotional and communicative ability.
Jaisini uses dialogue as a conveyor of meaning through lines it contain as in theatrical performance but following artistic tendency to train the viewer’s eye to enjoy color, tone, plasticity of line, composition with development of all the elements of painting to the point of great significance to add complexity to the context, to highlight visual with textual and otherwise.
The created web of signification and intertextual references is even more complex then artist might think in beginning of his work.
With development of his style Jaisini had realized the further complexity to stage a painting as a play.
The idea in his pictures can’t be controlled but is in the middle of a meaning’s vortex some of which is external and allows endless interpretation as if it was musical.
Manarola (Manaèa in the local dialect) is a small town, a frazione of the comune (municipality) of Riomaggiore, in the province of La Spezia, Liguria, northern Italy. It is the second smallest of the famous Cinque Terre towns frequented by tourists.
Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.
Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Mostly all of the houses are bright and colourful.
In this picture the San Lorenzo night, august 10th 2011
© All rights reserved. Don't download or use this image without my explicit permission
Logic can either operate as part of an intellection, or else, on the contrary, put itself at the service of an error; moreover unintelligence can diminish or even nullify logic, so that philosophy can in fact become the vehicle of almost anything: it can be an Aristotelianism carrying ontological insights, just as it can degenerate into an "existentialism" in which logic has become a mere shadow of itself, a blind and unreal operation.
Indeed, what can be said of a "metaphysic" which idiotically posits man at the centre of the Real, like a sack of coal, and which operates with such blatantly subjective and conjectural concepts as "worry" and "anguish"? When unintelligence (and the variety we mean here is in no wise incompatible with what passes for intelligence in "worldly" circles) and passion prostitute logic, it is impossible to escape from that mental satanism which is so frequently to be found in contemporary thought.
The validity of a logical demonstration thus depends on the knowledge which we, as demonstrators, have of the subject in view, and it is evidently wrong to take as our starting-point not this direct knowledge but pure and simple logic.
When man has no "visionary" knowledge of Being, and merely "thinks" with his "brain" instead of "seeing" with his "heart", all his logic is useless to him, because it starts out from an initial fallacy. Moreover, the validity of a demonstration must be distinguished from its dialectical efficacy; the latter evidently depends on the intuitive disposition available for the recognition of truth when demonstrated, and therefore on an intellectual capacity.
Logic is nothing but the science of mental co-ordination and of arriving at rational conclusions; it cannot, therefore, attain the transcendent through its own resources; a supralogical -not an illogical- dialectic, based on symbolism and analogy, and therefore descriptive rather than ratiocinative, may be harder for some people to assimilate, but it conforms more closely to transcendent Reality.
Contemporary philosophy, on the other hand, really amounts to a decapitated logic: what is intellectually evident it calls "prejudice"; wishing to free itself from servitude to the mental, it sinks into infralogic; shutting itself off from the intellectual light above, it exposes itself to the obscurity of the lowest "subconscious" beneath.
Philosophic scepticism takes itself for a healthy attitude and for an absence of "prejudices", whereas it is in fact something completely artificial; it proceeds, not from real knowledge, but from sheer ignorance, and for this reason it is as alien to intelligence as it is to reality.
---
Frithjof Schuon
---
Quoted in: The Essential Frithjof Schuon (edited by Seyyed Hossein Nasr)
alternative title : Master-Slave dialectic over 38° N
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
Study of the day:
There is nothing, I say, that men can desire better to preserve their being than to agree with each other in all things, so that the spirits and the bodies of all compose, so to speak, one Spirit and one Body, to strive together to preserve their being, as far as they can, and to seek together, and each for oneself, the useful which is common to all. But (...) As men are subject to passions, it can not be said that they agree together in nature. (...) It is only as they live under the guidance of reason that men can agree together in nature.
Il n’est rien, dis-je, que les hommes puissent souhaiter de mieux pour conserver leur être que de se convenir tous en tout, en sorte que les Esprits et les Corps de tous composent pour ainsi dire un seul Esprit et un seul Corps, de s’efforcer tous ensemble de conserver leur être, autant qu’ils peuvent, et de chercher tous ensemble et chacun pour soi l’utile qui est commun à tous. Mais, (...) en tant que les hommes sont sujets aux passions, on ne peut pas dire qu'ils conviennent en nature. (...) C'est en tant seulement qu'ils vivent sous la conduite de la raison que les hommes peuvent convenir en nature.
( Baruch Spinoza, Eth. IV-18, IV-32..35 )
Just as monstrous and mutant algae invade the lagoon of Venice, so our television screens are populated, saturated, by ‘degenerate’ images and statements. In the field of social ecology, men like Donald Trump are permitted to proliferate freely, like another species of algae, taking over entire districts of New York and Atlantic City; he ‘redevelops’ by raising rents, thereby driving out tens of thousands of poor families, most of whom are condemned to homelessness, becoming the equivalent of the dead fish of environmental ecology.
De même que les algues mutantes et monstrueuses envahissent la lagune de Venise, de même les écrans de télévision sont saturés d’une population d’images et d’énoncés "dégénérés". Une autre espèce d’algue relevant, cette fois, de l’écologie sociale consiste en cette liberté de prolifération qui est laissée à des hommes comme Donald Trump qui s’empare de quartiers entiers de New York, d’Atlantic City, etc. pour les "rénover", en augmentant les loyers et refouler, par la même occasion, des dizaines de milliers de familles pauvres, dont la plupart sont condamnées à devenir "homeless", l’équivalent ici des poissons morts de l’écologie environnementale.
( Félix Guattari, Three Ecologies, 1989 )
__________________________________________________
Poem of the day:
. . /. .
And death shall have no dominion.
Under the windings of the sea
They lying long shall not die windily;
Twisting on racks when sinews give way,
Strapped to a wheel, yet they shall not break;
Faith in their hands shall snap in two,
And the unicorn evils run them through;
Split all ends up they shan’t crack;
And death shall have no dominion.
. . /. .
. . /. .
Et la mort n’aura point d’empire.
Sous les ondulations marines
Tout de leur long couchés nul vent ne les tuera ;
Vissés à l’échafaud, quand les chairs se déchirent,
Fixés même à la roue, ils ne craqueront pas,
La foi qu’ils ont en main pourra se désunir,
Et les diables cornus les traverser de pas ;
Pourfendus de partout, ils ne céderont pas,
Et la mort n’aura point d’empire.
. . /. .
( Dylan Thomas - Twenty-Five Poems, 1936 )
__________________________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
“Carbon justice for All!” A global carbon tax will play a crucial role in climate reparations! Indeed, tax justice is the right mechanism to deliver climate reparations. Tax justice is a contributor to social(ist) justice, all of which tie into climate justice. “Climate justice is peace!” Climate change is not affecting everyone equally, but it is affecting the poorest countries and the most marginalized communities the most. Nations impoverished by colonialism cannot afford the infrastructure, the health care, or the loans needed to protect their citizens against the climate crisis, much less to invest in renewable energy. Resources were stolen by colonizing nations from countries that are now climate vulnerable. However, tax justice will allow us to rectify this imbalance by redistributing global wealth. It’s the communist way! Tax justice must be instituted to rectify the wealth gap between nations.
Under the United Nations, we will have inclusive international tax governance. The UN must oversee tax justice, climate justice, and human rights. They must set international standards and eliminate financial secrecy. We must have transparency to make a fair global tax, to fight inequality and promote equality. A carbon tax will hold each one accountable. A carbon footprint tracker will take into account emissions, income, wealth, individual carbon footprint caps, and carbon footprint inequality. Climate change is a human rights issue.
The United Nations will tax the green economy. They will tax the digital economy with its digital services to fight climate change. They will implement a financial interaction tax, changing the financial landscape. The global carbon tax will finance the Sustainable Development Goals (SDGs) of the United Nations. This tax will contribute to the achievement of sustainable development in three dimensions: economic, social and environmental. This global tax framework will fall under international law and will not be overridden. The United Nations (world government) will tax all countries (satellite states), corporations, and people (global citizens) to fund and promote policies aligned with its 17 Sustainable Development Goals.
The carbon market of the net-zero economy will be a powerful tool for the advancement of carbon justice. Carbon markets are trading systems in which carbon credits are sold and bought. Each offset credit is equivalent to one ton of carbon dioxide that is either reduced or removed from the atmosphere. The global carbon tax will align with ESG (Environmental, Social, and Governance) principles, which will significantly reduce emissions, incentivize investments in clean technologies, and generate substantial revenue. This will reduce poverty and inequality while enhancing societal wellbeing. Climate justice means putting equity and human rights at the core of decision-making and action on climate change. We will not tolerate any carbon leakage (cheating). The United Nations has declared that access to a clean, healthy, and sustainable environment is a universal human right.
The revenues from carbon taxes will be used for green infrastructure and low-carbon technology development. It will ensure a just transition, which will steer all society towards a net-zero future. This will achieve the goals of the Paris Agreement. A just transition doesn’t just help advance climate action, but it also helps advance the Sustainable Development Goals. The core purpose of a carbon tax is to shift the market towards less carbon-intensive fuels, energy efficiency, and clean alternatives. This will affect all sectors, including electricity, transportation, and manufacturing. Essentially, there will be a ban on carbon-intensive activities (such as a ban on coal-fired power stations). That is why you will own nothing and be happy. That is why you won’t drive or leave your 15-minute city. Just like Nova Scotia, you will be banned from the forest. Climate lockdowns! Don’t leave your house! Decarbonizing the planet is a systems-based circular (problem, reaction, solution) approach (dialectic) rooted in social(ist) justice principles. Decarbonization means decarbonizing you.
The future is headed towards carbon taxes, digital biometric IDs, central bank digital currencies, and social credit scores. Like every socialist state, a leader arises. Like Hitler, Stalin, and Mao, a future leader will rise up. The world will bow to the Antichrist! And the Antichrist will implement a digital Mark, which will be your global digital biometric ID. This Mark will be tied to a one-world digital currency and a one-world social credit score system. This Beast system will also track your carbon footprint. Then you’ll see what it’s like to serve the Antichrist. He will suck the life out of you, he will decarbonize you! BTW: this message is brought to you by the World Health Organization! Hahaha!
Matthew 11:28-30 “Come to Me, all you who are weary and burdened, and I will give you rest. Take My yoke upon you and learn from Me, for I am gentle and humble in heart, and you will find rest for your souls. For My yoke is easy and My burden is light.”
1 Peter 5:7 “Cast all your anxiety on Him because He cares for you.”
Teatro Comunale.
Dominata dalla cromia azzurra è la grande volta dove entro elaborate cornici esagonali sono raffigurate le figure simboliche delle sette arti liberali: Grammatica, Dialettica, Retorica, Aritmetica, Geometria, Astronomia e Musica.
Nei pennacchi delle finte vele si aprono dei tondi nei quali sono i busti a monocromo di grandi personaggi votati alle arti maggiori.
Al di là della cornice, che delimita lunette e tondi, il Venanzi è ricorso ad un alleggerimento cromatico attraverso un fondo digradante dall'azzurro al violaceo che raggiunge l'apice attorno al rosone ligneo traforato che, aprendosi in due parti, permette alla lumiera dorata di salire fin sopra la volta.
Il lampadario, disegnato a scheletro, è stato intagliato nella bottega di Francesco Pucci da uno dei suoi migliori allievi: Rinaldo Paioncini.
Teatro Comunale.
Dominated by the blue color is the large vault where the symbolic figures of the seven liberal arts are depicted within elaborate hexagonal frames: Grammar, Dialectics, Rhetoric, Arithmetic, Geometry, Astronomy and Music.
In the spandrels of the false sails there are roundels containing monochrome busts of great figures devoted to the major arts.
Beyond the frame, which delimits lunettes and roundels, Venanzi resorted to a chromatic lightening through a background sloping from blue to purple that reaches the apex around the perforated wooden rosette that, opening in two parts, allows the golden chandelier to rise up to the vault.
The chandelier, designed as a skeleton, was carved in Francesco Pucci's workshop by one of his best students: Rinaldo Paioncini.
.trashed-1743973682-IMG20241229170718m
Italian postcard by Casa Editrice Ballerini & Fratini, Firenze, no. 93. Photo: United Artists.
Norma Talmadge (1894-1957) was an American actress and film producer of the silent era. A major box-office draw for more than a decade, her career reached a peak in the early 1920s, when she ranked among the most popular idols on the American screen.
Norma Talmadge was the daughter of one of the most famous "mothers of artists" in film history: Peg Talmadge. Norma, her mother, and her sisters Natalie and Constance were abandoned by their alcoholic and jobless father Fred right on Christmas Day. Thus, the three teenagers had to start earning money as vaudeville models and actresses. In 1909, Norma began working in the cinema thanks to her discoverer, Vitagraph editor Breta Breuill. She acted in numerous Vitagraph shorts, a.o. Uncle Tom's Cabin (Stuart Blackton, 1910), Love of Chrysanthemum (Van Dyke Brooke, 1910), and A Tale of Two Cities (William Humphrey, 1911). Helped by Vitagraph leading actor Maurice Costello, her career blossomed. By 1913, she was the major star of Vitagraph Studios and had played in hundreds of shorts there. Her co-actors from the Vitagraph 'stable' were a.o. Maurice Costello, Van Dyke Brooke, Lilian Walker, Hughie Mack, Leo Delaney, and Clara Kimball Young.
In 1915 Norma Talmadge had a breakthrough when acting in Vitagraph's anti-German propaganda film, the feature The Battlecry for Peace, but mother Talmadge was unsatisfied with Vitagraph and arranged a two-year contract at National Pictures. Yet, when Norma's first film there flopped, and the company went bankrupt, she called on director D.W. Griffith and was able to act in seven features at Triangle. In 1916 she met Joseph Schenck, a wealthy exhibitor who wanted to make films himself. Smitten by her, Schenk proposed marriage and a studio. They founded the Norma Talmadge Film Corporation. In Schenk's New York-based studio, Norma would act in her dramas on the ground floor, while her sister Constance would do comedies on the first floor, and the comic unit with Fatty Arbuckle played on the top floor, while sister Natalie Talmadge worked as a secretary and occasionally had small parts as well. Arbuckle brought along Buster Keaton and Al St. John. When Arbuckle was lent to Paramount to do features, Keaton took over the comic unit and married Natalie.
NormaTalmadge's first film at the studio, Panthea (Allan Dwan, 1917) was a straight hit. Between 1917 and 1921 Norma made four to six films per year, under Schenk's supervision. After her greatest success, the drama Smilin' Through (Sydney Franklin, 1922), Schenk closed the New York studio. The family continued in Hollywood, where Norma's films became bigger and glossier. She worked with top directors, cinematographers, and costume designers and by 1923 she was the best-paid film actress in Hollywood, earning 10.000 a week. In 1924 under Frank Borzage's direction, she did her best film (artistically and at the box office) Secrets. While Schenk became head of United Artists in 1924, Norma was still tied to distributor First National by contract and continued to make films for them in the mid-1920s, including Camille (Fred Niblo, 1926). During the filming of Camille, she fell in love with her co-actor Gilbert Roland and asked Schenk for a divorce. He refused but saw they were a winning couple and matched them in several films. After that, she made films with UA, but the first two were flops and marked the end of her silent film career.
Norma Talmadge took voice lessons for a year, and despite expectations, produced a perfectly non-dialectical voice, but her first two sound films simply weren't good films, so she called it a day and left the film world. As she was very rich by now, she could permit herself to do so. Divorced from Schenck in 1934, she married her second husband, George Jessel, who eagerly brought her on his ailing radio shows, but both his shows and the marriage ended in failure. Norma married for the third time in 1946, with Carvel James, and died relatively young, on Christmas Eve 1957, at age 64, because of pneumonia. It is said that we owe to Norma Talmadge the tradition of stamping the handprints of the stars in front of the Grauman's Chinese Theater, when in 1927, accidentally, she left her own when falling on wet cement in the same place.
Sources: Wikipedia (English, Dutch, and Spanish), and IMDb.
And, please check out our blog European Film Star Postcards.
Manarola may be the oldest of the towns in the Cinque Terre, with the cornerstone of the church, San Lorenzo, dating from 1338. The local dialect is Manarolese, which is marginally different from the dialects in the nearby area. The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town.
Manarola's primary industries have traditionally been fishing and wine-making. The local wine, called Sciacchetrà, is especially renowned; references from Roman writings mention the high quality of the wine produced in the region. In recent years, Manarola and its neighboring towns have become popular tourist destinations, particularly in the summer months. Tourist attractions in the region include a famous walking trail between Manarola and Riomaggiore (called Via dell'Amore, "Love's Trail") and hiking trails in the hills and vineyards above the town. Manarola is one of the five villages. Mostly all of the houses are bright and colourful.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
Giotto's Campanile (/ˌkæmpəˈniːli, -leɪ/, also US: /ˌkɑːm-/, Italian: [kampaˈniːle]) is a free-standing campanile that is part of the complex of buildings that make up Florence Cathedral on the Piazza del Duomo in Florence, Italy.
Standing adjacent to the Basilica of Santa Maria del Fiore and the Baptistry of St. John, the tower is one of the showpieces of Florentine Gothic architecture with its design by Giotto, its rich sculptural decorations and its polychrome marble encrustations.
The slender structure is square in plan with 14.45 metre (47.41 ft) sides. It is 84.7 metres (277.9 ft) tall and has polygonal buttresses at each corner.[1] The tower is divided into five stages.
On the death in 1302 of Arnolfo di Cambio, the first Master of the Works of the Cathedral, and after an interruption of more than thirty years, the celebrated painter Giotto di Bondone was nominated as his successor in 1334.[1] At that time he was 67 years old. Giotto concentrated his energy on the design and construction of a campanile (bell tower) for the cathedral. He had become an eminent architect, thanks to the growing autonomy of the architect-designer in relation to the craftsmen since the first half of the 13th century. The first stone was laid on 19 July 1334.[2] His design was in harmony with the polychromy of the cathedral, as applied by Arnolfo di Cambio, giving the tower a view as if it were painted. In his design, he also applied chiaroscuro and some form of perspective instead of a strict linear drawing of the campanile. And instead of a filigree skeleton of a gothic building, he applied a surface of coloured marble in geometric patterns.
When he died in 1337, he had only finished the lower floor with its marble external revetment: geometric patterns of white marble from Carrara, green marble from Prato and red marble from Siena. This lower floor is decorated on three sides with bas-reliefs in hexagonal panels, seven on each side. When the entrance door was enlarged in 1348, two panels were moved to the empty northern side and only much later, five more panels were commissioned from Luca della Robbia in 1437. The number "seven" has a special meaning in Biblical sense: it symbolizes human perfectibility.
It is difficult to attribute artistic paternity to these panels. Some may be by Giotto himself, the others by Andrea Pisano (or their workshops).
Through this work, Giotto has become, together with Brunelleschi (dome of the cathedral of Florence) and Alberti (with his treatise De re aedificatoria, 1450), one of the founding fathers of Italian Renaissance architecture.
Giotto was succeeded as Master of the Works in 1343 by Andrea Pisano,[1] famous already for the South Doors of the Baptistery. He continued the construction of the bell tower, scrupulously following Giotto's design. He added, above the lower level of Giotto, a second fascia, this time decorated with lozenge-shaped panels (1347–1341).[dubious – discuss] He built two more levels, with four niches on each side and each level, but the second row of niches are empty. Construction came to a halt in 1348, year of the disastrous Black Death.
Pisano was replaced in his turn by Francesco Talenti who built the top three levels, with the large windows, completing the bell tower in 1359.[1] He did not build the spire designed by Giotto, thus lowering the designed height of 122 metres (400 ft) to 84.7 metres (277.9 ft). The top, with its scenic panorama of Florence and the surrounding hills, can be reached by climbing 414 steps.
Works of art
Relief on the Campanile representing Medicine, depicting the practice of uroscopy.
All the present works of art in the campanile are copies. The originals were removed[3] between 1965 and 1967 and are now on display in the Museo dell'Opera del Duomo, behind the cathedral.
The hexagonal panels
The hexagonal panels on the east side. From left to right: Agriculture, Art of festivals and Architecture.
The hexagonal panels on the lower level depict the history of mankind, inspired by Genesis, starting with on the west side:
The creation of man and woman: Creation of Adam, Creation of Eve, Labours of our first parents; Lorenzo Ghiberti claimed to have seen clay models of the "first two" works of creation fashioned by Giotto.[3]
The beginnings of "mechanical arts" and "creative arts" (according to the Bible): Jabal (animal husbandry), Jubal (music, harp and organ), Tubalcain (first blacksmith), Noah (first farmer). This series continues on the south side and the east side of the campanile.
"Euclid", by Nino Pisano, now in the Duomo's Museum.
The Genesis panels are attributed to Andrea Pisano, except "Jubal" to Nino Pisano and "Tubalcain" to an assistant of Andrea Pisano.
The seven hexagonal panels on the south side show us Gionitus (Astronomy), the Art of Building, Medicine, Hunting, Wool-working, Phoroneus (Legislation), Daedalus (flight). They are again attributed to Andrea Pisano, except Gionitus and the Art of Building to his workshop, and Medicine and Phoroneus to Nino Pisano.
The east side only contains five panels, because of the entrance door. They depict the 'liberal arts': Navigation, Social Justice, Agriculture, Art of festivals and Euclid (architecture). The first three panels are attributed to Andrea Pisano, while the last two to Nino Pisano. "The Madonna and Child" in the lunette and the "Two Prophets and the Redeemer" on top of the gable above the entrance door, are both attributed to Andrea Pisano.
The north side hexagonal panels depict: Sculpture, Phidias (both moved to this side from the east side in 1347–1348), Painting, Harmony, Grammar, Logic and Dialectic (represented by Plato and Aristotle), Music and Poetry (represented by Orpheus), Geometry and Arithmetic (represented by Euclid and Pythagoras). The first panel is attributed to Andrea Pisano, the second to Nino Pisano, the others to Luca della Robbia. The last five panels were added after removal of the raised passageway between the campanile and the cathedral.
The lozenges
The lozenges, on the next level, already show a different style: the marble figures stand out on a background of blue majolica. These allegorical representations are almost all attributed to Andrea Pisano or his school:
West side: The Planets — Saturn, Jupiter, Mars, the Sun, Venus, Mercury, the Moon. (Venus and Mercury are attributed to Nino Pisano).
South side: The three Theological and four Cardinal Virtues — Faith, Charity, Hope, Prudence, Justice, Temperance, Fortitude (Faith is attributed to Gino Micheli da Castello).
East side: the seven "Liberal Arts" — Astronomy, Music, Geometry, Grammar, Rhetoric, Logic, and Arithmetic. (Geometry and Rhetoric are attributed to Andrea Pisano; the others, except Astronomy, are attributed to Gino Micheli da Castello).
North side: the Seven Sacraments (represented realistically and not allegorically) — Baptism, Confession, Matrimony, Holy Order, Confirmation, the Eucharist, and the Extreme Unction. They are all attributed to Maso di Banco, except Matrimony, attributed to Gino Micheli da Castello.
The statues in the niches
5303 - Firenze - Campanile di Giotto - Foto Giovanni Dall'Orto, 27-Jan-2008.jpg
On the next level on each side there are four statues in niches. They have been sculpted in different periods:
The four statues on the west side were sculpted by Andrea Pisano and date from 1343. These Gothic statues are rather high-reliefs, left unfinished at the back. They represent the Tiburtine Sibyl, David, Solomon and the Erythraean Sibyl.
The four Prophets on the south side are already more classical in style and date between 1334 and 1341. The statue of Moses and the fourth statue are attributed to Maso di Banco.
The four Prophets and Patriarchs on the east side date from between 1408 and 1421: the beardless Prophets by Donatello (probably a portrait of his friend, the architect Filippo Brunelleschi), the Bearded Prophet (perhaps by Nanni di Bartolo), Abraham and Isaac (by Donatello and Nanni di Bartolo) and Il Pensatore (the thinker) (by Donatello).
The four statues on the north side were added between 1420 and 1435: Prophet (probably by Nanni di Bartolo, however signed by Donatello), Habacuc (a masterpiece of Donatello, a tormented and emaciated prophet, portraying Giovanni Chiericini, an enemy of the Medicis), Jeremias (by Donatello, portraying Francesco Soderini, another enemy of the Medicis), Abdias (by Nanni di Bartolo).
File:Cityscape of Florence seen from Giotto's Bell Tower.ogv
View from the bell tower (video)
The three top levels
These levels were built by Francesco Talenti, Master of the Works from 1348 to 1359. Each level is larger than the lower one and extends beyond it in every dimension such that their difference in size exactly counters the effect of perspective. As a result, the top three levels of the tower, when seen from below, look exactly equal in size. The vertical windows open up the walls, a motif borrowed from the Siena campanile. Instead of a spire, Talenti built a large projecting terrace.
The reliefs, statues and decoration make a coherent whole when interpreted in terms of medieval scholastic philosophy.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
The Phenomenology Woman.
Contradictions views spiritualis imperet that analyze,
et detractiones quae substantialis sansculottism alienated abstract betwuxfæc,
pronouncements enunciare coscienziosità theologus census becomes,
conceptual points αποφάσεις σύνθεσης εξωτερικεύσεις subjected to empiricists notions,
правительственная толковании парадигматическое историю coincidences of deductions feorh,
absurdité ambiguë traduit exhaustive undertaking connotations,
individualistic lækkanir noumenal höfuðstóll intuiting thoughts,
transmuted exemplifications universelle oppgivelse anslag arise,
propositions engaging secundus placitum speculationes powers,
φιλοσοφικές μέσα συμπληρώνονται dialectic justifications practiced,
objective depths consummations sýningin mismunandi freedoms,
conscious immediatio oppositionem certum in communi recognizes habban,
entraver limites de péréquation stubborn confessing όντα της συνέχειας,
dissemblance implicit moralità impulsi così peculiari felicità understands,
absoluteness framkvæmd reikningar indivisible antithesis tilung,
equilibrium erliegt ethische unabhängigkeit transformationen activity andefen,
verdwijnende uitspraken dryhtenbealu ramblings back,
her realization inquietum perturbatio is her essential ways.
Vikomt.d.Hammenggor.
In visual arts, music, and other mediums, minimalism is an art movement that began in post–World War II Western art, most strongly with American visual arts in the 1960s and early 1970s. Prominent artists associated with minimalism include Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella.[1][2] It derives from the reductive aspects of modernism and is often interpreted as a reaction against abstract expressionism and a bridge to postminimal art practices.
Minimalism in music often features repetition and gradual variation, such as the works of La Monte Young, Terry Riley, Steve Reich, Philip Glass, Julius Eastman, and John Adams. The term minimalist often colloquially refers to anything that is spare or stripped to its essentials. It has accordingly been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and the automobile designs of Colin Chapman.
Contents
1Minimal art, minimalism in visual art
2Minimalist design and architecture
3Minimalist architecture and space
3.1Concepts and design elements
3.2Influences from Japanese tradition
3.3Minimalist architects and their works
4Literary minimalism
5Minimal music
6Minimalism in film
7Lifestyle
8See also
9Footnotes
10References
11External links
Minimal art, minimalism in visual art[edit]
Main article: Minimalism (visual arts)
Kazimir Malevich, Black Square, 1915, oil on canvas, 79.5 x 79.5 cm, Tretyakov Gallery, Moscow
Minimalism in visual art, generally referred to as "minimal art", "literalist art"[3] and "ABC Art"[4] emerged in New York in the early 1960s as new and older artists moved toward geometric abstraction; exploring via painting in the cases of Frank Stella, Kenneth Noland, Al Held, Ellsworth Kelly, Robert Ryman and others; and sculpture in the works of various artists including David Smith, Anthony Caro, Tony Smith, Sol LeWitt, Carl Andre, Dan Flavin, Donald Judd and others. Judd's sculpture was showcased in 1964 at Green Gallery in Manhattan, as were Flavin's first fluorescent light works, while other leading Manhattan galleries like Leo Castelli Gallery and Pace Gallery also began to showcase artists focused on geometric abstraction. In addition there were two seminal and influential museum exhibitions: Primary Structures: Younger American and British Sculpture shown from April 27 – June 12, 1966 at the Jewish Museum in New York, organized by the museum's Curator of Painting and Sculpture, Kynaston McShine[5][6] and Systemic Painting, at the Solomon R. Guggenheim Museum curated by Lawrence Alloway also in 1966 that showcased Geometric abstraction in the American art world via Shaped canvas, Color Field, and Hard-edge painting.[7][8] In the wake of those exhibitions and a few others the art movement called minimal art emerged.
In a more broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncuși.[9][10]
Tony Smith, Free Ride, 1962, 6'8 x 6'8 x 6'8
In France between 1947 and 1948,[11] Yves Klein conceived his Monotone Symphony (1949, formally The Monotone-Silence Symphony) that consisted of a single 20-minute sustained chord followed by a 20-minute silence[12][13] – a precedent to both La Monte Young's drone music and John Cage's 4′33″. Klein had painted monochromes as early as 1949, and held the first private exhibition of this work in 1950—but his first public showing was the publication of the Artist's book Yves: Peintures in November 1954.[14][15]
Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s.[16]
Artist and critic Thomas Lawson noted in his 1981 Artforum essay Last Exit: Painting, minimalism did not reject Clement Greenberg's claims about modernist painting's[17] reduction to surface and materials so much as take his claims literally. According to Lawson, minimalism was the result, even though the term "minimalism" was not generally embraced by the artists associated with it, and many practitioners of art designated minimalist by critics did not identify it as a movement as such. Also taking exception to this claim was Clement Greenberg himself; in his 1978 postscript to his essay Modernist Painting he disavowed this interpretation of what he said, writing:
There have been some further constructions of what I wrote that go over into preposterousness: That I regard flatness and the inclosing of flatness not just as the limiting conditions of pictorial art, but as criteria of aesthetic quality in pictorial art; that the further a work advances the self-definition of an art, the better that work is bound to be. The philosopher or art historian who can envision me—or anyone at all—arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article.[17]
In contrast to the previous decade's more subjective Abstract Expressionists, with the exceptions of Barnett Newman and Ad Reinhardt; minimalists were also influenced by composers John Cage and LaMonte Young, poet William Carlos Williams, and the landscape architect Frederick Law Olmsted. They very explicitly stated that their art was not about self-expression, and unlike the previous decade's more subjective philosophy about art making theirs was 'objective'. In general, minimalism's features included geometric, often cubic forms purged of much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials.
Robert Morris, a theorist and artist, wrote a three part essay, "Notes on Sculpture 1–3", originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and one that would embrace the practices of his contemporaries. These essays paid great attention to the idea of the gestalt – "parts... bound together in such a way that they create a maximum resistance to perceptual separation." Morris later described an art represented by a "marked lateral spread and no regularized units or symmetrical intervals..." in "Notes on Sculpture 4: Beyond Objects", originally published in Artforum, 1969, continuing on to say that "indeterminacy of arrangement of parts is a literal aspect of the physical existence of the thing." The general shift in theory of which this essay is an expression suggests the transition into what would later be referred to as postminimalism.
One of the first artists specifically associated with minimalism was the painter Frank Stella, four of whose early "black paintings" were included in the 1959 show, 16 Americans, organized by Dorothy Miller at the Museum of Modern Art in New York. The width of the stripes in Frank Stellas's black paintings were often determined by the dimensions of the lumber he used for stretchers to support the canvas, visible against the canvas as the depth of the painting when viewed from the side. Stella's decisions about structures on the front surface of the canvas were therefore not entirely subjective, but pre-conditioned by a "given" feature of the physical construction of the support. In the show catalog, Carl Andre noted, "Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting." These reductive works were in sharp contrast to the energy-filled and apparently highly subjective and emotionally charged paintings of Willem de Kooning or Franz Kline and, in terms of precedent among the previous generation of abstract expressionists, leaned more toward the less gestural, often somber, color field paintings of Barnett Newman and Mark Rothko. Stella received immediate attention from the MoMA show, but other artists—including Kenneth Noland, Gene Davis, Robert Motherwell, and Robert Ryman—had also begun to explore stripes, monochromatic and Hard-edge formats from the late 50s through the 1960s.[18]
Because of a tendency in minimal art to exclude the pictorial, illusionistic and fictive in favor of the literal, there was a movement away from painterly and toward sculptural concerns. Donald Judd had started as a painter, and ended as a creator of objects. His seminal essay, "Specific Objects" (published in Arts Yearbook 8, 1965), was a touchstone of theory for the formation of minimalist aesthetics. In this essay, Judd found a starting point for a new territory for American art, and a simultaneous rejection of residual inherited European artistic values. He pointed to evidence of this development in the works of an array of artists active in New York at the time, including Jasper Johns, Dan Flavin and Lee Bontecou. Of "preliminary" importance for Judd was the work of George Earl Ortman,[19] who had concretized and distilled painting's forms into blunt, tough, philosophically charged geometries. These Specific Objects inhabited a space not then comfortably classifiable as either painting or sculpture. That the categorical identity of such objects was itself in question, and that they avoided easy association with well-worn and over-familiar conventions, was a part of their value for Judd.
This movement was criticized by modernist formalist art critics and historians. Some critics thought minimal art represented a misunderstanding of the modern dialectic of painting and sculpture as defined by critic Clement Greenberg, arguably the dominant American critic of painting in the period leading up to the 1960s. The most notable critique of minimalism was produced by Michael Fried, a formalist critic, who objected to the work on the basis of its "theatricality". In Art and Objecthood (published in Artforum in June 1967) he declared that the minimal work of art, particularly minimal sculpture, was based on an engagement with the physicality of the spectator. He argued that work like Robert Morris's transformed the act of viewing into a type of spectacle, in which the artifice of the act observation and the viewer's participation in the work were unveiled. Fried saw this displacement of the viewer's experience from an aesthetic engagement within, to an event outside of the artwork as a failure of minimal art. Fried's essay was immediately challenged by postminimalist and earth artist Robert Smithson in a letter to the editor in the October issue of Artforum. Smithson stated the following: "What Fried fears most is the consciousness of what he is doing—namely being himself theatrical."
In addition to the already mentioned Robert Morris, Frank Stella, Carl Andre, Robert Ryman and Donald Judd other minimal artists include: Robert Mangold, Larry Bell, Dan Flavin, Sol LeWitt, Charles Hinman, Ronald Bladen, Paul Mogensen, Ronald Davis, David Novros, Brice Marden, Blinky Palermo, Agnes Martin, Jo Baer, John McCracken, Ad Reinhardt, Fred Sandback, Richard Serra, Tony Smith, Patricia Johanson, and Anne Truitt.
Ad Reinhardt, actually an artist of the Abstract Expressionist generation, but one whose reductive nearly all-black paintings seemed to anticipate minimalism, had this to say about the value of a reductive approach to art:
The more stuff in it, the busier the work of art, the worse it is. More is less. Less is more. The eye is a menace to clear sight. The laying bare of oneself is obscene. Art begins with the getting rid of nature.[20]
Reinhardt's remark directly addresses and contradicts Hans Hofmann's regard for nature as the source of his own abstract expressionist paintings. In a famous exchange between Hofmann and Jackson Pollock as told by Lee Krasner in an interview with Dorothy Strickler[21] (1964-11-02) for the Smithsonian Institution Archives of American Art.[22] In Krasner's words:
When I brought Hofmann up to meet Pollock and see his work which was before we moved here, Hofmann’s reaction was—one of the questions he asked Jackson was, "Do you work from nature?" There were no still lifes around or models around and Jackson’s answer was, "I am nature." And Hofmann’s reply was, "Ah, but if you work by heart, you will repeat yourself." To which Jackson did not reply at all. The meeting between Pollock and Hofmann took place in 1942.[22]
Minimalist design and architecture[edit]
This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (May 2011) (Learn how and when to remove this template message)
The reconstruction of Ludwig Mies van der Rohe's German Pavilion in Barcelona
The term minimalism is also used to describe a trend in design and architecture, wherein the subject is reduced to its necessary elements.[citation needed] Minimalist architectural designers focus on the connection between two perfect planes, elegant lighting, and the void spaces left by the removal of three-dimensional shapes in an architectural design.[according to whom?][citation needed]
Minimalistic design has been highly influenced by Japanese traditional design and architecture.[citation needed] The works of De Stijl artists are a major reference: De Stijl expanded the ideas of expression by meticulously organizing basic elements such as lines and planes.[citation needed] With regard to home design, more attractive "minimalistic" designs are not truly minimalistic because they are larger, and use more expensive building materials and finishes.[citation needed]
There are observers who describe the emergence of minimalism as a response to the brashness and chaos of urban life. In Japan, for example, minimalist architecture began to gain traction in the 1980s when its cities experienced rapid expansion and booming population. The design was considered an antidote to the "overpowering presence of traffic, advertising, jumbled building scales, and imposing roadways."[23] The chaotic environment was not only driven by urbanization, industrialization, and technology but also the Japanese experience of constantly having to demolish structures on account of the destruction wrought by World War II and the earthquakes, including the calamities it entails such as fire. The minimalist design philosophy did not arrive in Japan by way of another country as it was already part of the Japanese culture rooted on the Zen philosophy. There are those who specifically attribute the design movement to Japan's spirituality and view of nature.[24]
Architect Ludwig Mies van der Rohe (1886–1969) adopted the motto "Less is more" to describe his aesthetic.[25] His tactic was one of arranging the necessary components of a building to create an impression of extreme simplicity—he enlisted every element and detail to serve multiple visual and functional purposes; for example, designing a floor to also serve as the radiator, or a massive fireplace to also house the bathroom. Designer Buckminster Fuller (1895–1983) adopted the engineer's goal of "Doing more with less", but his concerns were oriented toward technology and engineering rather than aesthetics.[26]
Luis Barragán is an exemplary modern minimalist designer.[according to whom?][citation needed] Other contemporary minimalist architects include Kazuyo Sejima, John Pawson, Eduardo Souto de Moura, Álvaro Siza Vieira, Tadao Ando, Alberto Campo Baeza, Yoshio Taniguchi, Peter Zumthor, Hugh Newell Jacobsen, Vincent Van Duysen, Claudio Silvestrin, Michael Gabellini, and Richard Gluckman.[27][page needed][verification needed]
Minimalist architecture and space[edit]
Minimalist architecture became popular in the late 1980s in London and New York,[28] where architects and fashion designers worked together in the boutiques to achieve simplicity, using white elements, cold lighting, large space with minimum objects and furniture.
Concepts and design elements[edit]
The concept of minimalist architecture is to strip everything down to its essential quality and achieve simplicity.[29] The idea is not completely without ornamentation,[30] but that all parts, details, and joinery are considered as reduced to a stage where no one can remove anything further to improve the design.[31]
The considerations for ‘essences’ are light, form, detail of material, space, place, and human condition.[32] Minimalist architects not only consider the physical qualities of the building. They consider the spiritual dimension and the invisible, by listening to the figure and paying attention to details, people, space, nature, and materials.,[33] believing this reveals the abstract quality of something that is invisible and aids the search for the essence of those invisible qualities—such as natural light, sky, earth, and air. In addition, they "open a dialogue" with the surrounding environment to decide the most essential materials for the construction and create relationships between buildings and sites.[30]
In minimalist architecture, design elements strive to convey the message of simplicity. The basic geometric forms, elements without decoration, simple materials and the repetitions of structures represent a sense of order and essential quality.[34] The movement of natural light in buildings reveals simple and clean spaces.[32] In the late 19th century as the arts and crafts movement became popular in Britain, people valued the attitude of ‘truth to materials’ with respect to the profound and innate characteristics of materials.[35] Minimalist architects humbly 'listen to figure,' seeking essence and simplicity by rediscovering the valuable qualities in simple and common materials.[33]
Influences from Japanese tradition[edit]
See also: Japanese architecture
Ryōan-ji dry garden.The clay wall, which is stained by age with subtle brown and orange tones, reflects "wabi" and the rock garden "sabi", together reflecting the Japanese worldview or aesthetic of "wabi-sabi".[36]
The idea of simplicity appears in many cultures, especially the Japanese traditional culture of Zen Philosophy. Japanese manipulate the Zen culture into aesthetic and design elements for their buildings.[37] This idea of architecture has influenced Western Society, especially in America since the mid 18th century.[38] Moreover, it inspired the minimalist architecture in the 19th century.[31]
Zen concepts of simplicity transmit the ideas of freedom and essence of living.[31] Simplicity is not only aesthetic value, it has a moral perception that looks into the nature of truth and reveals the inner qualities and essence of materials and objects.[39] For example, the sand garden in Ryoanji temple demonstrates the concepts of simplicity and the essentiality from the considered setting of a few stones and a huge empty space.[40]
The Japanese aesthetic principle of Ma refers to empty or open space. It removes all the unnecessary internal walls and opens up the space. The emptiness of spatial arrangement reduces everything down to the most essential quality.[41]
The Japanese aesthetic of Wabi-sabi values the quality of simple and plain objects.[42] It appreciates the absence of unnecessary features, treasures a life in quietness and aims to reveal the innate character of materials.[43] For example, the Japanese floral art, also known as Ikebana, has the central principle of letting the flower express itself. People cut off the branches, leaves and blossoms from the plants and only retain the essential part of the plant. This conveys the idea of essential quality and innate character in nature.[44]
However, far from being just a spatial concept, Ma is ever-present in all aspects of Japanese daily life, as it applies to time as well as to daily tasks.[45]
Minimalist architects and their works[edit]
The Japanese minimalist architect, Tadao Ando conveys the Japanese traditional spirit and his own perception of nature in his works. His design concepts are materials, pure geometry and nature. He normally uses concrete or natural wood and basic structural form to achieve austerity and rays of light in space. He also sets up dialogue between the site and nature to create relationship and order with the buildings.[46] Ando's works and the translation of Japanese aesthetic principles are highly influential on Japanese architecture.[47]
Another Japanese minimalist architect, Kazuyo Sejima, works on her own and in conjunction with Ryue Nishizawa, as SANAA, producing iconic Japanese Minimalist buildings. Credited with creating and influencing a particular genre of Japanese Minimalism,[48] Sejimas delicate, intelligent designs may use white color, thin construction sections and transparent elements to create the phenomenal building type often associated with minimalism. Works include New Museum(2010) New York City, Small House (2000) Tokyo, House surrounded By Plum Trees (2003) Tokyo.
In Vitra Conference Pavilion, Weil am Rhein, 1993, the concepts are to bring together the relationships between building, human movement, site and nature. Which as one main point of minimalism ideology that establish dialogue between the building and site. The building uses the simple forms of circle and rectangle to contrast the filled and void space of the interior and nature. In the foyer, there is a large landscape window that looks out to the exterior. This achieves the simple and silence of architecture and enhances the light, wind, time and nature in space.[49]
John Pawson is a British minimalist architect; his design concepts are soul, light, and order. He believes that though reduced clutter and simplification of the interior to a point that gets beyond the idea of essential quality, there is a sense of clarity and richness of simplicity instead of emptiness. The materials in his design reveal the perception toward space, surface, and volume. Moreover, he likes to use natural materials because of their aliveness, sense of depth and quality of an individual. He is also attracted by the important influences from Japanese Zen Philosophy.[50]
Calvin Klein Madison Avenue, New York, 1995–96, is a boutique that conveys Calvin Klein's ideas of fashion. John Pawson's interior design concepts for this project are to create simple, peaceful and orderly spatial arrangements. He used stone floors and white walls to achieve simplicity and harmony for space. He also emphasises reduction and eliminates the visual distortions, such as the air conditioning and lamps to achieve a sense of purity for interior.[51]
Alberto Campo Baeza is a Spanish architect and describes his work as essential architecture. He values the concepts of light, idea and space. Light is essential and achieves the relationship between inhabitants and the building. Ideas are to meet the function and context of space, forms, and construction. Space is shaped by the minimal geometric forms to avoid decoration that is not essential.[52]
Gasper House, Zahora, 1992 is a residence that the client wanted to be independent. High walls create the enclosed space and the stone floors used in house and courtyard show the continuality of interior and exterior. The white colour of the walls reveals the simplicity and unity of the building. The feature of the structure make lines to form the continuously horizontal house, therefore natural light projects horizontally through the building.[53]
Literary minimalism[edit]
See also: Concision
Literary minimalism is characterized by an economy with words and a focus on surface description. Minimalist writers eschew adverbs and prefer allowing context to dictate meaning. Readers are expected to take an active role in creating the story, to "choose sides" based on oblique hints and innuendo, rather than react to directions from the writer.
Some 1940s-era crime fiction of writers such as James M. Cain and Jim Thompson adopted a stripped-down, matter-of-fact prose style to considerable effect; some classify this prose style as minimalism.[weasel words]
Another strand of literary minimalism arose in response to the metafiction trend of the 1960s and early 1970s (John Barth, Robert Coover, and William H. Gass). These writers were also spare with prose and kept a psychological distance from their subject matter.[citation needed]
Minimalist writers, or those who are identified with minimalism during certain periods of their writing careers, include the following: Raymond Carver, Ann Beattie, Bret Easton Ellis, Charles Bukowski, Ernest Hemingway, K. J. Stevens, Amy Hempel, Bobbie Ann Mason, Tobias Wolff, Grace Paley, Sandra Cisneros, Mary Robison, Frederick Barthelme, Richard Ford, Patrick Holland, Cormac McCarthy, and Alicia Erian.[citation needed]
American poets such as Stephen Crane, William Carlos Williams, early Ezra Pound, Robert Creeley, Robert Grenier, and Aram Saroyan are sometimes identified with their minimalist style. The term "minimalism" is also sometimes associated with the briefest of poetic genres, haiku, which originated in Japan, but has been domesticated in English literature by poets such as Nick Virgilio, Raymond Roseliep, and George Swede.[citation needed]
The Irish writer Samuel Beckett is well known for his minimalist plays and prose, as is the Norwegian writer Jon Fosse.[54]
In his novel The Easy Chain, Evan Dara includes a 60-page section written in the style of musical minimalism, in particular inspired by composer Steve Reich. Intending to represent the psychological state (agitation) of the novel's main character, the section's successive lines of text are built on repetitive and developing phrases.[citation needed]
Minimal music[edit]
Main article: Minimal music
The term "minimal music" was derived around 1970 by Michael Nyman from the concept of minimalism, which was earlier applied to the visual arts.[55][56] More precisely, it was in a 1968 review in The Spectator that Nyman first used the term, to describe a ten-minute piano composition by the Danish composer Henning Christiansen, along with several other unnamed pieces played by Charlotte Moorman and Nam June Paik at the Institute of Contemporary Arts in London.[57]
Minimalism in film[edit]
The term usually is associated with filmmakers such as Robert Bresson, Carl Theodor Dreyer and Yasujirō Ozu. Their films typically tell a simple story with straight forward camera usage and minimal use of score. Paul Schrader named their kind of cinema: "transcendental cinema".[58] Abbas Kiarostami is also considered a creator of minimalistic films.
Joshua Fields Millburn and Ryan Nicodemus directed and produced a movie called Minimalism: A Documentary.[59] that showcased the idea of minimal living in the modern world.
alternative title : Master-Slave dialectic over 38° N
__________________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
Study of the day:
Everything, as much as it is in it, endeavors to persevere in its being. (...) The effort by which everything tends to persevere in its being is nothing more than the present essence of this thing.
There is no singular thing, in the nature of things, that there should be an other more powerful and stronger. Thus, any thing given, there is always an other more powerful, by which the former may be destroyed.
Toute chose, autant qu’il est en elle, s’efforce de persévérer dans son être. (...) L’effort par lequel toute chose tend à persévérer dans son être n’est rien de plus que l’essence actuelle de cette chose.
Il n’y a pas de chose singulière, dans la nature des choses, qu’il n’y en ait une autre plus puissante et plus forte. Ainsi, étant donnée une chose quelconque, il y en a toujours une autre plus puissante, par qui la première peut être détruite.
( Baruch Spinoza, Eth. III - prop VI..VII, Eth. IV La servitude humaine )
Just as monstrous and mutant algae invade the lagoon of Venice, so our television screens are populated, saturated, by ‘degenerate’ images and statements. In the field of social ecology, men like Donald Trump are permitted to proliferate freely, like another species of algae, taking over entire districts of New York and Atlantic City; he ‘redevelops’ by raising rents, thereby driving out tens of thousands of poor families, most of whom are condemned to homelessness, becoming the equivalent of the dead fish of environmental ecology.
De même que les algues mutantes et monstrueuses envahissent la lagune de Venise, de même les écrans de télévision sont saturés d’une population d’images et d’énoncés "dégénérés". Une autre espèce d’algue relevant, cette fois, de l’écologie sociale consiste en cette liberté de prolifération qui est laissée à des hommes comme Donald Trump qui s’empare de quartiers entiers de New York, d’Atlantic City, etc. pour les "rénover", en augmentant les loyers et refouler, par la même occasion, des dizaines de milliers de familles pauvres, dont la plupart sont condamnées à devenir "homeless", l’équivalent ici des poissons morts de l’écologie environnementale.
( Félix Guattari, Three Ecologies, 1989 )
__________________________________________________
Poem of the day:
. . /. .
And death shall have no dominion.
No more may gulls cry at their ears
Or waves break loud on the seashores;
Where blew a flower may a flower no more
Lift its head to the blows of the rain;
Though they be mad and dead as nails,
Heads of the characters hammer through daisies;
Break in the sun till the sun breaks down,
And death shall have no dominion.
. . /. .
Et la mort n’aura point d’empire.
Les goélands, fini d’entendre leur crierie,
Et les vagues venant se briser sur les grèves ;
Où la fleur a fleuri, nulle autre fleur ne lève
La tête pour l’offrir aux bourrasques de pluie ;
Qu’importe qu’ils soient fous, clous morts, minés de rouille,
Leurs têtes de bouffons battront les marguerites,
Forceront le soleil jusqu’à ce qu’il s’écroule
Et la mort n’aura point d’empire.
( Dylan Thomas - Twenty-Five Poems, 1936 )
__________________________________________________
rectO-persO | E ≥ m.C² | co~errAnce | TiLt
The Collapsing City.
Verheerende throat cutting leaders iconoclastic fall,
chaotically προφητείες insights not seen nor heard,
rhetoricam insignias metropolis abolish'd courts ditch,
conventionally рассказы opening to pressures pitch,
disconcerting tiefgründig traditions rip,
aestheticiz'd fighting catalogue of pompeuse crevice,
walgelijk smugness vindictiveness in hellish cries,
stunning composizioni informal disintegration power structures pluck'd,
culminating aggrandizing discessum thy monarchy scandal broke,
oblique ideologischen state overrul'd factors baffling foes,
presumptuous story עונש to a grotesqueness theme,
separate compartments repeating formaliz'd pomposo mockery path,
continuous uudgrundelig seductions presumptions for violence,
inconsistent aesthetics oxymoronic new лидеры same stream,
soliloquies a tragedy past dilemmas shake at morals eyes,
confus'd récits revell'd roots elaborate dialectics untrue,
bizarre declamaties debates accusations build,
establish new wahnvorstellungen for the new city in need,
savage ones eventual крах come from different leaders,
cruel corrupt murmurs a never ending 潮 .
Vikomt.D.Hammengoor.
Italian postcard by CR (Compagnia Rotografica, Milan) / Diffida ASC, no. 2. Photo: Varischi Artico & C., Milano. Sent by mail in 1903.
Dina Galli (1877-1951) was a classic Italian comedian who also performed in Italian silent and sound cinema.
Dina Galli, born in Milan as Clotilde Annamaria Galli, was a real figlia d'arte. As a comedienne, with her flashing eyes, her pointed face, her wit, and irony, she soon conquered the Italian stage. After having joined the theatre company of Milanese actor Edoardo Ferravilla in 1890, she managed a decade later to enter the renowned Talli-Gramatica-Calabresi theatre company. For years she excelled in pochades by Feydeau, Hennequin, Veber et. al., such as La Dame de chez Maxim. During the First World War, she obtained successes with 'La Maestrina' and with 'Scampolo' by Nicodemi. Galli took sidesteps into silent cinema during the First World War: Veli di giovinezza, 1914; La monella, 1914; L'ammiraglia, 1915; all three were directed by Nino Oxilia, who was killed during the war. In 1917 followed Le nozze di Vittoria, which was directed by Ugo Falena. After that, Galli took to dramatic acting on stage in plays, in particular, the dialectical theatre by Giuseppe Adami in which Galli talked in vernacular Milanese, as in Felicità Colombo (1935), the role that stuck to her.
From the late 1930s on, Dina Galli regularly acted in Italian sound cinema of which Felicità Colombo (1937) and Nonna Felicità (1938), both directed by Mario Mattoli and previous stage successes of Galli, showed her skills. Other films she played in, in those years, were Nini Falpalà (Amleto Palermi 1933), Frenesia (Mario Bonnard 1939), La zia smemorata (Ladislao Vajda 1941), Il sogno di tutti (Oreste Biancoli/Laszlo Kish 1941), Stasera niente di nuovo (Mario Mattoli 1942), l biricchino di papà (Raffaele Matarazzo 1943), Tre ragazze cercano marito (Duilio Coletti 1944), Lo sbaglio di essere vivo (Carlo Ludovico Bragaglia 1945), Vanità (Giorgio Pastina 1946), and Sambo (Paolo William Tamburalla 1950). Her last, uncredited, role was in I cadetti di Gascogna (1950). After the Second World War, Galli returned to the stage with various comedies such as Noel Coward's Blythe Spirit, together with Rina Morelli, and Arsenic and Old Lace by Kesserling, both in 1945. Her last performance was in the revue Quo Vadis? (1950), together with Enrico Viarisio. Dina Galli died in Rome in 1951. She was one of Federico Fellini's favourite actresses.
Sources: Wikipedia, Sipario.it, arabafelice.it, mymovies.it, and IMDb.
And, please check out our blog European Film Star Postcards.
Rovingian Animism - A Spiritual Philosophy for the Contemporary World by Daniel Arrhakis (2026)
Rovingian Animism: A Spiritual Philosophy for the Contemporary World
Inclusive Contemporary Nomadism, Respect, Tolerance, and Universalist Spirituality
Origin and Meaning
The term "Rovingian Animism" originates from the idea of "roving," an English word that figuratively refers to "wanderer," "itinerant," "nomad," "nonconformist," or "one who travels from place to place." This concept suggests that truth is not static, but reveals itself in movement and interaction with the "other"—be that other a river, a cathedral, or an artificial intelligence.
Foundations of Rovingian Animism
Presenting itself as a spiritual philosophy adapted to the fluidity of the modern world, Rovingian Animism combines the freedom of nomadism with a profound reverence for existential diversity.
Rovingianism cultivates respect for monastic traditions and all traditional religious manifestations, whether Abrahamic, Buddhist, tribal, or shamanic, recognizing them as expressions of the spiritual richness and diversity of humanity.
The fundamental difference lies in its ecocentric and universalist dimension, considering that humanity is only a part of nature and that all belong to a universal spirituality, revealed in everything that exists.
Contemporary Nomadism
- Mental Fluidity: More than just changing cities, it's about the ability to move between concepts and cultures without prejudice.
- Total Inclusivity: Accepts human progress and art as legitimate extensions of nature.
- The Traveling Soul: Existence is seen as a universalist journey of continuous learning through direct experience.
Worldview and Ecocentrism
- Human Decentralization: The human being ceases to be the "master of creation" and becomes a thread in the web of existence.
- Spiritual Horizontality: There is no hierarchy between the praying monk and the blowing wind; both express vital energy.
- Ubiquitous Sacredness: Spirituality manifests in the atom, the rock, and the work of art.
Fundamental Pillars
Rovingian Animism proposes an ethic of coexistence in which mobility and the sacredness of the whole merge, resulting in a spirituality of "open borders," both geographical and metaphysical.
- Ecocentrism: The human being is not the center, but an integral part of the natural web.
- Universalist Spirituality: Recognizes the sacred in all forms of life, phenomena, natural cycles, or objects.
- Contemporary Nomadism: A fluid, inclusive existence in constant movement, whether physical or mental.
- Radical Respect: Appreciation of monastic, Abrahamic, Eastern, and tribal traditions.
The Manifestation of the Sacred
For the Rovingian, divinity, the sacred, vital energy, or spirituality is not confined to temples, but spread throughout:
- Natural Elements: Rocks, mountains, storms, and forests.
- Living Beings: From the smallest insect to human complexity.
- Human Creations: Art, such as architecture, sculpture, and painting, is seen as an extension of nature and the soul.
Tolerance and Synthesis
- Respect for Traditions: Values monastic rigor and Abrahamic faith as pieces of the human mosaic.
- Universalism: Draws from shamanic and Eastern sources without excluding modernity.
- Ethics of Empathy: By perceiving soul in everything, harm to the environment or to others is understood as harm to oneself.
Conclusion
This vision does not negate traditional religions; on the contrary, it embraces them as manifestations of the spiritual richness of humanity.
The difference lies in the breakdown of hierarchies between human beings and the rest of the universe, replacing a theocentric or homocentric view with a universalist ecocentric perspective, in which the soul is a traveler between worlds, evolving through life, experience and knowledge, in an immortal and timeless symbiotic dialectic between matter and spirit.
_____________________________________________________________________________________________________
Animismo Rovingiano: Uma Filosofia Espiritual para o Mundo Contemporâneo
Nomadismo Contemporâneo Inclusivo, Respeito, Tolerância e Espiritualidade Universalista
Origem e Significado
O termo "Animismo Rovingiano" nasce da ideia de “roving”, palavra inglesa que remete ao sentido figurado de "errante", "itinerante", "nómada", "inconformado" ou "que viaja de lugar em lugar". Essa concepção sugere que a verdade não é estática, mas se revela no movimento e na interação com o "outro" — seja esse outro um rio, uma catedral ou uma inteligência artificial.
Fundamentos do Animismo Rovingiano
Apresentando-se como uma filosofia espiritual adaptada à fluidez do mundo moderno, o Animismo Rovingiano combina a liberdade do nomadismo com uma reverência profunda pela diversidade existencial.
O Rovingianismo cultiva o respeito pelas tradições monásticas e por todas as manifestações religiosas tradicionais, sejam elas abraâmicas, budistas, tribais ou xamânicas, reconhecendo-as como expressões da riqueza e diversidade espiritual da humanidade.
A diferença fundamental está na sua dimensão ecocêntrica e universalista, ao considerar que a humanidade é apenas uma parte da natureza e que todos pertencem a uma espiritualidade universal, revelada em tudo o que existe.
Nomadismo Contemporâneo
- Fluidez Mental: Mais do que mudar de cidade, trata-se da capacidade de transitar entre conceitos e culturas sem preconceitos.
- Inclusividade Total: Aceita o progresso e a arte humana como extensões legítimas da natureza.
- A Alma Viajante: A existência é vista como uma jornada universalista de aprendizagem contínua através da experiência direta.
Visão de Mundo e Ecocentrismo
- Descentralização Humana: O ser humano deixa de ser o "mestre da criação" para tornar-se um fio na teia da existência.
- Horizontalidade Espiritual: Não existe hierarquia entre o monge em prece e o vento que sopra; ambos expressam a energia vital.
- Sagrado Ubíquo: A espiritualidade manifesta-se no átomo, na rocha e na obra de arte.
Pilares Fundamentais
O Animismo Rovingiano propõe uma ética de convivência em que mobilidade e sacralidade do todo se fundem, resultando numa espiritualidade de "fronteiras abertas", tanto geográficas quanto metafísicas.
- Ecocentrismo: O ser humano não é o centro, mas parte integrante da teia natural.
- Espiritualidade Universalista: Reconhece o sagrado em todas as formas de vida, fenómenos e ciclos naturais, ou objetos.
- Nomadismo Contemporâneo: Uma existência fluida, inclusiva e em constante movimento, seja físico ou mental.
- Respeito Radical: Valorização de tradições monásticas, abraâmicas, orientais e tribais.
A Manifestação do Sagrado
Para o rovingiano, a divindade, o sagrado, a energia vital ou a espiritualidade não está confinada a templos, mas espalhada em:
- Elementos Naturais: Rochas, montanhas, tempestades e florestas.
- Seres Vivos: Do menor inseto à complexidade humana.
- Criações Humanas: A arte, como arquitetura, escultura e pintura, é vista como extensão da natureza e da alma.
Tolerância e Síntese
- Respeito às Tradições: Valoriza o rigor monástico e a fé abraâmica como peças do mosaico humano.
- Universalismo: Bebe de fontes xamânicas e orientais sem excluir a modernidade.
- Ética da Empatia: Ao perceber alma em tudo, o dano ao meio ambiente ou ao próximo é entendido como um dano a si mesmo.
Conclusão
Esta visão não anula as religiões tradicionais; pelo contrário, abraça-as como manifestações da riqueza espiritual da humanidade.
A diferença reside na quebra de hierarquias entre o ser humano
e o resto do universo, substituindo uma visão teocêntrica ou homocêntrica por uma perspetiva ecocêntrica universalista, em que a alma é uma viajante entre mundos, evoluindo pela vivência, experiência e pelo conhecimento, numa dialética simbiótica imortal
e intemporal entre matéria e espírito.
Splitting (also called all-or-nothing thinking) is the failure in a person's thinking to bring together both positive and negative qualities of the self and others into a cohesive, realistic whole. It is a common defense mechanism used by many people. The individual tends to think in extremes (i.e., an individual's actions and motivations are all good or all bad with no middle ground.)
The concept of splitting was developed by Ronald Fairbairn in his formulation of object relations theory it begins as the inability of the infant to combine the fulfilling aspects of the parents (the good object) and their unresponsive aspects (the unsatisfying object) into the same individuals, but sees the good and bad as separate. In psychoanalytic theory this functions as a defense mechanism. It is a relatively common defense mechanism for people with borderline personality disorder in DSM-IV-TR.
Splitting creates instability in relationships because one person can be viewed as either personified virtue or personified vice at different times, depending on whether he or she gratifies the subject's needs or frustrates them. This along with similar oscillations in the experience and appraisal of the self lead to chaotic and unstable relationship patterns, identity diffusion, and mood swings. The therapeutic process can be greatly impeded by these oscillations, because the therapist too can become seen as all good or all bad. To attempt to overcome the negative effects on treatment outcome, constant interpretations by the therapist are needed.
Splitting contributes to unstable relationships and intense emotional experiences, something that has been noted especially with persons diagnosed with borderline personality disorder.
Treatment strategies have been developed for individuals and groups based on dialectical behavior therapy, and for couples. There are also self-help books on related topics such as mindfulness and emotional regulation that have been helpful for individuals who struggle with the consequences of splitting.
Borderline personality disorder
Splitting is a relatively common defense mechanism for people with borderline personality disorder. One of the DSM IV-TR criteria for this disorder is a description of splitting: "a pattern of unstable and intense interpersonal relationships characterized by alternating between extremes of idealization and devaluation". In psychoanalytic theory, people with borderline personality disorder are not able to integrate the good and bad images of both self and others, resulting in a bad representation which dominates the good representation. This school hypothesizes that they consequently experience love and sexuality in perverse and violent qualities which they cannot integrate with the tender, intimate side of relationships.
Narcissistic personality disorder
People matching the diagnostic criteria for narcissistic personality disorder also use splitting as a central defense mechanism. Most often the narcissist does this as an attempt to stabilize his/her sense of self positivity in order to preserve his/her self-esteem, by perceiving himself/herself as purely upright or admirable and others who do not conform to his/her will or values as purely wicked or contemptible. Given "the narcissist's perverse sense of entitlement and splitting ... [s]he can be equally geared, psychologically and practically, towards the promotion and towards the demise of a certain collectively beneficial project".
The cognitive habit of splitting also implies the use of other related defense mechanisms, namely idealization and devaluation, which are preventative attitudes or reactions to narcissistic rage and narcissistic injury.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
Rhythm of Line GLEITZEIT ESSAY BY ELLEN YUSTAS K GOTTLIEB CIRCA 1995 New York City
In Early period Jaisini has more meaning manipulation creating concept of visual line’s enclosure in unison with logical line.
Movement in the space and constructed thinking process together seem to come to a deceptive simplicity of continuous line.
In reality the artist works in complicated manner of multiple approaches that has multi personalities united in one through a fight.
Was line predetermined in her movement?
But it is technically immediate, imaginative, and not prepared.
In accordance to the artist’s own assumptions, his line matures in his mind for long period of time before he could release it on the canvas together with the painting’s unique plot.
The plot of the picture’s characters usually serves purpose of mixing the originality of beauty with simple decorative purpose of line interlacing and sometimes it brings images in most unexpected connections, mixing such themes as classical music with semi erotic depictions where aesthetic flare of creative fertilization is deeply connected to erotic display of mastery, a dialectical incentive of creation.
Mixtures of refine eroticism and ultimately conservative in appearance subject of classical musicians brings the theme to unexpected prominence.
In paintings subject is not ever explicit or hidden too deeply between the lines to be hypocritically implied, to the opposite the artist sets his ideas in perfect harmony.
Jaisini tends to perfect all angles of his creation to the level of condition with constant curiosity about his art.
If you had learned the meaning you would start to see more of its visual technique.
Then it could start to change the meaning.
The process of growing together with Jaisini’s artworks is unlimited.
Just when you thought that you have grasped the capricious creation it starts to run away from you again.
And this is exactly what Jaisini stage in his art, the game that never ends and develops into new game.
Music is a particularly relevant aspect of Jaisini’s inspiration as a part of the artist’s daily life.
The connection of art images and subjects is not straightforward but still in many ways is connected to music sensitivity.
One of the best ways to tell whether someone has borderline personality disorder (BPD) or narcissistic personality disorder (NPD) is to look at the way they express emotions. Depending upon which subtype they are (vulnerable vs. invulnerable), narcissists have shallow or limited emotions. People with BPD, on the other hand, are far too emotional. In fact, most of the borderline personality disorder criteria have to do with problems people with BPD have regulating their emotions. In this blog post, I'll look at BPD; the next, we'll explore the shallow emotions of those with NPD.
Just like people with diabetes have a problem regulating their blood sugar and must test it several times a day, people with BPD find it difficult to be emotionally consistent. This is why you're continually walking on eggshells, never knowing what to expect when you walk in the door.
Individuals with BPD feel the same emotions that we all do. The difference is that whether they're good or bad feelings, they're off the charts. "People with BPD are like people with third degree burns over 90 percent of their body," says Marsha M. Linehan, Ph.D., founder of Dialectical Behavioral Therapy. "Lacking emotional skin, they feel agony at the slightest touch or movement."
Of the nine criteria for BPD, four of them deal directly with emotions. They are:
Intense and quickly changing mood swings, irritability or anxiety. Most people can take steps to feel better when they feel bad. And they can control, to some extent, how they express their moods. But people with BPD find this difficult or impossible. Anxiety and irritability are part of the everyday landscape.
Chronic feelings of emptiness: BPs experience chronic feelings of emptiness, which is tied into their lack of identity. A borderline woman says: "I feel empty inside, so I try to keep busy all the time. I throw parties, get into new relationships, smoke, drink, change jobs, or go to a movie. But nothing fills the void." A man says, "My former partner consistently makes comments of feeling empty and worthless, even though she has many people in her life and a very successful business. She received cards in the mail often from friends. But she still felt this pervasive feeling of emptiness and sadness."
Inappropriate anger or difficulty controlling anger. "My ex-wife can be as sweet and kind as a saint one moment, rage the next, and then just as abruptly switch back. I can see the changes coming by watching her eyes," says Mark, the ex-husband of a BP.
Frantic efforts to avoid real or imagined abandonment. This is probably the hallmark of BPD. Because of that fear, people with BPD constantly seek affection and reassurance to combat their lack of self-esteem. For example, they may constantly call or text you just to make sure you are still there and care about them.
A woman with a BPD husband says:
"He would physically block entrances and exits so I couldn't leave. When I was gone he would drink himself silly, not go to work, and call me at all hours of the night telling me how much he missed me and needed me. If I wanted to go out with friends, he wanted to come with so he wouldn't be home by himself. He often had dreams in which we would be at a party and I wouldn't talk to him or acknowledge him. If people didn't return his emails or calls within a very short period of time, he would think they didn't want to be his friend anymore, or they were mad at him, or he had done something wrong to upset them."
The difference between the emotions of people with BPD and everyone else can be summed up as follows:
1) Their emotions are more intense. Brain studies show that the "emotional" centers of the brain actually overpower the "logical" centers. On a scale of 1 to 10, with 10 being high, once the emotions of an individual with BPD are at a six and over you can't really reason with them. They may kick or hit walls, slam doors, punch a car, break household items, and even become physically violent.
2) Their emotions are unpredictable, flipping quickly from one to another. You feel lost and confused as to what just happened. A woman says:
"His mood can change in the blink of an eye. Usually, we could be joking about something, having a really great time and even bonding, and then something I said would trigger something in him and he would get upset, then pissy, then angry, then raging. Sometimes it would take a few days for this to build up. But once it started, I could always tell what was going on. It's like feeling a storm front move in.You can feel the change in the atmosphere."
3) One triggered, they take much longer to come down to baseline (a 1-3 on the scale). At the same time, once the emotion is gone, it's gone, and they don't remember feeling differently. They may not understand why you're still mad at them.
4) Because of their lack of impulse control, they act on their emotions before they've had a chance to think through the consequences of their actions. While their actions are intended to help them feel better, in the long run they feel worse. So emotional dysregulation leads to behavioral dysregulation.
A man explained,
"My girlfriend self-medicated with Xanax. She was bulimic after intense emotional feelings. She would eat a whole pint of ice cream and then say she was emotionally eating. She would drink a lot when she was stressed. She was pretty promiscuous sexually before our relationship and she had been sexual with a few other people while she was with her husband."
5) They can hold a grudge forever about something that happened years ago and continually bring up what hurt them as if it happened yesterday.
Next we'll take a look at the two types of narcissists, vulnerable and invulnerable, and contrast the way they experience emotions with those who have BPD.
Giordano Bruno..Giordano Bruno (Latin: Iordanus Brunus Nolanus; Italian: [dʒorˈdano ˈbruno]; 1548 – February 17, 1600), born Filippo Bruno, was an Italian Dominican friar, philosopher, mathematician, poet, and astrologer. He is celebrated for his cosmological theories, which went even further than the then-novel Copernican model: while supporting heliocentrism, Bruno also correctly proposed that the Sun was just another star moving in space, and claimed as well that the universe contained an infinite number of inhabited worlds, identified as planets orbiting other stars. Beginning in 1593, Bruno was tried for heresy by the Roman Inquisition on charges including denial of several core Catholic doctrines (including the Trinity, the divinity of Christ, the virginity of Mary, and Transubstantiation). Bruno's pantheism was also a matter of grave concern.[4] The Inquisition found him guilty, and in 1600 he was burned at the stake in Rome's Campo de' Fiori. After his death he gained considerable fame, particularly among 19th- and early 20th-century commentators who regarded him as a martyr for science,[5] though scholars emphasize that Bruno's astronomical views were at most a minor component of the theological and philosophical beliefs that led to his trial.Bruno's case is still considered a landmark in the history of free thought and the future of the emerging sciences. In addition to his cosmological writings, Bruno also wrote extensively on the art of memory, a loosely organized group of mnemonic techniques and principles. Historian Frances Yates argues that Bruno was deeply influenced by Arab astrology, Neoplatonism, Renaissance Hermeticism, and the Egyptian god Thoth. Other studies of Bruno have focused on his qualitative approach to mathematics and his application of the spatial paradigms of geometry to language. Born Filippo Bruno in Nola (in Campania, then part of the Kingdom of Naples) in 1548, he was the son of Giovanni Bruno, a soldier, and Fraulissa Savolino. In his youth he was sent to Naples for education. He was tutored privately at the Augustinian monastery there, and attended public lectures at the Studium Generale. At the age of 17, he entered the Dominican Order at the monastery of San Domenico Maggiore in Naples, taking the name Giordano, after Giordano Crispo, his metaphysics tutor. He continued his studies there, completing his novitiate, and became an ordained priest in 1572 at age 24. During his time in Naples he became known for his skill with the art of memory and on one occasion traveled to Rome to demonstrate his mnemonic system before Pope Pius V and Cardinal Rebiba. In his later years Bruno claimed that the Pope accepted his dedication to him of the lost work On The Ark of Noah at this time. While Bruno was distinguished for outstanding ability, his taste for free thinking and forbidden books soon caused him difficulties. Given the controversy he caused in later life it is surprising that he was able to remain within the monastic system for eleven years. In his testimony to Venetian inquisitors during his trial, many years later, he indicates that proceedings were twice taken against him for having cast away images of the saints, retaining only a crucifix, and for having made controversial reading recommendations to a novice.[16] Such behavior could perhaps be overlooked, but Bruno's situation became much more serious when he was reported to have defended the Arian heresy, and when a copy of the banned writings of Erasmus, annotated by him, was discovered hidden in the convent privy. When he learned that an indictment was being prepared against him in Naples he fled, shedding his religious habit, at least for a time. First years of wandering, 1576–1583 Bruno first went to the Genoese port of Noli, then to Savona, Turin and finally to Venice, where he published his lost work On The Signs of the Times with the permission (so he claimed at his trial) of the Dominican Remigio Nannini Fiorentino. From Venice he went to Padua where he met fellow Dominicans who convinced him to wear his religious habit again. From Padua he went to Bergamo and then across the Alps to Chambéry and Lyon. His movements after this time are obscure. The earliest depiction of Bruno is an engraving published in 1715 in Germany, presumed based on a lost contemporary portrait. In 1579 he arrived in Geneva. As D.W. Singer, a Bruno biographer, notes, "The question has sometimes been raised as to whether Bruno became a Protestant, but it is intrinsically most unlikely that he accepted membership in Calvin's communion"During his Venetian trial he told inquisitors that while in Geneva he told the Marchese de Vico of Naples, who was notable for helping Italian refugees in Geneva, "I did not intend to adopt the religion of the city. I desired to stay there only that I might live at liberty and in security." Bruno had a pair of breeches made for himself, and the Marchese and others apparently made Bruno a gift of a sword, hat, cape and other necessities for dressing himself; in such clothing Bruno could no longer be recognized as a priest. Things apparently went well for Bruno for a time, as he entered his name in the Rector's Book of the University of Geneva in May 1579. But in keeping with his personality he could not long remain silent. In August he published an attack on the work of Antoine de la Faye, a distinguished professor. He and the printer were promptly arrested. Rather than apologizing, Bruno insisted on continuing to defend his publication. He was refused the right to take sacrament. Though this was eventually reversed, he left Geneva.
He went to France, arriving first in Lyon, and thereafter settling for a time (1580–1581) in Toulouse, where he took his doctorate in theology and was elected by students to lecture in philosophy. It seems he also attempted at this time to return to the Catholic fold, but was denied absolution by the Jesuit priest he approached. When religious strife broke out in the summer of 1581, he relocated to Paris. There he held a cycle of thirty lectures on theological topics, and he also began to gain fame for his prodigious memory. Bruno's feats of memory were based, at least in part, on his elaborate system of mnemonics, but some of his contemporaries found it easier to attribute them to magical powers. His talents attracted the benevolent attention of the king Henry III. The king summoned him to the court. Bruno subsequently reported "I got me such a name that King Henry III summoned me one day to discover from me if the memory which I possessed was natural or acquired by magic art. I satisfied him that it did not come from sorcery but from organised knowledge; and, following this, I got a book on memory printed, entitled The Shadows of Ideas, which I dedicated to His Majesty. Forthwith he gave me an Extraordinary Lectureship with a salary." In Paris Bruno enjoyed the protection of his powerful French patrons. During this period, he published several works on mnemonics, including De umbris idearum (On The Shadows of Ideas, 1582), Ars Memoriae (The Art of Memory, 1582), and Cantus Circaeus (Circe's Song, 1582). All of these were based on his mnemonic models of organised knowledge and experience, as opposed to the simplistic logic-based mnemonic techniques of Petrus Ramus then becoming popular. Bruno also published a comedy summarizing some of his philosophical positions, titled Il Candelaio (The Torchbearer, 1582). In the 16th century dedications were, as a rule, approved beforehand, and hence were a way of placing a work under the protection of an individual. Given that Bruno dedicated various works to the likes of King Henry III, Sir Philip Sidney, Michel de Castelnau (French Ambassador to England), and possibly Pope Pius V, it is apparent that this wanderer had experienced a meteoric rise and moved in powerful circles. England, 1583–1585 Woodcut illustration of one of Giordano Bruno's less complex mnemonic devices In April 1583, Bruno went to England with letters of recommendation from Henry III as a guest of the French ambassador, Michel de Castelnau. There he became acquainted with the poet Philip Sidney (to whom he dedicated two books) and other members of the Hermetic circle around John Dee, though there is no evidence that Bruno ever met Dee himself. He also lectured at Oxford, and unsuccessfully sought a teaching position there. His views spurred controversy, notably with John Underhill, Rector of Lincoln College and subsequently bishop of Oxford, and George Abbot, who later became Archbishop of Canterbury. Abbot mocked Bruno for supporting "the opinion of Copernicus that the earth did go round, and the heavens did stand still; whereas in truth it was his own head which rather did run round, and his brains did not stand still",[22] and reports accusations that Bruno plagiarized Ficino's work. Still, the English period was a fruitful one. During that time Bruno completed and published some of his most important works, the six "Italian Dialogues," including the cosmological tracts La Cena de le Ceneri (The Ash Wednesday Supper, 1584), De la Causa, Principio et Uno (On Cause, Principle and Unity, 1584), De l'Infinito, Universo e Mondi (On the Infinite, Universe and Worlds, 1584) as well as Lo Spaccio de la Bestia Trionfante (The Expulsion of the Triumphant Beast, 1584) and De gl' Heroici Furori (On the Heroic Frenzies, 1585). Some of these were printed by John Charlewood. Some of the works that Bruno published in London, notably The Ash Wednesday Supper, appear to have given offense. It was not the first time, nor was it to be the last, that Bruno's controversial views coupled with his abrasive sarcasm lost him the support of his friends. John Bossy has advanced the theory that, while staying in the French Embassy in London, Bruno was also spying on Catholic conspirators, under the pseudonym 'Fagot', for Sir Francis Walsingham, Queen Elizabeth's Secretary of State.
Last years of wandering, 1585–1592 In October 1585, after the French embassy in London was attacked by a mob, Bruno returned to Paris with Castelnau, finding a tense political situation. Moreover, his 120 theses against Aristotelian natural science and his pamphlets against the mathematician Fabrizio Mordente soon put him in ill favor. In 1586, following a violent quarrel about Mordente's invention, the differential compass, he left France for Germany. Woodcut from "Articuli centum et sexaginta adversus huius tempestatis mathematicos atque philosophos," Prague 1588 In Germany he failed to obtain a teaching position at Marburg, but was granted permission to teach at Wittenberg, where he lectured on Aristotle for two years. However, with a change of intellectual climate there, he was no longer welcome, and went in 1588 to Prague, where he obtained 300 taler from Rudolf II, but no teaching position. He went on to serve briefly as a professor in Helmstedt, but had to flee again when he was excommunicated by the Lutherans. During this period he produced several Latin works, dictated to his friend and secretary Girolamo Besler, including De Magia (On Magic), Theses De Magia (Theses On Magic) and De Vinculis In Genere (A General Account of Bonding). All these were apparently transcribed or recorded by Besler (or Bisler) between 1589 and 1590.[24] He also published De Imaginum, Signorum, Et Idearum Compositione (On The Composition of Images, Signs and Ideas, 1591).
The year 1591 found him in Frankfurt. Apparently, during the Frankfurt Book Fair,[citation needed] he received an invitation to Venice from the patrician Giovanni Mocenigo, who wished to be instructed in the art of memory, and also heard of a vacant chair in mathematics at the University of Padua. At the time the Inquisition seemed to be losing some of its impetus, and Venice seemed especially safe as it was the most liberal state in Italy; therefore Bruno was lulled into making the fatal mistake of returning to Italy. He went first to Padua, where he taught briefly, and applied unsuccessfully for the chair of mathematics, which was assigned instead to Galileo Galilei one year later. Bruno accepted Mocenigo's invitation and moved to Venice in March 1592. For about two months he functioned as an in-house tutor to Mocenigo. When Bruno announced his plan to leave Venice to his host, the latter, who was unhappy with the teachings he had received and had apparently developed a personal rancour towards Bruno, denounced him to the Venetian Inquisition, which had Bruno arrested on May 22, 1592. Among the numerous charges of blasphemy and heresy brought against him in Venice, based on Mocenigo's denunciation, was his belief in the plurality of worlds, as well as accusations of personal misconduct. Bruno defended himself skillfully, stressing the philosophical character of some of his positions, denying others and admitting that he had had doubts on some matters of dogma. The Roman Inquisition, however, asked for his transferral to Rome. After several months and some quibbling the Venetian authorities reluctantly consented and Bruno was sent to Rome in February 1593. Imprisonment, trial and execution, 1593–1600 In Rome, Bruno's trial lasted seven years during which time he was imprisoned, lastly in the Tower of Nona. Some important documents about the trial are lost, but others have been preserved, among them a summary of the proceedings that was rediscovered in 1940. The numerous charges against Bruno, based on some of his books as well as on witness accounts, included blasphemy, immoral conduct, and heresy in matters of dogmatic theology, and involved some of the basic doctrines of his philosophy and cosmology. Luigi Firpo lists these charges made against Bruno by the Roman Inquisition: holding opinions contrary to the Catholic faith and speaking against it and its ministers; holding opinions contrary to the Catholic faith about the Trinity, divinity of Christ, and Incarnation; holding opinions contrary to the Catholic faith pertaining to Jesus as Christ; holding opinions contrary to the Catholic faith regarding the virginity of Mary, mother of Jesus; holding opinions contrary to the Catholic faith about both Transubstantiation and Mass; claiming the existence of a plurality of worlds and their eternity; believing in metempsychosis and in the transmigration of the human soul into brutes; dealing in magics and divination. The trial of Giordano Bruno by the Roman Inquisition. Bronze relief by Ettore Ferrari, Campo de' Fiori, Rome.
Bruno continued his Venetian defensive strategy, which consisted in bowing to the Church's dogmatic teachings, while trying to preserve the basis of his philosophy. In particular, Bruno held firm to his belief in the plurality of worlds, although he was admonished to abandon it. His trial was overseen by the Inquisitor Cardinal Bellarmine, who demanded a full recantation, which Bruno eventually refused. On January 20, 1600, Pope Clement VIII declared Bruno a heretic and the Inquisition issued a sentence of death. According to the correspondence of Gaspar Schopp of Breslau, he is said to have made a threatening gesture towards his judges and to have replied: Maiori forsan cum timore sententiam in me fertis quam ego accipiam ("Perhaps you pronounce this sentence against me with greater fear than I receive it"). He was turned over to the secular authorities. On February 17, 1600, in the Campo de' Fiori (a central Roman market square), with his "tongue imprisoned because of his wicked words", he was burned at the stake.[29] His ashes were dumped into the Tiber river. All of Bruno's works were placed on the Index Librorum Prohibitorum in 1603. Inquisition cardinals who judged Giordano Bruno were: Cardinal Bellarmino (Bellarmine), Cardinal Madruzzo (Madruzzi), Cardinal Camillo Borghese (later Pope Paul V), Domenico Cardinal Pinelli, Pompeio Cardinal Arrigoni, Cardinal Sfondrati, Pedro Cardinal De Deza Manuel, Cardinal Santorio (Archbishop of Santa Severina, Cardinal-Bishop of Palestrina). Physical appearance The earliest likeness of Bruno is an engraving published in 1715[30] and cited by Salvestrini as "the only known portrait of Bruno". Salvestrini suggests that it is a re-engraving made from a now lost original.This engraving has provided the source for later images. The records of Bruno's imprisonment by the Venetian inquisition in May 1592 describe him as a man "of average height, with a hazel coloured beard and the appearance of being about forty years of age". Alternately, a passage in a work by George Abbot indicates that Bruno was of diminutive stature: "When that Italian Didapper, who intituled himselfe Philotheus Iordanus Brunus Nolanus, magis elaborata Theologia Doctor, &c with a name longer than his body...". The word "didapper" used by Abbot is the derisive term which in period meant "a small diving waterfowl".Cosmology
Cosmology before Bruno. Illuminated illustration of the Ptolemaic geocentric conception of the Universe. The outermost text reads "The heavenly empire, dwelling of God and all the selected" Despite Copernicus' recent publication of his heliocentric work De revolutionibus orbium coelestium, during Bruno's time most educated Catholics subscribed to the Aristotelian geocentric view that the earth was the center of the universe, and that all heavenly bodies revolved around it. The ultimate limit of the universe was the primum mobile, whose diurnal rotation was conferred upon it by a transcendental God, not part of the universe (although, as the kingdom of heaven, adjacent to it[34]), a motionless prime mover and first cause. The fixed stars were part of this celestial sphere, all at the same fixed distance from the immobile earth at the center of the sphere. Ptolemy had numbered these at 1,022, grouped into 48 constellations. The planets were each fixed to a transparent sphere. In the first half of the 15th century Nicolaus Cusanus (not to be confused with Copernicus a century later) reissued[citation needed] the ideas formulated in Antiquity by Democritus and Lucretius and dropped the Aristotelean cosmos. He envisioned an infinite universe, whose center was everywhere and circumference nowhere, with countless rotating stars, the Earth being one of them, of equal importance. He also considered that neither were the rotational orbits circular, nor was the movement uniform. In the second half of the 16th century, the theories of Copernicus (1473–1543) began diffusing through Europe. Copernicus conserved the idea of planets fixed to solid spheres, but considered the apparent motion of the stars to be an illusion caused by the rotation of the Earth on its axis; he also preserved the notion of an immobile center, but it was the Sun rather than the Earth. Copernicus also argued the Earth was a planet orbiting the Sun once every year. However he maintained the Ptolemaic hypothesis that the orbits of the planets were composed of perfect circles—deferents and epicycles—and that the stars were fixed on a stationary outer sphere. Few astronomers of Bruno's time accepted Copernicus's heliocentric model. Among those who did were the Germans Michael Maestlin (1550–1631), Christoph Rothmann, Johannes Kepler (1571–1630), the Englishman Thomas Digges, author of A Perfit Description of the Caelestial Orbes, and the Italian Galileo Galilei (1564–1642). Curiously, Bruno's Nolan compatriot, Nicola Antonio Stigliola, born just two years before Bruno himself, believed in the Copernican model. The two, however, probably never met after their youth. Bruno's cosmology Bruno believed (and praised Copernicus for establishing a scientific explanation for the fact[citation needed]) that the Earth revolves around the sun, and that the apparent diurnal rotation of the heavens is an illusion caused by the rotation of the Earth around its axis. Bruno also held (following Nicholas of Cusa[citation needed]) that because God is infinite the universe would reflect this fact in boundless immensity. The universe is then one, infinite, immobile.... It is not capable of comprehension and therefore is endless and limitless, and to that extent infinite and indeterminable, and consequently immobile. Bruno also asserted that the stars in the sky were really other suns like our own, around which orbited other planets. He indicated that support for such beliefs in no way contradicted scripture or true religion. In 1584, Bruno published two important philosophical dialogues in which he argued against the planetary spheres (Christoph Rothmann did the same in 1586 as did Tycho Brahe in 1587). Bruno's infinite universe was filled with a substance—a "pure air," aether, or spiritus—that offered no resistance to the heavenly bodies which, in Bruno's view, rather than being fixed, moved under their own impetus (momentum). Most dramatically, he completely abandoned the idea of a hierarchical universe. The Earth was just one more heavenly body, as was the Sun. God had no particular relation to one part of the infinite universe more than any other. God, according to Bruno, was as present on Earth as in the Heavens, an immanent God, the One subsuming in itself the multiplicity of existence, rather than a remote heavenly deity.Bruno also affirmed that the universe was homogeneous, made up everywhere of the four elements (water, earth, fire, and air), rather than having the stars be composed of a separate quintessence. Essentially, the same physical laws would operate everywhere, although the use of that term is anachronistic. Space and time were both infinite. There was no room in his stable and permanent universe for the Christian notions of divine creation and Last Judgement. In Bruno's model, the Sun was simply one more star, and the stars all suns, each with its own planets. Bruno saw a solar system of a sun/star with planets as the fundamental unit of the universe. All these planets constituted an infinite number of inhabited worlds, a philosophical position known as cosmic pluralism. According to Bruno, an infinite God necessarily created an infinite universe, formed of an infinite number of solar systems, separated by vast regions full of aether, because empty space could not exist (Bruno did not arrive at the concept of a galaxy). Comets were part of a synodus ex mundis of stars, and not—as other authors maintained at the time—ephemeral creations, divine instruments, or heavenly messengers. Each comet was a world, a permanent celestial body, formed of the four elements. Bruno's cosmology is marked by infinitude, homogeneity, and isotropy, with planetary systems distributed evenly throughout. Matter follows an active animistic principle: it is intelligent and discontinuous in structure, made up of discrete atoms. This animism (and a corresponding disdain for mathematics as a means to understanding) is the most dramatic respect in which Bruno's cosmology differs from a modern scientific understanding of the universe. During the late 16th century, and throughout the 17th century, Bruno's ideas were held up for ridicule, debate, or inspiration. Margaret Cavendish, for example, wrote an entire series of poems against "atoms" and "infinite worlds" in Poems and Fancies in 1664. Bruno's true, if partial, vindication would have to wait for the implications and impact of Newtonian cosmology. Bruno's overall contribution to the birth of modern science is still controversial. Some scholars follow Frances Yates stressing the importance of Bruno's ideas about the universe being infinite and lacking geocentric structure as a crucial crosspoint between the old and the new. Others see in Bruno's idea of multiple worlds instantiating the infinite possibilities of a pristine, indivisible One, a forerunner of Everett's many-worlds interpretation of quantum mechanics. While most academics note Bruno's theological position as pantheism, physicist and philosopher Max Bernhard Weinstein in his Welt- und Lebensanschauungen, Hervorgegangen aus Religion, Philosophie und Naturerkenntnis ("World and Life Views, Emerging From Religion, Philosophy and Nature"), wrote that the theological model of pandeism was strongly expressed in the teachings of Bruno, especially with respect to the vision of a deity which had no particular relation to one part of the infinite universe more than any other, and was immanent, as present on Earth as in the Heavens, subsuming in itself the multiplicity of existence. Retrospective views of Bruno The monument to Bruno in the place he was executed, Campo de' Fiori in Rome.
41°53′44.16″N 12°28′19.80″E Late Vatican position The Vatican has published few official statements about Bruno's trial and execution. In 1942, Cardinal Giovanni Mercati, who discovered a number of lost documents relating to Bruno's trial, stated that the Church was perfectly justified in condemning him. On the 400th anniversary of Bruno's death, in 2000, Cardinal Angelo Sodano declared Bruno's death to be a "sad episode" but, despite his regret, he defended Bruno's prosecutors, maintaining that the Inquisitors "had the desire to serve freedom and promote the common good and did everything possible to save his life."[38] In the same year, Pope John Paul II did make a general apology for the deaths of prominent philosophers and scientists due to the Inquisition. A martyr of science
Some authors have characterized Bruno as a "martyr of science," suggesting parallels with the Galileo affair which began around 1610. They assert that, even though Bruno's theological beliefs, or perceptions of them by others, were an important factor in his heresy trial, his Copernicanism and cosmological beliefs played a significant role in the outcome.
"It should not be supposed", writes A. M. Paterson of Bruno and his "heliocentric solar system," that he "reached his conclusions via some mystical revelation....His work is an essential part of the scientific and philosophical developments that he initiated." Paterson echoes Hegel in writing that Bruno "ushers in a modern theory of knowledge that understands all natural things in the universe to be known by the human mind through the mind's dialectical structure." Ingegno writes that Bruno embraced the philosophy of Lucretius, "aimed at liberating man from the fear of death and the gods." Characters in Bruno's Cause, Principle and Unity desire "to improve speculative science and knowledge of natural things," and to achieve a philosophy "which brings about the perfection of the human intellect most easily and eminently, and most closely corresponds to the truth of nature" Other scholars oppose such views, and claim Bruno's martyrdom to science to be exaggerated, or outright false. For Yates, while "nineteenth century liberals" were thrown "into ecstasies" over Bruno's Copernicanism, "Bruno pushes Copernicus' scientific work back into a prescientific stage, back into Hermetism, interpreting the Copernican diagram as a hieroglyph of divine mysteries." Theological heresy In his Lectures on the History of Philosophy Hegel writes that Bruno's life represented "a bold rejection of all Catholic beliefs resting on mere authority." Alfonso Ingegno states that Bruno's philosophy "challenges the developments of the Reformation, calls into question the truth-value of the whole of Christianity, and claims that Christ perpetrated a deceit on mankind... Bruno suggests that we can now recognize the universal law which controls the perpetual becoming of all things in an infinite universe."A. M. Paterson says that, while we no longer have a copy of the official papal condemnation of Bruno, his heresies included "the doctrine of the infinite universe and the innumerable worlds" and his beliefs "on the movement of the earth". Michael White notes that the Inquisition may have pursued Bruno early in his life on the basis of his opposition to Aristotle, interest in Arianism, reading of Erasmus, and possession of banned texts.[48] White considers that Bruno's later heresy was "multifaceted" and may have rested on his conception of infinite worlds. "This was perhaps the most dangerous notion of all... If other worlds existed with intelligent beings living there, did they too have their visitations? The idea was quite unthinkable." Frances Yates rejects what she describes as the "legend that Bruno was prosecuted as a philosophical thinker, was burned for his daring views on innumerable worlds or on the movement of the earth." Yates however writes that "the Church was... perfectly within its rights if it included philosophical points in its condemnation of Bruno's heresies" because "the philosophical points were quite inseparable from the heresies." According to the Stanford Encyclopedia of Philosophy, "in 1600 there was no official Catholic position on the Copernican system, and it was certainly not a heresy. When [...] Bruno [...] was burned at the stake as a heretic, it had nothing to do with his writings in support of Copernican cosmology." Similarly, the Catholic Encyclopedia (1908) asserts that "Bruno was not condemned for his defence of the Copernican system of astronomy, nor for his doctrine of the plurality of inhabited worlds, but for his theological errors, among which were the following: that Christ was not God but merely an unusually skillful magician, that the Holy Ghost is the soul of the world, that the Devil will be saved, etc." The website of the Vatican Secret Archives, discussing a summary of legal proceedings against Bruno in Rome, states: "In the same rooms where Giordano Bruno was questioned, for the same important reasons of the relationship between science and faith, at the dawning of the new astronomy and at the decline of Aristotle's philosophy, sixteen years later, Cardinal Bellarmino, who then contested Bruno's heretical theses, summoned Galileo Galilei, who also faced a famous inquisitorial trial, which, luckily for him, ended with a simple abjuration." Artistic depictions Following the 1870 Capture of Rome by the newly created Kingdom of Italy and the end of the Church's temporal power over the city, the erection of a monument to Bruno on the site of his execution became feasible. The monument was sharply opposed by the clerical party, but was finally erected by the Rome Municipality and inaugurated in 1889. A statue of a stretched human figure standing on its head designed by Alexander Polzin depicting Bruno's death at the stake was placed in Potsdamer Platz station 52°30′35.4″N 13°22′33.5″E in Berlin on March 2, 2008.Retrospective iconography of Bruno shows him with a Dominican cowl but not tonsured. Edward Gosselin has suggested that it is likely Bruno kept his tonsure at least until 1579, and it is possible that he wore it again thereafter.
An idealized animated version of Bruno appears in the first episode of the 2014 television series Cosmos: A Spacetime Odyssey. In this depiction, Bruno is shown with a more modern look, without tonsure and wearing clerical robes and without his hood. Cosmos presents Bruno as an impoverished philosopher who was ultimately executed due to his refusal to recant his belief in other worlds, a portrayal that was criticized as simplistic or historically inaccurate. Appearances in fiction Bruno and his theory of 'the coincidence of contraries' (coincidentia oppositorum) play an important role in James Joyce's novel Finnegans Wake. Joyce wrote in a letter to his patroness, Harriet Shaw Weaver, 'His philosophy is a kind of dualism – every power in nature must evolve an opposite in order to realise itself and opposition brings reunion'. Amongst his numerous allusions to Bruno in his novel, including his trial and torture, Joyce plays upon Bruno's notion of coincidentia oppositorum through applying his name to word puns such as "Browne and Nolan" (name of Dublin printers) and '"brownesberrow in nolandsland". Bruno Giordano features as the hero in a series of historical crime novels by S.J. Parris (pseudonym of Stephanie Merritt).
The Last Confession by Morris West (posthumously published) is a fictional autobiography of Bruno, ostensibly written shortly before his execution. In 1973 the biographic drama Giordano Bruno was released, an Italian/French movie directed by Giuliano Montaldo, starring Gian Maria Volonté as Bruno. The computer game In Memoriam features a lead character who claims to be Bruno, returned from the dead to seek vengeance. Bruno features as a main character in the historical segments of John Crowley's mystical Ægypt tetralogy of novels. The story covers his education as a Dominican and his investigation for heresy, and presents multiple versions of his execution on the Campo de' Fiori. His name appears and he is recognized in the novel Children of God by Mary Doria Russell. Deborah Harkness' A Discovery of Witches mentions Bruno and quotes from Eroici furori: "Desire urges me on, as fear bridles me." He is mentioned in 'A Man against a Background of Flames' by Paul Hoggart (2013). Giordano Bruno Foundation] The Giordano Bruno Foundation (German: Giordano Bruno Stiftung) is a non-profit foundation based in Germany that pursues the "Support of Evolutionary Humanism". It was founded by entrepreneur Herbert Steffen in 2004. The Giordano Bruno Foundation is considered critical of religion, which it characterizes as detrimental to cultural evolution. Giordano Bruno Memorial Award
The SETI League makes an annual award honoring the memory of Giordano Bruno to a deserving person or persons who have made a significant contribution to the practice of SETI (the search for extraterrestrial intelligence). The award was proposed by sociologist Donald Tarter in 1995 on the 395th anniversary of Bruno's death. The trophy presented is called a Bruno. Astronomical objects named after Bruno The 22 km impact crater Giordano Bruno on the far side of the Moon is named in his honor, as are the main belt asteroids 5148 Giordano and 13223 Cenaceneri; the latter is named for one of his works.
best argument for friendship and against kings
youtu.be/c5xd59LuU8U?si=w9YZ8cArya1wmj0p
Gadamer on Hegel: Self-Consciousness
.
amicitia vera illuminat
.
photo:
small bronze of flying Hermes/Mercury
bronzetto - Mercurio volante
Fondazione Querini Stampalia
Querini Stampalia Foundation
permanent collection
Fondazione Querini Stampalia
fondoambiente.it/luoghi/fondazione-querini-stampalia
Hans-Georg Gadamer
en.wikipedia.org/wiki/Hans-Georg_Gadamer
Hermeneutics
en.wikipedia.org/wiki/Hermeneutics
.
nulli reges, soli amici
.
no kings, only friends
The Theme of the Sermon: St. Bernard’s purpose is to counteract sterile intellectualism, a life that is lived entirely in the mind, and has little effect in changing one’s morals. We are called to contemplate and love and be united with the Truth, but this involves our whole being, our whole person; {it} is a spiritualization of our whole life, until everything is penetrated and possessed by truth. Furthermore, Truth is not merely an abstraction but a Person—the Incarnate Word. To enter into this intimate and spiritual communion with the Truth of God in Christ, it is not sufficient to spend one’s whole life in “studying without ever learning anything,” 743 or wasting one’s time and gifts in sterile dialectics: what is demanded is a metanoia, a conversion, a change of heart—a change that takes place deep in one’s being and reorientates the whole course of one’s life—away from the world, towards the Kingdom of God. This is evident from the fact that the intellectuals St. Bernard was addressing lived disedifying lives, while talking about the Truth.
-The Cistercian Fathers and their monastic theology : initiation into the monastic tradition 8 / by Thomas Merton ; edited with an introduction by Patrick F. O’Connell ; preface by James Finley.
Tempering Entertainments.
上演愚蠢後果冒險遭遇貪婪飢渴的驕傲,
Поздравительный чувства невнимательность борьба опасные чародеи великолепие державы,
merveilleuses durables contraintes chamarrés florissants discours persécuteurs désert poète,
schuldlos Mäßigkeit mißfällt Antworten puissaunce demaund erstrahlt spannend rachsüchtigen Arbeiten,
απλότητα συγκεντρώνεται απαραίτητη πληθώρα διαμόρφωση αναδυόμενες ακτιβιστές μεταφέροντας αδιάφορη προσδιοριστικότητα,
multiplicidad de reposo pensamientos sensuales expresiones cuantitativas cuerpos numéricos leyes de desecho negativos,
movimenti universali contraddittori gravanti personaggi estremi inganni percettivi comprendere la coscienza,
fealsúnacht scrúdú ar expounding dialectical edification amhantrach ar léargais eolais inniúlachta méadú beacht,
systematesch intuited Onfruchtbarkeet Virschléi kënnt Methoden normal Konzepter Existenzgarantie Reflexioune reduzéieren Identitéit,
独断の内面性は自己減らす確実敵の撤退を調査存在を把握します.
Steve.D.Hammond.
Plato explains that the soul is immortal and will remain (in a spiritual sense) after the physical destruction of the body. He explains that the fear of death is only natural to humans, but death should be viewed as the achievement of life.
~ Plato, born Aristocles, was an ancient Greek philosopher of the Classical period who is considered a foundational thinker in Western philosophy and an innovator of the written dialogue and dialectic forms
~
ai/pixlr/gimp
Gautama Buddha, also known as Siddhārtha Gautama, Shakyamuni, or simply the Buddha, was a sage on whose teachings Buddhism was founded. He is believed to have lived and taught mostly in northeastern India sometime between the sixth and fourth centuries BCE.
The word Buddha means "awakened one" or "the enlightened one". "Buddha" is also used as a title for the first awakened being in a Yuga era. In most Buddhist traditions, Siddhartha Gautama is regarded as the Supreme Buddha (Pali sammāsambuddha, Sanskrit samyaksaṃbuddha) of the present age. Gautama taught a Middle Way between sensual indulgence and the severe asceticism found in the śramaṇa movement common in his region. He later taught throughout regions of eastern India such as Magadha and Kosala.
Gautama is the primary figure in Buddhism and accounts of his life, discourses, and monastic rules are believed by Buddhists to have been summarized after his death and memorized by his followers. Various collections of teachings attributed to him were passed down by oral tradition and first committed to writing about 400 years later.
CONTENTS
HISTORICAL SIDDHARTA GAUTAMA
Scholars are hesitant to make unqualified claims about the historical facts of the Buddha's life. Most accept that he lived, taught and founded a monastic order during the Mahajanapada era during the reign of Bimbisara, the ruler of the Magadha empire, and died during the early years of the reign of Ajasattu, who was the successor of Bimbisara, thus making him a younger contemporary of Mahavira, the Jain tirthankara. Apart from the Vedic Brahmins, the Buddha's lifetime coincided with the flourishing of other influential śramaṇa schools of thoughts like Ājīvika, Cārvāka, Jainism, and Ajñana. It was also the age of influential thinkers like Mahavira, Pūraṇa Kassapa , Makkhali Gosāla, Ajita Kesakambalī, Pakudha Kaccāyana, and Sañjaya Belaṭṭhaputta, whose viewpoints the Buddha most certainly must have been acquainted with and influenced by. Indeed, Sariputta and Moggallāna, two of the foremost disciples of the Buddha, were formerly the foremost disciples of Sañjaya Belaṭṭhaputta, the skeptic. There is also evidence to suggest that the two masters, Alara Kalama and Uddaka Ramaputta, were indeed historical figures and they most probably taught Buddha two different forms of meditative techniques. While the general sequence of "birth, maturity, renunciation, search, awakening and liberation, teaching, death" is widely accepted, there is less consensus on the veracity of many details contained in traditional biographies.
The times of Gautama's birth and death are uncertain. Most historians in the early 20th century dated his lifetime as circa 563 BCE to 483 BCE. More recently his death is dated later, between 411 and 400 BCE, while at a symposium on this question held in 1988, the majority of those who presented definite opinions gave dates within 20 years either side of 400 BCE for the Buddha's death. These alternative chronologies, however, have not yet been accepted by all historians.
The evidence of the early texts suggests that Siddhārtha Gautama was born into the Shakya clan, a community that was on the periphery, both geographically and culturally, of the northeastern Indian subcontinent in the 5th century BCE. It was either a small republic, in which case his father was an elected chieftain, or an oligarchy, in which case his father was an oligarch. According to the Buddhist tradition, Gautama was born in Lumbini, nowadays in modern-day Nepal, and raised in the Shakya capital of Kapilavastu, which may have been in either present day Tilaurakot, Nepal or Piprahwa, India. He obtained his enlightenment in Bodh Gaya, gave his first sermon in Sarnath, and died in Kushinagar.
No written records about Gautama have been found from his lifetime or some centuries thereafter. One Edict of Asoka, who reigned from circa 269 BCE to 232 BCE, commemorates the Emperor's pilgrimage to the Buddha's birthplace in Lumbini. Another one of his edicts mentions several Dhamma texts, establishing the existence of a written Buddhist tradition at least by the time of the Maurya era and which may be the precursors of the Pāli Canon. The oldest surviving Buddhist manuscripts are the Gandhāran Buddhist texts, reported to have been found in or around Haḍḍa near Jalalabad in eastern Afghanistan and now preserved in the British Library. They are written in the Gāndhārī language using the Kharosthi script on twenty-seven birch bark manuscripts and date from the first century BCE to the third century CE.
TRADITIONAL BIOGRAPHIES
BIOGRAPHICAL SOURCES
The sources for the life of Siddhārtha Gautama are a variety of different, and sometimes conflicting, traditional biographies. These include the Buddhacarita, Lalitavistara Sūtra, Mahāvastu, and the Nidānakathā. Of these, the Buddhacarita is the earliest full biography, an epic poem written by the poet Aśvaghoṣa, and dating around the beginning of the 2nd century CE. The Lalitavistara Sūtra is the next oldest biography, a Mahāyāna/Sarvāstivāda biography dating to the 3rd century CE. The Mahāvastu from the Mahāsāṃghika Lokottaravāda tradition is another major biography, composed incrementally until perhaps the 4th century CE. The Dharmaguptaka biography of the Buddha is the most exhaustive, and is entitled the Abhiniṣkramaṇa Sūtra, and various Chinese translations of this date between the 3rd and 6th century CE. The Nidānakathā is from the Theravada tradition in Sri Lanka and was composed in the 5th century by Buddhaghoṣa.
From canonical sources, the Jataka tales, the Mahapadana Sutta (DN 14), and the Achariyabhuta Sutta (MN 123) which include selective accounts that may be older, but are not full biographies. The Jātakas retell previous lives of Gautama as a bodhisattva, and the first collection of these can be dated among the earliest Buddhist texts. The Mahāpadāna Sutta and Achariyabhuta Sutta both recount miraculous events surrounding Gautama's birth, such as the bodhisattva's descent from the Tuṣita Heaven into his mother's womb.
NATURE OF TRADITIONAL DEPICTIONS
In the earliest Buddhists texts, the nikāyas and āgamas, the Buddha is not depicted as possessing omniscience (sabbaññu) nor is he depicted as being an eternal transcendent (lokottara) being. According to Bhikkhu Analayo, ideas of the Buddha's omniscience (along with an increasing tendency to deify him and his biography) are found only later, in the Mahayana sutras and later Pali commentaries or texts such as the Mahāvastu. In the Sandaka Sutta, the Buddha's disciple Ananda outlines an argument against the claims of teachers who say they are all knowing while in the Tevijjavacchagotta Sutta the Buddha himself states that he has never made a claim to being omniscient, instead he claimed to have the "higher knowledges" (abhijñā). The earliest biographical material from the Pali Nikayas focuses on the Buddha's life as a śramaṇa, his search for enlightenment under various teachers such as Alara Kalama and his forty five year career as a teacher.
Traditional biographies of Gautama generally include numerous miracles, omens, and supernatural events. The character of the Buddha in these traditional biographies is often that of a fully transcendent (Skt. lokottara) and perfected being who is unencumbered by the mundane world. In the Mahāvastu, over the course of many lives, Gautama is said to have developed supra-mundane abilities including: a painless birth conceived without intercourse; no need for sleep, food, medicine, or bathing, although engaging in such "in conformity with the world"; omniscience, and the ability to "suppress karma". Nevertheless, some of the more ordinary details of his life have been gathered from these traditional sources. In modern times there has been an attempt to form a secular understanding of Siddhārtha Gautama's life by omitting the traditional supernatural elements of his early biographies.
Andrew Skilton writes that the Buddha was never historically regarded by Buddhist traditions as being merely human:
It is important to stress that, despite modern Theravada teachings to the contrary (often a sop to skeptical Western pupils), he was never seen as being merely human. For instance, he is often described as having the thirty-two major and eighty minor marks or signs of a mahāpuruṣa, "superman"; the Buddha himself denied that he was either a man or a god; and in the Mahāparinibbāna Sutta he states that he could live for an aeon were he asked to do so.The ancient Indians were generally unconcerned with chronologies, being more focused on philosophy. Buddhist texts reflect this tendency, providing a clearer picture of what Gautama may have taught than of the dates of the events in his life. These texts contain descriptions of the culture and daily life of ancient India which can be corroborated from the Jain scriptures, and make the Buddha's time the earliest period in Indian history for which significant accounts exist. British author Karen Armstrong writes that although there is very little information that can be considered historically sound, we can be reasonably confident that Siddhārtha Gautama did exist as a historical figure. Michael Carrithers goes a bit further by stating that the most general outline of "birth, maturity, renunciation, search, awakening and liberation, teaching, death" must be true.
BIOGRAPHY
CONCEPTION AND BIRTH
The Buddhist tradition regards Lumbini, in present-day Nepal to be the birthplace of the Buddha. He grew up in Kapilavastu. The exact site of ancient Kapilavastu is unknown. It may have been either Piprahwa, Uttar Pradesh, present-day India, or Tilaurakot, present-day Nepal. Both places belonged to the Sakya territory, and are located only 15 miles apart from each other.
Gautama was born as a Kshatriya, the son of Śuddhodana, "an elected chief of the Shakya clan", whose capital was Kapilavastu, and who were later annexed by the growing Kingdom of Kosala during the Buddha's lifetime. Gautama was the family name. His mother, Maya (Māyādevī), Suddhodana's wife, was a Koliyan princess. Legend has it that, on the night Siddhartha was conceived, Queen Maya dreamt that a white elephant with six white tusks entered her right side, and ten months later Siddhartha was born. As was the Shakya tradition, when his mother Queen Maya became pregnant, she left Kapilvastu for her father's kingdom to give birth. However, her son is said to have been born on the way, at Lumbini, in a garden beneath a sal tree.
The day of the Buddha's birth is widely celebrated in Theravada countries as Vesak. Buddha's Birthday is called Buddha Purnima in Nepal and India as he is believed to have been born on a full moon day. Various sources hold that the Buddha's mother died at his birth, a few days or seven days later. The infant was given the name Siddhartha (Pāli: Siddhattha), meaning "he who achieves his aim". During the birth celebrations, the hermit seer Asita journeyed from his mountain abode and announced that the child would either become a great king (chakravartin) or a great sadhu. By traditional account, this occurred after Siddhartha placed his feet in Asita's hair and Asita examined the birthmarks. Suddhodana held a naming ceremony on the fifth day, and invited eight Brahmin scholars to read the future. All gave a dual prediction that the baby would either become a great king or a great holy man. Kondañña, the youngest, and later to be the first arhat other than the Buddha, was reputed to be the only one who unequivocally predicted that Siddhartha would become a Buddha.
While later tradition and legend characterized Śuddhodana as a hereditary monarch, the descendant of the Suryavansha (Solar dynasty) of Ikṣvāku (Pāli: Okkāka), many scholars think that Śuddhodana was the elected chief of a tribal confederacy.
Early texts suggest that Gautama was not familiar with the dominant religious teachings of his time until he left on his religious quest, which is said to have been motivated by existential concern for the human condition. The state of the Shakya clan was not a monarchy, and seems to have been structured either as an oligarchy, or as a form of republic. The more egalitarian gana-sangha form of government, as a political alternative to the strongly hierarchical kingdoms, may have influenced the development of the śramanic Jain and Buddhist sanghas, where monarchies tended toward Vedic Brahmanism.
EARLY LIFE AND MARRIAGE
Siddhartha was brought up by his mother's younger sister, Maha Pajapati. By tradition, he is said to have been destined by birth to the life of a prince, and had three palaces (for seasonal occupation) built for him. Although more recent scholarship doubts this status, his father, said to be King Śuddhodana, wishing for his son to be a great king, is said to have shielded him from religious teachings and from knowledge of human suffering.
When he reached the age of 16, his father reputedly arranged his marriage to a cousin of the same age named Yaśodharā (Pāli: Yasodharā). According to the traditional account, she gave birth to a son, named Rāhula. Siddhartha is said to have spent 29 years as a prince in Kapilavastu. Although his father ensured that Siddhartha was provided with everything he could want or need, Buddhist scriptures say that the future Buddha felt that material wealth was not life's ultimate goal.
RENUNCIATION AND ASCETIC LIFE
At the age of 29, the popular biography continues, Siddhartha left his palace to meet his subjects. Despite his father's efforts to hide from him the sick, aged and suffering, Siddhartha was said to have seen an old man. When his charioteer Channa explained to him that all people grew old, the prince went on further trips beyond the palace. On these he encountered a diseased man, a decaying corpse, and an ascetic. These depressed him, and he initially strove to overcome aging, sickness, and death by living the life of an ascetic.
Accompanied by Channa and riding his horse Kanthaka, Gautama quit his palace for the life of a mendicant. It's said that, "the horse's hooves were muffled by the gods" to prevent guards from knowing of his departure.
Gautama initially went to Rajagaha and began his ascetic life by begging for alms in the street. After King Bimbisara's men recognised Siddhartha and the king learned of his quest, Bimbisara offered Siddhartha the throne. Siddhartha rejected the offer, but promised to visit his kingdom of Magadha first, upon attaining enlightenment.
He left Rajagaha and practised under two hermit teachers of yogic meditation. After mastering the teachings of Alara Kalama (Skr. Ārāḍa Kālāma), he was asked by Kalama to succeed him. However, Gautama felt unsatisfied by the practice, and moved on to become a student of yoga with Udaka Ramaputta (Skr. Udraka Rāmaputra). With him he achieved high levels of meditative consciousness, and was again asked to succeed his teacher. But, once more, he was not satisfied, and again moved on.
Siddhartha and a group of five companions led by Kaundinya are then said to have set out to take their austerities even further. They tried to find enlightenment through deprivation of worldly goods, including food, practising self-mortification. After nearly starving himself to death by restricting his food intake to around a leaf or nut per day, he collapsed in a river while bathing and almost drowned. Siddhartha was rescued by a village girl named Sujata and she gave him some payasam (a pudding made from milk and jaggery) after which Siddhartha got back some energy. Siddhartha began to reconsider his path. Then, he remembered a moment in childhood in which he had been watching his father start the season's ploughing. He attained a concentrated and focused state that was blissful and refreshing, the jhāna.
AWAKENING
According to the early Buddhist texts, after realizing that meditative dhyana was the right path to awakening, but that extreme asceticism didn't work, Gautama discovered what Buddhists call the Middle Way - a path of moderation away from the extremes of self-indulgence and self-mortification, or the Noble Eightfold Path, as was identified and described by the Buddha in his first discourse, the Dhammacakkappavattana Sutta. In a famous incident, after becoming starved and weakened, he is said to have accepted milk and rice pudding from a village girl named Sujata. Such was his emaciated appearance that she wrongly believed him to be a spirit that had granted her a wish.
Following this incident, Gautama was famously seated under a pipal tree - now known as the Bodhi tree - in Bodh Gaya, India, when he vowed never to arise until he had found the truth. Kaundinya and four other companions, believing that he had abandoned his search and become undisciplined, left. After a reputed 49 days of meditation, at the age of 35, he is said to have attained Enlightenment. According to some traditions, this occurred in approximately the fifth lunar month, while, according to others, it was in the twelfth month. From that time, Gautama was known to his followers as the Buddha or "Awakened One" ("Buddha" is also sometimes translated as "The Enlightened One").
According to Buddhism, at the time of his awakening he realized complete insight into the cause of suffering, and the steps necessary to eliminate it. These discoveries became known as the "Four Noble Truths", which are at the heart of Buddhist teaching. Through mastery of these truths, a state of supreme liberation, or Nirvana, is believed to be possible for any being. The Buddha described Nirvāna as the perfect peace of a mind that's free from ignorance, greed, hatred and other afflictive states, or "defilements" (kilesas). Nirvana is also regarded as the "end of the world", in that no personal identity or boundaries of the mind remain. In such a state, a being is said to possess the Ten Characteristics, belonging to every Buddha.
According to a story in the Āyācana Sutta (Samyutta Nikaya VI.1) - a scripture found in the Pāli and other canons - immediately after his awakening, the Buddha debated whether or not he should teach the Dharma to others. He was concerned that humans were so overpowered by ignorance, greed and hatred that they could never recognise the path, which is subtle, deep and hard to grasp. However, in the story, Brahmā Sahampati convinced him, arguing that at least some will understand it. The Buddha relented, and agreed to teach.
FORMATION OF THE SANGHA
After his awakening, the Buddha met Taphussa and Bhallika — two merchant brothers from the city of Balkh in what is currently Afghanistan - who became his first lay disciples. It is said that each was given hairs from his head, which are now claimed to be enshrined as relics in the Shwe Dagon Temple in Rangoon, Burma. The Buddha intended to visit Asita, and his former teachers, Alara Kalama and Udaka Ramaputta, to explain his findings, but they had already died.
He then travelled to the Deer Park near Varanasi (Benares) in northern India, where he set in motion what Buddhists call the Wheel of Dharma by delivering his first sermon to the five companions with whom he had sought enlightenment. Together with him, they formed the first saṅgha: the company of Buddhist monks.
All five become arahants, and within the first two months, with the conversion of Yasa and fifty four of his friends, the number of such arahants is said to have grown to 60. The conversion of three brothers named Kassapa followed, with their reputed 200, 300 and 500 disciples, respectively. This swelled the sangha to more than 1,000.
TRAVELS AND TEACHING
For the remaining 45 years of his life, the Buddha is said to have traveled in the Gangetic Plain, in what is now Uttar Pradesh, Bihar and southern Nepal, teaching a diverse range of people: from nobles to servants, murderers such as Angulimala, and cannibals such as Alavaka. Although the Buddha's language remains unknown, it's likely that he taught in one or more of a variety of closely related Middle Indo-Aryan dialects, of which Pali may be a standardization.
The sangha traveled through the subcontinent, expounding the dharma. This continued throughout the year, except during the four months of the Vāsanā rainy season when ascetics of all religions rarely traveled. One reason was that it was more difficult to do so without causing harm to animal life. At this time of year, the sangha would retreat to monasteries, public parks or forests, where people would come to them.
The first vassana was spent at Varanasi when the sangha was formed. After this, the Buddha kept a promise to travel to Rajagaha, capital of Magadha, to visit King Bimbisara. During this visit, Sariputta and Maudgalyayana were converted by Assaji, one of the first five disciples, after which they were to become the Buddha's two foremost followers. The Buddha spent the next three seasons at Veluvana Bamboo Grove monastery in Rajagaha, capital of Magadha.
Upon hearing of his son's awakening, Suddhodana sent, over a period, ten delegations to ask him to return to Kapilavastu. On the first nine occasions, the delegates failed to deliver the message, and instead joined the sangha to become arahants. The tenth delegation, led by Kaludayi, a childhood friend of Gautama's (who also became an arahant), however, delivered the message.
Now two years after his awakening, the Buddha agreed to return, and made a two-month journey by foot to Kapilavastu, teaching the dharma as he went. At his return, the royal palace prepared a midday meal, but the sangha was making an alms round in Kapilavastu. Hearing this, Suddhodana approached his son, the Buddha, saying:
"Ours is the warrior lineage of Mahamassata, and not a single warrior has gone seeking alms."
The Buddha is said to have replied:
"That is not the custom of your royal lineage. But it is the custom of my Buddha lineage. Several thousands of Buddhas have gone by seeking alms."
Buddhist texts say that Suddhodana invited the sangha into the palace for the meal, followed by a dharma talk. After this he is said to have become a sotapanna. During the visit, many members of the royal family joined the sangha. The Buddha's cousins Ananda and Anuruddha became two of his five chief disciples. At the age of seven, his son Rahula also joined, and became one of his ten chief disciples. His half-brother Nanda also joined and became an arahant.
Of the Buddha's disciples, Sariputta, Maudgalyayana, Mahakasyapa, Ananda and Anuruddha are believed to have been the five closest to him. His ten foremost disciples were reputedly completed by the quintet of Upali, Subhoti, Rahula, Mahakaccana and Punna.
In the fifth vassana, the Buddha was staying at Mahavana near Vesali when he heard news of the impending death of his father. He is said to have gone to Suddhodana and taught the dharma, after which his father became an arahant.The king's death and cremation was to inspire the creation of an order of nuns. Buddhist texts record that the Buddha was reluctant to ordain women. His foster mother Maha Pajapati, for example, approached him, asking to join the sangha, but he refused. Maha Pajapati, however, was so intent on the path of awakening that she led a group of royal Sakyan and Koliyan ladies, which followed the sangha on a long journey to Rajagaha. In time, after Ananda championed their cause, the Buddha is said to have reconsidered and, five years after the formation of the sangha, agreed to the ordination of women as nuns. He reasoned that males and females had an equal capacity for awakening. But he gave women additional rules (Vinaya) to follow.
MAHAPARINIRVANA
According to the Mahaparinibbana Sutta of the Pali canon, at the age of 80, the Buddha announced that he would soon reach Parinirvana, or the final deathless state, and abandon his earthly body. After this, the Buddha ate his last meal, which he had received as an offering from a blacksmith named Cunda. Falling violently ill, Buddha instructed his attendant Ānanda to convince Cunda that the meal eaten at his place had nothing to do with his passing and that his meal would be a source of the greatest merit as it provided the last meal for a Buddha. Mettanando and Von Hinüber argue that the Buddha died of mesenteric infarction, a symptom of old age, rather than food poisoning. The precise contents of the Buddha's final meal are not clear, due to variant scriptural traditions and ambiguity over the translation of certain significant terms; the Theravada tradition generally believes that the Buddha was offered some kind of pork, while the Mahayana tradition believes that the Buddha consumed some sort of truffle or other mushroom. These may reflect the different traditional views on Buddhist vegetarianism and the precepts for monks and nuns.
Waley suggests that Theravadin's would take suukaramaddava (the contents of the Buddha's last meal), which can translate as pig-soft, to mean soft flesh of a pig. However, he also states that pig-soft could mean "pig's soft-food", that is, after Neumann, a soft food favoured by pigs, assumed to be a truffle. He argues (also after Neumann) that as Pali Buddhism was developed in an area remote to the Buddha's death, the existence of other plants with suukara- (pig) as part of their names and that "(p)lant names tend to be local and dialectical" could easily indicate that suukaramaddava was a type of plant whose local name was unknown to those in the Pali regions. Specifically, local writers knew more about their flora than Theravadin commentator Buddhaghosa who lived hundreds of years and kilometres remote in time and space from the events described. Unaware of an alternate meaning and with no Theravadin prohibition against eating animal flesh, Theravadins would not have questioned the Buddha eating meat and interpreted the term accordingly.
Ananda protested the Buddha's decision to enter Parinirvana in the abandoned jungles of Kuśināra (present-day Kushinagar, India) of the Malla kingdom. The Buddha, however, is said to have reminded Ananda how Kushinara was a land once ruled by a righteous wheel-turning king that resounded with joy:
44. Kusavati, Ananda, resounded unceasingly day and night with ten sounds - the trumpeting of elephants, the neighing of horses, the rattling of chariots, the beating of drums and tabours, music and song, cheers, the clapping of hands, and cries of "Eat, drink, and be merry!"
The Buddha then asked all the attendant Bhikkhus to clarify any doubts or questions they had. They had none. According to Buddhist scriptures, he then finally entered Parinirvana. The Buddha's final words are reported to have been: "All composite things (Saṅkhāra) are perishable. Strive for your own liberation with diligence" (Pali: 'vayadhammā saṅkhārā appamādena sampādethā'). His body was cremated and the relics were placed in monuments or stupas, some of which are believed to have survived until the present. For example, The Temple of the Tooth or "Dalada Maligawa" in Sri Lanka is the place where what some believe to be the relic of the right tooth of Buddha is kept at present.
According to the Pāli historical chronicles of Sri Lanka, the Dīpavaṃsa and Mahāvaṃsa, the coronation of Emperor Aśoka (Pāli: Asoka) is 218 years after the death of the Buddha. According to two textual records in Chinese (十八部論 and 部執異論), the coronation of Emperor Aśoka is 116 years after the death of the Buddha. Therefore, the time of Buddha's passing is either 486 BCE according to Theravāda record or 383 BCE according to Mahayana record. However, the actual date traditionally accepted as the date of the Buddha's death in Theravāda countries is 544 or 545 BCE, because the reign of Emperor Aśoka was traditionally reckoned to be about 60 years earlier than current estimates. In Burmese Buddhist tradition, the date of the Buddha's death is 13 May 544 BCE. whereas in Thai tradition it is 11 March 545 BCE.
At his death, the Buddha is famously believed to have told his disciples to follow no leader. Mahakasyapa was chosen by the sangha to be the chairman of the First Buddhist Council, with the two chief disciples Maudgalyayana and Sariputta having died before the Buddha.
While in the Buddha's days he was addressed by the very respected titles Buddha, Shākyamuni, Shākyasimha, Bhante and Bho, he was known after his parinirvana as Arihant, Bhagavā/Bhagavat/Bhagwān, Mahāvira, Jina/Jinendra, Sāstr, Sugata, and most popularly in scriptures as Tathāgata.
BUDDHA AND VEDAS
Buddha's teachings deny the authority of the Vedas and consequently [at least atheistic] Buddhism is generally viewed as a nāstika school (heterodox, literally "It is not so") from the perspective of orthodox Hinduism.
RELICS
After his death, Buddha's cremation relics were divided amongst 8 royal families and his disciples; centuries later they would be enshrined by King Ashoka into 84,000 stupas. Many supernatural legends surround the history of alleged relics as they accompanied the spread of Buddhism and gave legitimacy to rulers.
PHYSICAL CHARACTERISTICS
An extensive and colorful physical description of the Buddha has been laid down in scriptures. A kshatriya by birth, he had military training in his upbringing, and by Shakyan tradition was required to pass tests to demonstrate his worthiness as a warrior in order to marry. He had a strong enough body to be noticed by one of the kings and was asked to join his army as a general. He is also believed by Buddhists to have "the 32 Signs of the Great Man".
The Brahmin Sonadanda described him as "handsome, good-looking, and pleasing to the eye, with a most beautiful complexion. He has a godlike form and countenance, he is by no means unattractive." (D, I:115)
"It is wonderful, truly marvellous, how serene is the good Gotama's appearance, how clear and radiant his complexion, just as the golden jujube in autumn is clear and radiant, just as a palm-tree fruit just loosened from the stalk is clear and radiant, just as an adornment of red gold wrought in a crucible by a skilled goldsmith, deftly beaten and laid on a yellow-cloth shines, blazes and glitters, even so, the good Gotama's senses are calmed, his complexion is clear and radiant." (A, I:181)
A disciple named Vakkali, who later became an arahant, was so obsessed by the Buddha's physical presence that the Buddha is said to have felt impelled to tell him to desist, and to have reminded him that he should know the Buddha through the Dhamma and not through physical appearances.
Although there are no extant representations of the Buddha in human form until around the 1st century CE (see Buddhist art), descriptions of the physical characteristics of fully enlightened buddhas are attributed to the Buddha in the Digha Nikaya's Lakkhaṇa Sutta (D, I:142). In addition, the Buddha's physical appearance is described by Yasodhara to their son Rahula upon the Buddha's first post-Enlightenment return to his former princely palace in the non-canonical Pali devotional hymn, Narasīha Gāthā ("The Lion of Men").
Among the 32 main characteristics it is mentioned that Buddha has blue eyes.
NINE VIRTUES
Recollection of nine virtues attributed to the Buddha is a common Buddhist meditation and devotional practice called Buddhānusmṛti. The nine virtues are also among the 40 Buddhist meditation subjects. The nine virtues of the Buddha appear throughout the Tipitaka, and include:
- Buddho – Awakened
- Sammasambuddho – Perfectly self-awakened
- Vijja-carana-sampano – Endowed with higher knowledge and ideal conduct.
- Sugato – Well-gone or Well-spoken.
- Lokavidu – Wise in the knowledge of the many worlds.
- Anuttaro Purisa-damma-sarathi – Unexcelled trainer of untrained people.
- Satthadeva-Manussanam – Teacher of gods and humans.
- Bhagavathi – The Blessed one
- Araham – Worthy of homage. An Arahant is "one with taints destroyed, who has lived the holy life, done what had to be done, laid down the burden, reached the true goal, destroyed the fetters of being, and is completely liberated through final knowledge."
TEACHINGS
TRACING THE OLDEST TEACHINGS
Information of the oldest teachings may be obtained by analysis of the oldest texts. One method to obtain information on the oldest core of Buddhism is to compare the oldest extant versions of the Theravadin Pali Canon and other texts. The reliability of these sources, and the possibility to draw out a core of oldest teachings, is a matter of dispute. According to Vetter, inconsistencies remain, and other methods must be applied to resolve those inconsistencies.
According to Schmithausen, three positions held by scholars of Buddhism can be distinguished:
"Stress on the fundamental homogeneity and substantial authenticity of at least a considerable part of the Nikayic materials;"
"Scepticism with regard to the possibility of retrieving the doctrine of earliest Buddhism;"
"Cautious optimism in this respect."
DHYANA AND INSIGHT
A core problem in the study of early Buddhism is the relation between dhyana and insight. Schmithausen, in his often-cited article On some Aspects of Descriptions or Theories of 'Liberating Insight' and 'Enlightenment' in Early Buddhism notes that the mention of the four noble truths as constituting "liberating insight", which is attained after mastering the Rupa Jhanas, is a later addition to texts such as Majjhima Nikaya 36
CORE TEACHINGS
According to Tilmann Vetter, the core of earliest Buddhism is the practice of dhyāna. Bronkhorst agrees that dhyana was a Buddhist invention, whereas Norman notes that "the Buddha's way to release [...] was by means of meditative practices." Discriminating insight into transiency as a separate path to liberation was a later development.
According to the Mahāsaccakasutta, from the fourth jhana the Buddha gained bodhi. Yet, it is not clear what he was awakened to. "Liberating insight" is a later addition to this text, and reflects a later development and understanding in early Buddhism. The mentioning of the four truths as constituting "liberating insight" introduces a logical problem, since the four truths depict a linear path of practice, the knowledge of which is in itself not depicted as being liberating:
[T]hey do not teach that one is released by knowing the four noble truths, but by practicing the fourth noble truth, the eightfold path, which culminates in right samadhi.
Although "Nibbāna" (Sanskrit: Nirvāna) is the common term for the desired goal of this practice, many other terms can be found throughout the Nikayas, which are not specified.
According to Vetter, the description of the Buddhist path may initially have been as simple as the term "the middle way". In time, this short description was elaborated, resulting in the description of the eightfold path.
According to both Bronkhorst and Anderson, the four truths became a substitution for prajna, or "liberating insight", in the suttas in those texts where "liberating insight" was preceded by the four jhanas. According to Bronkhorst, the four truths may not have been formulated in earliest Buddhism, and did not serve in earliest Buddhism as a description of "liberating insight". Gotama's teachings may have been personal, "adjusted to the need of each person."
The three marks of existence may reflect Upanishadic or other influences. K.R. Norman supposes that these terms were already in use at the Buddha's time, and were familiar to his listeners.
The Brahma-vihara was in origin probably a brahmanic term; but its usage may have been common to the Sramana traditions.
LATER DEVELOPMENTS
In time, "liberating insight" became an essential feature of the Buddhist tradition. The following teachings, which are commonly seen as essential to Buddhism, are later formulations which form part of the explanatory framework of this "liberating insight":
- The Four Noble Truths: that suffering is an ingrained part of existence; that the origin of suffering is craving for sensuality, acquisition of identity, and fear of annihilation; that suffering can be ended; and that following the Noble Eightfold Path is the means to accomplish this;
- The Noble Eightfold Path: right view, right intention, right speech, right action, right livelihood, right effort, right mindfulness, and right concentration;
- Dependent origination: the mind creates suffering as a natural product of a complex process.
OTHER RELIGIONS
Some Hindus regard Gautama as the 9th avatar of Vishnu. The Buddha is also regarded as a prophet by the Ahmadiyya Muslims and a Manifestation of God in the Bahá'í Faith. Some early Chinese Taoist-Buddhists thought the Buddha to be a reincarnation of Lao Tzu.
The Christian Saint Josaphat is based on the Buddha. The name comes from the Sanskrit Bodhisattva via Arabic Būdhasaf and Georgian Iodasaph. The only story in which St. Josaphat appears, Barlaam and Josaphat, is based on the life of the Buddha. Josaphat was included in earlier editions of the Roman Martyrology (feast day 27 November) — though not in the Roman Missal — and in the Eastern Orthodox Church liturgical calendar (26 August).
Disciples of the Cao Đài religion worship the Buddha as a major religious teacher. His image can be found in both their Holy See and on the home altar. He is revealed during communication with Divine Beings as son of their Supreme Being (God the Father) together with other major religious teachers and founders like Jesus, Laozi, and Confucius.
In the ancient Gnostic sect of Manichaeism the Buddha is listed among the prophets who preached the word of God before Mani.
WIKIPEDIA
. . . the “dialectic of moss on stone”
The rocks are beyond slow, beyond strong, and yet yielding to a soft green breath as powerful as a glacier, the mosses wearing away their surfaces, grain by grain bringing them slowly back to sand. There is an ancient conversation going on between mosses and rocks, poetry to be sure. About light and shadow and the drift of continents. This is what has been called the "dialectic of moss on stone - an interface of immensity and minuteness, of past and present, softness and hardness, stillness and vibrancy, yin and yang." The material and the spiritual live together here.
Moss communities may be a mystery to scientists, but they are known to one another. Intimate partners, the mosses know the contours of the rocks. They remember the route of rainwater down a crevice, the way I remember the path to my cabin. Standing inside the circle, I know that mosses have their own names, which were theirs long before Linnaeus, the Latinized namer of plants.
Time passes