View allAll Photos Tagged Knowledge
HDR of the knowledge center, the library of Masdar Institute in Masdar City, Abu Dhabi, UAE.
Canon 7D + Sigma 8-16
Dead Sea scrolls at the Getty Villa
linen used to wrap the body in preparation for the journey to the other side.
At least I think those are the ones that grow new towers.
The model is a custom Nui Stone made by KingK
Publication:
[ca. 1945]
Language(s):
English
Format:
Still image
Subject(s):
Libraries, Medical
National Library of Medicine (U.S.)
Genre(s):
Photographs
Abstract:
The Army Medical Library as the tree of medical knowledge, with branches representing the major fields collected by the Library. The Army Medical Library is located on the National Mall, in between the Capitol and the Washington Monument.
Related Title(s):
Hidden treasure
Extent:
1 photographic print : 21 x 26 cm.
Technique:
black and white
NLM Unique ID:
101594512
NLM Image ID:
A032989
Permanent Link:
resource.nlm.nih.gov/101594512
NLM Hidden treasure p. 6-7
This shot in my college.
Portfolio flic.kr/s/aHsk7LUokY
Facebook fb.com/tatsuya.ouchi.5
Linkedin www.linkedin.com/in/tatsuyaouchi
Instagram instagram.com/tatsuya_ouchi/
500px 500px.com/tatsuyaouchi
I have a great experience for pre production. Since I came in LA, I have been working as a Camera Operator, Camera assistant, Key Grip and G/E for more than 60 shooting production. The reason why a lots of production call me on set is I could communicate with my team, then could find out the solution in limited time and has a patient for that. Also I have a knowledge for Final Cut Pro 7 and Premiere Pro. Which is involving principle color grading and data management skill. In addition, I can do photo shooting and editing. One of the thing is my photograph had shown on the Louvre Museum Digital display. Therefore, I would say I am a multi skilled worker.
Experience
・ARRI FLEX 16ST, 16SR, 16SR2, 16SR3, ALEXA
・CANON XH-A1, CANON EOS 60D, 7D, 5D Mark Ⅱ
・PANASONIC AJ-HDC27F, PANASONIC AG-AF105
・SONY F900, SONY FS700, SONY F3, SONY F5
・RED ONE, RED EPIC
・Blackmagic Cinema Camera
Languages
Japanese(Native), English(Limited working proficiency)
A famous 504, you might have seen it on Dutch television. Now in for repairs, since the filmed driver isn't always gentle and the crew has no knowledge of maintenance.
The Thirty-Second Session Session of WIPO's Intergovernmental Committee on Intellectual Property and Genetic Resources, Traditional Knowledge and Folklore (IGC) took place in Geneva, Switzerland from November 28 to December 2, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Is it a sin to search for those things which you fear? My purpose in this world is knowledge, and the dissemination of it.
And it is I who is to restore the fruits of my labor to the entire world.
Fear... It is something vital to us puny creatures. The instant man stop fearing is the instant the species reaches a dead end, only to sink to pitable lows, only to sit and wait apathetically for extinction.
Humans who lose the ability to think become creatures whose existence has no value. Wake Up! Don't be afraid of knowledge!
Think, you humans who are split into two worlds, unless you want the gulf between humans to expand into oblivion, you must Think!
The Dhammakaya is the body of enlightenment of the Lord Buddha and “vijja” is the true knowledge; together, “vijja Dhammakaya” means the true and supreme knowledge illuminated by the Dhammakaya vision. This knowledge is the core principle of Buddhism that will lead to extinguishing of suffering and attainment of the state of supreme bliss known is Nibbana. for Ceremony, at Wat Phra Dhammakaya, Pathum Thani, read more at www.dhammakaya.net/blog/2013/09/18/96-Years-of-Dhammakaya...
Publication history
Marvel Comics' first Black Knight, Sir Percy of Scandia, first appeared in the medieval-adventure series Black Knight #1–5 (cover-dated May 1955–April 1956) from Atlas Comics, the 1950s precursor to Marvel Comics.
Sir Percy's descendant, Professor Nathan Garrett, debuted as the modern-day supervillain Black Knight in Tales to Astonish #52 (Feb. 1964). This villainous Black Knight appeared in The Avengers #6, #14–15 (July 1964, March–April 1965), and in the feature "Iron Man" in Tales of Suspense #73 (Jan. 1966), in which he was mortally wounded.
Dane Whitman, Garrett's nephew, made his first appearance in The Avengers #47 (Dec. 1967) and became a heroic version of the Black Knight in the subsequent issue. Whitman sporadically appeared with the Avengers until becoming a core member, regularly appearing in #252–300 (1985–1989) and #329–375 (1991–1994).
Dane Whitman
Dane Whitman, known as the Black Knight, embodies a legacy steeped in honor, chivalry, and a complex relationship with a cursed legacy.
Stemming from a long line of knights, Dane grapples with the burden of a dark family history intertwined with the mystical Ebony Blade, a weapon passed down through generations.
He is a descendant of Sir Percy of Scandia, Dane took on the mantle of the Black Knight to redeem his family's name tainted by his villainous uncle, Nathan Garrett.
As the Black Knight Dane relied on his intellect, combat skills, and the mystical powers of the Ebony Blade to battle evil and safeguard the world.
His journey as the Black Knight sees him navigating a world filled with both medieval lore and contemporary challenges.
Dane has often found himself entangled in epic conflicts, confronting magical threats, and forming alliances with various superheroes across the world.
Throughout his tenure, Dane has experienced personal turmoil, struggling with the temptations and consequences of wielding the Ebony Blade, which at times has led him down a darker path. He constantly seeks to balance the noble intentions behind his heroism with the potential corruption posed by the cursed weapon.
Dane's connections within the superhero community have expanded, fostering alliances with groups like the Avengers and relationships with individuals such as Sersi and Captain Britain.
Despite grappling with personal demons and the weight of his legacy, Dane Whitman's commitment to honor, bravery, and heroism remains a defining aspect of his character as the Black Knight.
History
Early Life
As a young man, Dane Whitman fell in love with Ashima Chopra, who developed terminal cancer. Dane planned to visit her in the hospital and propose, but lost his nerve and fell out of touch. Refusing treatment, Ashima died within a year, after secretly giving birth to a baby girl, Jackie.
Becoming the Black Knight
As an adult, Dane inherited his uncle Nathan Garrett's castle. He was unaware that his uncle had been the villainous Black Knight until finding notes and inventions. Eventually he came upon the Ebony Blade. Passing its test, Sir Percival explained the history of the blade and its curse.
Taking the weapon Dane decided to be a hero, joining the Masters of Evil just as his uncle did, but with the intent of infiltrating them from within. This he did to aid the Avengers, but they did not trust him until he later assisted them against Kang the Conqueror.
Crusades and Otherworld
Dane later fought alongside the Defenders against the Enchantress, but was apparently turned to stone by her. The Valkyrie took possession of the Knight's Ebony Blade and his winged horse, Aragorn, and Dr. Strange took custody of his petrified form.
The Defenders later attempted to restore him using the Evil Eye of Avalon. They discovered, however, that Whitman's spirit had been transported back in time to the 12th Century where it now inhabited the body of his own ancestor, Eobar Garrington.
Whitman declined to return to the present day with the Defenders, and Valkyrie returned his sword to him; Whitman allowed her to keep the horse.
Later, however, he was equipped with a new flying horse named Valinor and transported (still in Garrington's body) to the present day by the mage Merlyn, to carry out a special mission.
Sent to find the amnesiac hero Captain Britain, Whitman then traveled with him to Otherworld to battle the evil Mordred and his master, the demonic Necromon, and save Camelot (at some point during the course of this quest, both heroes were briefly abducted by the Grandmaster to participate in his 'Contest of Champions').
After this mission was concluded, Whitman was returned to the 12th Century, though he did briefly travel forward again to attend Merlyn's funeral.
Back in the past, he protected the mystical island of Avalon from the demonic Fomor, until Garrington's body was eventually destroyed during a battle involving the time-traveling Avengers. Whitman's spirit returned to his original body, which became flesh and blood again.
Avengers
Dane served several tours of duty with the Avengers. While a member, his scientific knowledge came to be useful, especially when such minds as Iron Man and Hank Pym were not on the roster.
He began his first extended membership with the team shortly after Vision stepped down as chairperson.
Dane participated in the siege on Avengers Mansion by the Masters of Evil (during which he was captured and beaten by Mister Hyde). Despite his injuries, Dane remained with the team after the membership shakeup that followed.
The curse of the Ebony Blade reasserted itself after the Avengers' associate member Marrina went insane and became the enormous Leviathan. Her husband Namor used the Ebony Blade to slay Marrina, reactivating the Knight's curse.
Dane began to physically transform into an extension of the blade, his body seizing up until he required an exoskeleton to move it.
After the Avengers disbanded, the Black Knight joined Thor in defense of Asgard from the invasion of the Egyptian Death God known as Seth, but his curse finally took hold and the Knight was trapped as an inanimate statue once again.
Returned to his ancestral castle, Dane's statue was tended to by Victoria Bentley. She attempted a spell to restore him to life, but inadvertently summoned the spirit of the original Black Knight, Sir Percy of Scandia, in his place.
After a series of adventures, Sir Percy abdicated Dane's body, taking the Ebony Blade's curse with him and restoring Whitman to his own body. Sir Percy had taken a squire named Sean Dolan, who Dane kept as his own.
The Black Knight returned to the Avengers after this, first as a reserve substitute, and later as a full member.
The curse of the Ebony Blade became too dangerous, and Dane eventually abandoned it choosing to use a technological weapon instead.
He was involved in Operation Galactic Storm, during which he was part of Captain America's team, sent to the Kree Empire. At the end of that mission, Dane was among the Avengers who followed Iron Man to execute the Kree Supreme Intelligence, and was, in fact, the one who struck the mortal blow.
While Dane would be away with the Avengers, Victoria Bentley retained ownership of the castle so he would not lose it. She could easily watch over the property as it neighbored hers.
However, Dane's former squire became possessed by the Ebony Blade and turned into the Bloodwraith. The Bloodwraith accidentally killed Victoria during a duel between the Bloodwraith, Dane, and Deadpool.
At this time, Dane also found himself in a love triangle with Crystal and Sersi. At first, he pursued a relationship with Sersi, as Crystal and her estranged husband, Pietro, attempted to reconcile, even becoming Sersi's "Gann Josin", establishing a powerful psychic link which was meant to help Sersi maintain control in troubled times.
Still, after Crystal and Pietro relationship seemingly reached the point of no return, he confessed his feelings for Crystal and the two kissed. However, Luna's kidnapping brought Pietro and Crystal closer again, so, after Proctor (an evil alternate version of Dane) was finally defeated, Sersi felt she was too dangerous and had to exile herself, and Dane went along with her, leaving Crystal behind.
Ultraverse
The two eventually ended up in the Ultraverse. Dane became a member of the local heroes known as UltraForce.
During a reality-shredding event known as Black September, the Avengers and UltraForce joined forces against Loki and the combined sentient power of the Infinity Gems. In the aftermath, Dane remained in the Ultraverse as the new leader of UltraForce.
After leading UltraForce for several months, Dane had the opportunity to return to Earth-616 after an alien invasion. He took the chance and passed through a portal leading back home.
At one point, Dane appeared in Crystal's mirror, telling her they needed help, but this was only witnessed by her daughter, Luna.
Exodus
While Dane was in the body of his ancestor Eobar Garrington during the Crusades, he met the knight Bennet du Paris, who became Exodus shortly after.
This explained why Dane felt Exodus was somehow familiar when they 'first' met in Genosha sometime earlier.
Heroes for Hire
Sersi was later able to transport herself and Dane back to the present. Their 'Gann Josin' had apparently been broken and they had gone their separate ways aside from acting as reservist Avengers. Dane joined Luke Cage's Heroes for Hire shortly after his return.
Not long after his return to Earth, the Lady of the Lake appeared to Dane, telling him he was destined to become Avalon's champion. She presented him with a new armor as well as the Shield of Night and the Sword of Light.
While working with Heroes for Hire Dane came across the High Evolutionary's Knights of Wundagore and agreed to train them. It was at this time that Dane acquired one of their "atomic steeds."
Excalibur and Avengers
Dane briefly joined an Excalibur team who helped Captain Britain to become the new monarch of Otherworld. For a time he served sporadically as a member of the Avengers and was present when they disbanded.
Later, Dane had returned to Garrett Castle and converted it into a museum. Dane suddenly switched bodies with the original Black Knight, Sir Percy of Scandia.
The investigating new Excalibur team found an ancient scroll in Percival's tomb showing the team as the saviors of Camelot.
Traveling back to the era of King Arthur, Whitman met Percy and helped his ancestor, King Arthur, and Merlin defeat the dragons plaguing the kingdom (revealing the "dragons" to be Makluans in the process) and returned to the present. After assisting Excalibur in tracking down Juggernaut in Korea and returning him to the team, Whitman left in search of his real Ebony Blade.
Secret Invasion
Recently returned to England, Whitman appeared to be wielding the original Blade again (actually a fake created by Dracula), using it to slaughter invading Skrulls during the Secret Invasion. Dane also was revealed to have a literal stone heart, given to him by Sersi to keep him "above it all" and uninvolved.
During the invasion, Dane made his way through London protecting innocents and in doing so saved the life of civilian doctor Faiza Hussain. Faiza fought alongside Dane against the Skrull army and their champion, Super-Skrull, until Dane was incapacitated and a newly resurrected Captain Britain came to their rescue.
While Captain Britain fought Super-Skrull, Faiza attempted to heal a dying Black Knight with her newfound abilities, and Dane - under the belief that he was on his deathbed - dubbed her his steward. Captain Britain was able to defeat the Super Skrull, Faiza healed Dane once magic returned to England and the Skrull Invasion in England came to an end; but not without revealing the new wielder of Excalibur to be Faiza.
Insanity and Euroforce
He slowly started to become insane because of the power of the Ebony Blade.
After encountering a fake Savage Steel robbing a bank, he brutally beat the criminal, even costing him an eye and leaving him in a coma.
After the Watcher's death and the release of the secrets buried in his eye, his attack on Savage Steel was revealed to Rebecca Stevens, a historian investigating the Blade who he previously met. She told him that the past users of the Blade had all fallen insane and offered help, but he refused. Later, he was recruited to lead the new Euroforce as a "temporal adjustment".
Journey on Weirdworld
Black Knight had fled to Weirdworld after killing Carnivore when losing control over the Ebony Blade as it increased in power.
There, he murdered King Zaltin Tar to establish New Avalon and built an army of Amazons, Demon Dogs, Giants, Ice Swarms, Thunder & Lightning Dragons, Tribbitites, and Underwater Apes with the help of Shield and Spear.
The army was formed in anticipation of the arrival of the Avengers Unity Division seeking to bring him to justice.
When the Avengers Unity Division arrived, they encountered Black Knight and his army, ultimately separating him from the Ebony Blade, so that he could be apprehended.
Later, commander Steve Rogers realized that the people of New Avalon relied upon Dane Whitman, and after defending the kingdom from the Fangs of the Serpent, Rebecca Stevens negotiated a compromise whereby Dane would remain in Weirdworld with her.
Hydra splinter groups started to form all over the world and several superhero teams were gathered to stop Hydra from going any further.
Meanwhile, Dane Whitman returned to Europe to help Euroforce battle Hydra, but he was apprehended alongside several teammates, remaining imprisoned until the Champions of Europe arrived and freed them.
On another occasion, Dane answered the call to join the Avengers battling the threat of the Empyre led Cotati.
Enter the Phoenix
When the cosmic force known as the Phoenix Force returned to Earth, it staged a contest to determine its next host, and Black Knight was one of many individuals summoned to the White Hot Room for it.
The Phoenix empowered the assembled champions and had them fight each other in trials by combat.
Dubbing himself the Phoenix Knight, Dane was pitted against the mysterious Red Widow in Stonehenge. However, Black Knight was quickly overpowered by his opponent and was defeated.
King in Black and Curse of the Ebony Blade
Depressed and resentful that the Avengers viewed him as a madman, Dane doubled down on his conviction that the Ebony Blade was responsible for his fits of rage.
When the dark god Knull assailed the Earth with his horde of symbiotes, Dane was among the Avengers-adjacent heroes contacted. En route to Manhattan he was attacked by a symbiote-dragon sent by Knull to claim the Ebony Blade, crash landing in Shanghai, China.
Losing his grip on the Ebony Blade, Dane encountering Aero and Swordmaster while searching for it, and was angered by their disdain towards him.
When Swordmaster refused to help save the civilians after learning the symbiotes were not minions of his nemesis, the dark god Chiyou, his divine weapon - the Sword of Fu Xi - forsook him for Dane.
Lapsing into a berserk state, Dane hacked a symbiote dragon to shreds, maniacally declaring that the Sword of Fu Xi belonged to him now.
As Swordmaster tried to take the divine sword back, one of the symbiotes latched onto them and connected them psychically to Knull, who revealed to Dane the truth of the Ebony Blade - that the sword's curse was not responsible for his family's history of mental instability and bloodlust, but it fed off their inner darkness and could only be wielded by a person consumed by evil.
Knull declared his intent to claim both the Ebony Blade and the Sword of Fu Xi for himself, manifesting an avatar in the shape of Chiyou to mock Swordmaster.
The Sword of Fu Xi rejected Dane as its wielder and returned to Swordmaster, leaving Dane devastated to learn his whole life had been a lie. Sensing his despair, the Ebony Blade returned to him, and Dane ultimately decided to channel his inner darkness to put a stop to Knull's invasion.
At some point around this time, Dane learned about the existence of his daughter, Jacks.
Deciding to approach the relationship slowly to "soften the blow", Dane reached out to her academically to discuss her thesis in Arthurian mythology.
Mordred, seeking to claim the Ebony items for himself, killed Dane and tried to take the sword before being chased away by the Avengers, and Dane was later resurrected by the Ebony Blade.
While Dane confronted Percy for the truth of the Ebony Blade, Elsa Bloodstone attacked him - having been tracking Mordred to obtain a Bloodstone in his possession.
Dane, Elsa, and Jacks tracked down the missing Ebony Chalice to the mystical realm of Listeneise, repelling Mordred when he attempted to claim the goblet and sword.
Drinking from the Chalice, Dane learned that Merlin had masterminded the downfall of Camelot, manipulating Arthur and Mordred, and had Percy assassinated in hopes of covering up Camelot's dark secret with the sanitized narratives that became Arthurian lore.
Informed of Mordred's plan to forge the Ebony Shield, Ebony Dagger, and Ebony Chalice into an Ebony Crown, Dane cast aside the Ebony Blade and let Mordred fatally wound him.
When Jacks took up the Ebony Blade, her connection to Dane was revealed and she used her rage to kill Mordred.
Resurrected by the Ebony Crown, Dane reforged it into the Ebon Siege - which gave dark portents to those who sat in it. Expecting Jacks to reject him as her father, Dane was shocked when she instead offered to lessen the burden of the Ebony Blade's curse by sharing the moniker of the Black Knight with him.
Abilities
Gifted Scientist: Whitman started out as a scientist, though specializing in physics (having earned a Master's degree in physics), he is proficient in a wide array of advanced sciences and technologies, including genetic and mechanical engineering; and continues to approach things from a scientific perspective more often than not, despite his ties to the world of magic.
Expert Swordsman: Whitman is an excellent swordsman whose skills have allowed him to best the Swordsman in combat.
Skilled Martial Artist: He is an excellent fighter, able to hold his own against such highly skilled fighters as Captain America and Wolverine.
Expert Horseman: He is also an expert horseman.
Magical Knowledge: Whitman has become somewhat familiar with magic.
Skilled Tactician & Strategist: He has also demonstrated good leadership skills as leader of both the Avengers and UltraForce. He has strong strategic and tactical skills.
Equipment
Dane wears protective armor, apparently of elven design. He also possesses a necklace that can contain his armor, sword, and shield and reappear whenever he says Avalon.
Brazier of Truth: Magical flame in Garrett Castle.
Weapons
Originally after taking up the mantle of Black Knight, Dane took to wielding his uncles Power Lance as a personal armament. Using it with the same expertise as its original creator did every now and then.
Dane currently wields the Ebony Blade as it has been gifted back to him by Storm.[60][43] In addition, he also owns a few replicas of the Ebony Blade that are stated to be nearly as powerful and just as dangerous.
He formerly used a Photon Sword and the Sword of Light and the Shield of Night, and for a time (while in the service of Merlyn) carried Excalibur after the temporary destruction of the Ebony Blade.
Transportation
Dane normally rides the white-winged horse, Strider, a gift from the Lady of the Lake. He formerly rode Valinor, whom he acquired while in the 12th century. While training the Knights of Wundagore, Dane used one of their 'atomic steeds.' His first white-winged horse was Aragorn, whom he gifted to Valkyrie.
While he used the Ebony Blade, Dane could be summoned to it regardless of location through the use of a ritual.
Notes
The Black Knight was one of the characters featured in Series A of the Marvel Value Stamps (#97)issued in the 1970s.
On the 50 state variant covers of U.S.Avengers #1, Black Knight was assigned as the Avenger of Ohio.
Trivia
Bloodwraith is his former Squire, Sean Dolan.
Dane Whitman was created by Roy Thomas, who was inspired by the original Black Knight.
Dane's telephone number in England was 01-552-8210.
⚡ Happy 🎯 Heroclix 💫 Friday! 👽
_____________________________
A year of the shows and performers of the Bijou Planks Theater.
Secret Identity: Dane Whitman
Publisher: Marvel
First appearance: The Avengers #47 (December 1967)
Created by: Roy Thomas (Writer)
John Buscema (Artist)
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
Knowledge once bestowed upon Aaron regarding picking up women lol. It always makes me laugh :) And Crescent, boy does he have some eyebrows! I love watching them form his expressions.
Museum Fünf Kontinente, Munich, Germany.
The Sican (also Sicán) culture is the name that archaeologist Izumi Shimada gave to the culture that inhabited what is now the north coast of Peru between about 750 and 1375. According to Shimada, Sican means "temple of the Moon".[1]
The Sican culture is also referred to as Lambayeque culture, after the name of the region in Peru. It succeeded the Moche culture.
There is still controversy among archeologists and anthropologists over whether the two are separate cultures.
The Sican culture is divided into three major periods based on cultural changes as evidenced in archeological artifacts.[2]
Archaeologist Izumi Shimada, founder of the Sican Archaeological Project, named the prehistoric culture which he discovered in northwestern Peru. They succeeded the Moche and preceded the Inca Empire, the historical civilization that encountered the Spanish explorers and conquistadors.
The Sican inhabited a coastal territory near the La Leche and Lambayeque Rivers. The archaeological sites span the Lambayeque region, including the Motupe, La Leche, Lambayeque, and Zaña valleys, near modern-day Chiclayo.[2] Numerous sites have been identified in the Batán Grande area of the La Leche Valley.
The climate of the area during Sican occupation was similar to the current climate, despite changes in landscape accumulated in the last 600 years. The drought-and-flood cycles seen in the region for the past 1500 years did not spare the Sican culture. (Goldstein and Shimada 2007, p. 49)
The Early Sican period began around 750 and lasted until 900. The lack of artifacts has limited the development of knowledge about this early period.
The Sican were probably descendants of the Moche culture, which fell around 800. Their works shows shared motifs in the artifacts recovered.[3]
Similar groups include Cajamarca, Wari and Pachacamac. From remains found in the archaeological locations, researchers have determined that this culture maintained commercial exchange with people from present-day Ecuador (shells and snails), Colombia to the north (emeralds and amber), Chile to the south (blue stone), and the eastern basin of the Marañón River (seeds of gold).
The Lambayeque culture may have been a separate trading people as well.
Around 800, the Sican created the city of Poma, located at Batán Grande, in La Leche Valley. Few other Early Sican sites have been discovered.
The Early Sican culture is known for the highly polished, black-finish ceramics found in the La Leche Valley. This black-finish ceramic style began in the Moche culture prior to the Early Sican, and shows the sharing of cultures in the region.
Much of the ceramics were examples of a single spout, loop-handle bottle, featuring an anthropomorphic-avian (bird) face at the spout base. The face consisted of bulging eyes, a hooked beak or triangular projection instead of a nose, stylized ears, and no mouth.
It appeared to be a predecessor to the related faces of the Sican Deity and the Sican Lord of the Middle Sican culture. (Shimada 2000, p. 51)
Aside from the shared ceramic styles, much of the Early Sican defines a distinguishable culture. While the ceramic styles and iconography show some continuity with previous cultures, the combination of all the influences is Sican.
The changing ceramic styles, iconography, and funerary practices reflect a change in religious ideology and cosmology that expressed the Sican culture. Most importantly, the late Early Sican period saw the accumulation of these changes in art style and iconography, coupled with other changes in organization, by which the Sican constructed monumental adobe structures, developed large-scale copper alloy smelting and metalworking, and developed the elaborate funerary tradition that would come to characterize the Middle Sican (Shimada 1985, p. 361).
Such changes have been seen by researchers at sites in Batán Grande, including the Huaca del Pueblo site, dated to around 850-900.
The Middle Sican period lasted from 900 to 1100 . This is the period of the Sican's “cultural florescence,” and is marked by the emergence of various cultural innovations, some of which were unprecedented in the local area.[3]
The decline of the Wari Empire and the Middle Cajamarca polity enabled the resurgence in local political and religious identity and autonomy.[3]
The Middle Sican culture is marked by distinctive characteristics in six areas: art and ideology, crafts and technology, funerary customs, long-distance trade, religious cities and monumental temples, and the structure and authority of the state (Shimada 2000, p. 52-61; Shimada 1985, p. 365-369).
Together, these characteristics provide evidence that the Sicán culture had a highly productive economy, clear social differentiation, and an influential religious ideology. The religious ideology was the underpinning of the structure of their theocratic state.[3]
Sicán art is representational in style and religious in nature. Features such as sculptural representation and the minimization of number of colors (one to three), were common among the art of many earlier cultures that flourished on the north coast of Peru.[3] Sicán art reconfigured the motifs, conventions, and concepts of these antecedent cultures (mainly the Wari and Moche) into an overall new and unique style. The references to the old ideas, images and ways of antecedent cultures in Sicán art would have been useful in providing prestige and legitimacy to the new Sicán religion which was emerging.[3]
Sicán iconography is dominated by the Sican Deity[4][5] It decorates all artistic media of the Sicán, including ceramics, metal works, and textiles.[3] The icon is most commonly represented with a mask face and upturned eyes.[2]
Sometimes it may be shown with avian features, such as beaks, wings, and talons, which are evident in Early Sicán ceramics.[3]
These avian features are related to Naylamp, the key figure in Sicán mythology. The name "Naylamp" was first mentioned by the Spanish chronicler Miguel Cabello Valboa, who referred to the Moche figure "Naymlap" in his 1586 Miscelánea Antártica.
Later authors believe the form is Mochica Ñañlap, of which the first part is ñañ "waterfowl"; a connexion has been made between the Moche and Chimú cultures and the empire of Chimor and the Mochica language.
Sican gold cup, 850-1050
Naylamp was said to be the founder of the first dynasty of prehistoric kings in La Leche and Lambayeque valleys. In The Legend of Naylamp, first recorded in the 16th century by the Spanish chronicler Miguel Cabello de Balboa, Naylamp is said to have traveled on a balsa raft by sea to the Lambayeque shores. He founded a large city, and the 12 sons of his eldest son each founded a new city in the Lambayeque region.
When Naylamp died, he sprouted wings and flew off to another world (Nickle Arts Museum 2006, p. 18 and 65).
Middle Sicán art did not change the concept or representation of the icon of the Sicán Deity. Both the preceding Moche and Wari cultures feature a single dominant male figure, and the upturned eyes characteristic of the Sicán Deity are common to the art and iconography of other Pre-Hispanic societies.
The iconography accompanying the Sicán Deity was unique and significant (Nickle Arts Museum 2006, p. 66).
Iconography of the moon and the ocean may symbolize the Sicán Deity's involvement in the wellbeing of marine life and fishermen. Iconography related to water signifies the importance of irrigation and agriculture to the Sicán.
Other iconography, such as of the sun and moon, symbolizes the importance of duality in both human and celestial life.
Depictions of the Sicán Deity with tumi knives and trophy heads may indicate his omnipotent control in both human life and the celestial world (Nickle Arts Museum 2006, p. 66; Shimada 2000, p. 52-53). Through the iconography which the Sicán associated with the icon, anthropologists theorize that the Sicán Deity may have been attributed with power to control all of the celestial forces fundamental to life and abundance (Shimada 2000, p. 53).
The lack of representation of humans in Middle Sicán art emphasizes the omnipresence of the Sicán Deity in Sicán iconography.
The only exceptions are representations of the Sicán Lord, the male elite personage, and his entourage. (Shimada 2000, p. 53)
Iconography of the Sicán Lord is almost identical to the Sicán Deity, except that he is shown in natural settings and does not have avian features.[2][5] The Sicán Lord was probably meant to represent an earthly alter-ego of the
The population of Batán Grande included many skilled artisans. Craft production during the Middle Sican flourished and became one of the leading characteristics of the period.
The highly polished black finish ceramics from the Early Sican bloomed in this later phase, along with metallurgy; however, the ceramic technology used in the Middle Sican developed over 2500 years from local pottery production techniques (Shimada and Wagner 2001, p. 26).
Workshops, such as the one found at Huaca Sialupe to the west of Batán Grande, likely had both pottery and metalworking production sites (Goldsmith and Shimada 2007, p. 45).
Ceramics allowed for a medium to convey political and religious ideology in the forms of storage vessels, architectural ornaments, cooking vessels, sculptures of the Deity or animals, and other types proliferated during this period.[2][5]
The potters likely worked separately from one another, rather than in assembly-line type production. Huaca Sialupe excavations produced clusters of similar kilns using local hardwood for charcoal.
Field experiments indicated that the kilns were used either for ceramics or metallurgy (Shimada and Wagner 2001, p. 28).
The Paleteada ceramics used the paddle-and-anvil technique to form and decorate pottery, primarily with geometric designs (Cleland and Shimada 1998, p. 112).
The monochrome black pottery became widely popular across the region during the Middle Sican as the Sican themselves began to emphasize the black pottery, with the help of the Middle Sican religious prestige.
Only the geometric designs continued on the pottery into the Late Sican.[2]
Metallurgy is one of the Sican's greatest legacies, lasting nearly 600 years at Batán Grande (Shimada and Merkel 1991, p. 83). Some Middle Sican workshops showed multicraft production and it is likely the crafts competed for resources, such as fuel for kilns.
Middle- and high-status burials both contained the black ceramics, while only the social elite had access to the precious metal object; therefore, metalworking probably was given production preference by the elites (Goldsmith and Shimada 2007, p. 47).
The greatness of Middle Sican metallurgy was the large scale smelting and diverse use of arsenical copper, which was more ductile and corrosion-resistant than pure copper.[2][5]
The great amounts of smelting and/or metalworking sites found in the Lambayeque region point to the convergence of major factors to allow such an occurrence: accessible ore deposits, extensive forests for hardwood to make charcoal, pottery making tradition using efficient kilns, gold working tradition that formed the basis for later metalworking technology, and a demand for goods by the elites (Shimada, Goldstein, Wagner, Bezur 2007, p. 339).
The large number of smelting sites also point to the amount of labor required by using their method. In modern standards, their copper-alloy smelting was inefficient, which could have led to the high number of workshops with multiple furnaces (Shimada and Merkel 1991, p. 85).
The precious metal objects found in Middle Sican sites reveal the unprecedented scale of their production and use.
Metal objects permeated all levels of society. Tumbaga, a thin sheet of low karat gold alloy, was used to wrap ceramic vessels for the lower elites, while the upper elites had high karat gold alloys.
Common laborers only had arsenical copper objects. The precious metal objects then clearly demonstrate a hierarchy within the society (Shimada 2000, p. 56).
No evidence of metalworking at the large sites has been uncovered, such as the Middle Sican capital Sican or elsewhere in the Batán Grande area, but the precious metal objects were clearly for the elites.
From their high status sites, the elites supervised the manufacturing of their precious metal objects for ritual or funerary purposes (Shimada and Merkel 1991, p. 86).
Excavations of religious sites have revealed much about the funerary practices of the Sicán people.
These funerary practices have helped anthropologists understand the broader organization and structure of Sicán society and religion.
Most of the evidence for these funerary practices has been based on excavations carried out at the Huaca Loro site in Poma by Izumi Shimada and the SAP.
First of all, the funerary practices at Huaca Loro reflect the social differentiation and hierarchy present Sicán society. This social stratification is revealed in varying burial types and practices, along with accompanying grave goods.
The most obvious difference in burial type based on social hierarchy was that commoners were buried in simple, shallow graves on the peripheries of the monumental mounds while the elite of Sicán society were buried in deep shaft tombs beneath monumental mounds, as shown in the East and West tombs at Huaca Loro.[5][6]
Secondly, it was found that one's social status was also a determinant of the burial position of the body; seated, extended, or flexed. For example, bodies of the High Elite were always buried in the seated position, while commoners could be buried in a seated, extended, or flexed position (Nickle Arts Museum 2006, p. 87; Shimada et al. 2004).
Furthermore, social differentiation is manifested even within the elite tombs at Huaca Loro, through the grouping and placement of bodies.
The complex internal organization of both East and West Tombs was designed according to specific social and kinship relationships (Shimada et al. 2004).
Recent studies that included the use of MtDNA (systematic mitochondrial DNA) analysis and inherited dental traits analysis revealed that women in the West Tomb were grouped according to their kinship ties to the principal personage and each other (Shimada et al. 2005; Shimada et al. 2004).
The grouping of women in the south part of the West Tomb were found to be maternally related to one another, as well as the principal personage; the grouping of women in the north part of the West Tomb were found to not only be unrelated to one another, but also unrelated to the principal personage.
Further, ceramics in the south part were found to be of typical Middle Sicán style, while the ceramics in the North part were of a Mochica style (Shimada et al. 2005; Shimada et al. 2004).
'
This evidence suggests that while the women of the South part of the West tomb were grouped and placed according to their kinship ties with the principal personage, the women of the North part of the West tomb had no kinship ties with the principal personage or each other therefore were placed and grouped according to some other distinct relationship to the principal personage.
This genetic evidence and along with the differing styles of ceramics suggests that the North-niche women of the West Tomb were perhaps descendants of a different ethnic group, the Moche, who had been integrated into Sicán society under political domination (Shimada et al. 2004).
While these relationships have not been proved definitively, it shows the great complexity itself of elite burial practices based on social differentiation.
Social stratification and hierarchy is also evidenced through the variation in quantity and quality of grave goods associated with those of different social status.
The elite East Tomb at Huaca Loro, contained over a ton of diverse grave goods, over two-thirds of which were objects of arsenical bronze, tumbaga (low-karat gold), silver and copper alloys, and high-karat gold alloys.[7][8]
Other grave goods of the elite included semi-precious stone objects, amber, feathers, textiles, imported shells (such as conus and spondylus), shell beads, and double spout bottles. (Nickle Arts Museum 2006, p. 87; Shimada 2000, p. 56; Bruhns 1994, p. 290)
On the other hand, commoner burials had a significantly less amount of grave goods of different types, made of less valuable materials.
For example, commoner grave goods at Huaca Loro were usually restricted to single-spout bottles, utilitarian plain and/or paddle decorated pottery, and copper-arsenic objects, instead of the precious metal objects of the elite tombs. (Nickle Arts Museum 2006, p. 87, Shimada et al. 2004)
The power of the elite of Sicán society is demonstrated not only by the amount, quality, and diversity of exotic and status goods accumulated in the tombs, but also by the amount of time and labor that would have gone into making and acquiring them. (Shimada 2000, p. 56)
All together, the construction of the monumental mound at Huaca Loro, the preparation of the East and West Tombs and performance of the associated rituals required careful and complex planning, and considerable material, labor resources and time, and suggests the elite's control and monopoly of power in society.[2]
Secondly, the funerary practices of the Sicán suggest the existence of an elite lineage that used the new Sicán religion to demonstrate and maintain their power (Shimada et al. 2004).
The Sicán elite used funerary practices as a way to symbolize their relationship to the divine. The sheer size and grandeur of the monumental mounds built above the elite tombs would have been awe-inspiring to Sicán citizens and a symbol the divine nature of the figures buried below. (Shimada et al. 2004)
Colorful murals with religious iconography decorated ceremonial precincts in the temples of the mounds, establishing the sanctity of the ritual space, and reaffirming this connection of the buried elite below to the divine. (Nickle Arts Museum 2006, Shimada et al. 2004)
Also, the principal personage of the East Tomb at Huaca Loro wears a mask identical to the Sicán Deity, which is another reference to his relationship to the Deity and the divine. (Shimada et al. 2004, p. 389)
The construction itself of these monumental mounds served as a reminder of the elite's power and endurance, and combined with the symbolic use of Sicán religious iconography to justify the divine merits of the elite lineage, was an attempt by the Sicán elite to “preserve the status quo of inherited rights.” (Shimada et al. 2004, p. 370)
The funerary rites and rituals performed by the living lineage members served to further reinforce their lineage identity and the three-way relationship between the divine, the dead, and the living elite. (Shimada et al. 2004, p. 389)
The variety of grave goods suggests the wide range of power of the Middle Sican elite.
They not only received the most grave offerings, but also the best quality and exotic offerings.
None of the metalworking sites showed evidence of on-site mining of any of the materials.
In addition, the spondylus shell, emeralds, feathers, and other minerals were imported to the area. Their materials came from mainly the northern Andes, such as Ecuador (from the Manteno and Milagro cultures), Peru, Colombia, but could have also reached as far south as the Tiwanaku empire in the south-central Andes and east to the Marañón River, a major tributary of the Amazon River.[2][5][9]
The Middle Sican trade networks appear to be unprecedented in range and goods involved, which helped to insure the spread of Sican religion and polity outside of the Lambayeque and La Leche valleys (Shimada 2000, p. 58).
They also could have controlled the transport methods in addition to the goods being traded. The breeding and herding of llamas on the North Coast since the time of the Moche could have been utilized by the Sican to provide the goods as well as a caravan of llamas to transport the goods considerable distances (Shimada 1985, p. 391).
The Sicán culture is characterized by the establishment of religious cities with monumental temples.[2][5]
The religious capital city and cultural center of the Middle Sicán is referenced as the Sicán Precinct. (Bruhns 1994, p. 293).
This T-shaped area is defined by monumental mounds of Huaca Loro, El Moscón, Las Ventanas, La Merced, and Abejas built between around AD 900 and 1050.[5][10] The pyramidal monumental mounds were used as both burials sites for the elite and places of worship and ritual.[2][10]
The construction of the monumental mounds required considerable material, labor resources and time, indicating the Sicán elite's control and monopoly over the society's resources and manpower.
They are a dramatic symbol of the power, wealth and permanence of the Middle Sicán elite and their theocratic state that dominated much of the north coast.[2]
Two types of mounds are found in the Lambayeque Valley dating to the Sicán. The first type is the T-shaped mound, which is a relatively low mound with a short, central ramp providing direct access to the top of the mound.
The second type is a relatively tall mound with steep sides and a zig-zagging ramp to provide circuitous access to the mound top. This second type also featured an enclosed structure at the top of the mound, likely for private rituals, whereas the first type of mound was likely for public rituals (Shimada 2000, p. 60; Shimada, Shinoda, Farnum, Corruccini, Watanabe 2004, p. 388).
The mounds also covered and protected the shafts of tombs of elites underneath.
The Sicán used a walled-chamber-and-fill technique (which first appeared on the North Coast during Moche V) for constructing the monumental mound where the walls were created by adobe bricks and mortar in conjunction with chambers of superimposed lattices filled with refuse and other readily available materials.[2][5][11]
Marks on the adobe bricks used to make the mounds are indications of the patrons donating materials and/or labor for the construction of the temples (Shimada 2000, p. 60).
This construction technique required “large-scale, unified construction with centrally pooled materials and labor force” (Shimada 2000 p. 60). It allowed for rapid erection of monumental buildings while minimizing labor and material investment and promoted the centralization of political and religious power in order to plan and complete these monumental mounds.[2][12]
Agriculture and canals
While the Sican ceramics and metallurgy are vastly studied, agriculture during the Middle to Late Sican may have been linked to their increasing craft production.
Shimada suggests that the canals at Pampa de Chaparri were developed by the Sican as part of an agro-industrial complex marked by an increase in mining and smelting operations, settlement growth, and the expansion of agriculture.[13] Along the canals, 39
Middle Sican sites and 76 Late Sican sites were identified; however, few sites were located in the irrigation fields.
This Sican occupation at the irrigation system points to its construction during the Middle Sican. The construction of this irrigation system, as well as the association of hierarchical social units and canal branches, coincides with the rapid and dramatic growth of the Middle Sican. Irrigation for agriculture was a necessity for the Sican elite to produce a surplus of food to feed artisans and laborers, who in turn support the elites.[14]
The Late Sican period began around 1100 and ended with the conquest of the Lambayeque region by the Chimú kingdom of Chimor circa 1375.
Around 1020, a major drought lasting 30 years occurred at Sican. At the time of the drought, the Sican Deity, so closely tied to the ocean and water in general, was at the center of Sican religion. The catastrophic changes in weather were thus linked to the Sican Deity, mainly to the failure of the Sican Deity to mediate nature for the Sican people.[15]
The Sican ceremonies (and temples/mounds on which they were performed) were supposed to ensure that there was an abundance of nature for the people.
The elites were the mediators between the common people and the Sican Deity, as the Sican Deity was the mediator between nature and the Sican people.[15]
After 30 years of uncertainty in respect to nature, the temples that were the center of Middle Sican religion and elite power were burned and abandoned between 1050 and 1100.
Perhaps the ancestor cult and aggrandizing of the elites caused too much resentment. Coupled with the drought that surely weakened agriculture in the area, the tolerance of the common population plummeted, forcing the removal of the political and religious leadership at Sican to save the people.[2]
There was little or no repair of the destruction of Sican, and further damage was inflicted by El Nino floods around 1100.
The burning and abandonment of the previous capital meant that a new capital needed to be built. Túcume or "el Purgatorio" was constructed as the new Late Sican capital at the juncture of the La Leche and Lambayeque Valleys.
Túcume became the new religious and ceremonial center of the Sican. The religious and iconographic legacies of the Middle Sican abruptly disappeared. It is at this juncture, when the Sican Deity and Sican Lord disappear from art, is when the Late Sican begins.
Other mythical depictions from the Middle Sican continued in the Late Sican and reflect the revitalization of the religion going back to tradition relationships with nature. Icons include felines, fish, and birds that were secondary to the Sican Deity during the previous era, but were also linked to previous cultures in the area.
Sican material culture, such as ceramics and metallurgy, unrelated to religion or politics did not suffer a severe change during the Middle Sican to Late Sican transition.[2][5][15][16]
Agriculture and irrigation were also not affected by the transition of political and religious power, as evidenced by the lack of effects on Pampa de Chaparri and numerous large urban hill-side settlements.[14][17]
Túcume took on the religious and ceremonial prestige as the site of Sican claimed during the Middle Sican. The mounds and temples from the Middle Sican were continued into the Late Sican since the idea of mounds were not associated with the fall of the Middle Sican, only those mounds in Batán Grande.
The same types of ceremonial and religious artifacts made from the same materials were found at Túcume.
The site grew enormously during its 250-year Late Sican occupation. By the time of the Chimú conquest of the Lambayeque region in 1375, there were 26 major mounds and enclosures.
The site is built on 220 hectares around the La Raya Mountain. Túcume is seen as the reorganization and reunification of the Sican elite and Sican population as a whole until the fall of the Sican to the Chimú.[17]
From page 2156 is a poem and a lovely illustration of a home with people sleeping inside. The little man ringing the bell is trying to wake the woman to make pies.
From the public domain book, The Book of Knowledge, The Children's Encyclopedia, Edited by Arthur Mee and Holland Thompson, Ph. D., Vol VII, Copyright 1912, The Grolier Society of New York. The original copyright for these books was 1899.
me as Patchouli Knowledge from Touhouvania (Koumajou Densetsu II)
photo by Catspassion
THIS PHOTO IS UNDER COPYRIGHT!
DO NOT USE WITHOUT PERMISSION!
Sharing just with FULL credit of cosplayer's and photographer's name and website link !!!!
HIDDEN KNOWLEDGE, Revealing the Hidden Nature of Human Being as a bridge in the Awakening of the Consciousness of the Universe is a knowledge that was hidden from the human race all through history.This blog is dedicated to the awakening of self-knowledge of the universe manifested in us that will reveal our hidden powers that can help the man to discover his true identity and to save THE EARTH and our civilization from self-annihilation. In acest site sunt evidentiate traditiile prin care omul redevine puntea prin care universul redevine constient de el insusi si isi descopera adevarata sa identitate de fiinta spirituala manifestata in corp material;acest proces de trezire a universului conduce la manifestarea puterilor divine ale omului care poate sa restabileasca armonia si sa repare matricea energetica si informationala a Terrei si a universului.The greatest of all religious teaching is inside you,in your Heart;You can discover your treasure using love and awareness to awake yourself.This process of awakening to our true identity is taking place in a state beyond duality known as mystic trance or samadhi(trance,that state of mind which remains with its object without distractions; superconscious state, ecstasy, meditative or concentrative absorption, union).The term trance is defined as an altered state of consciousness which individuals can enter through a variety of techniques, including hypnotism, drugs (aushadhi, potions, herbs, consecrated plants;see the Nahuatl– Maya’s traditions revealed by Carlos Castaneda or The Shamanic Traditions revealed by Dr. Andrija Puharich in “The Sacred Mushroom (pub. 1959),sound (particularly music ,percussive drumming-remember Mantras,(recitation of incantations,words of power, chanting,sacred chants, prayer, auto and hetero suggestions;see the King Arthur's instruction"in chant,spells and incantations" received from the druid Merlin etc.), sensory deprivation, physical hardships (eg. flagellation, starvation, exhaustion, tapas:intense desire, ascetic disciplines,purificatory acts ,austerities) and vigorous continuous rhythmic exercise (particularly dance).People can also use trance, particularly in the context of ‘ritual’ events, to learn new strategies of thinking or of relating to one another.There are different types of learning: for example what Eric Jantsch calls ‘conscious learning’ is a transaction between consciousness, the environment and memory. Jantsch also identifies ‘superconscious learning’, which takes place with the addition of ‘outer’ and ‘inner’ ways of learning. These arise through the interaction of consciousness with transpersonal mass/collective consciousness (eg. Jung’s "collective unconscious")There are other techniques which can be used for such ‘tuning in’, for example magical or shamanic practices such as visualisations, breathing techniques and ritual. Particular technologies can also be used to enhance such learning capacities, for example the ASCID (Altered States of Consciousness Induction Device) developed by Robert Masters and Jean Houston (1973). The modern electronic music dance party is one such ‘pscycho- technology’ because it is an information system, consisting of visual, auditory and sensual elements.Princeton
"In the grand tradition of generals and surrealists, we have been playing games. People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. Lately, we have been using games to critically examine the dynamics and assumptions of larger social givens.Our new game SET was inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, we have tried here to do just the opposite."
People learn things better through the open-ended, empathetic participation in knowledge-making that games allow. Just dispensing information to people-- though at times enlightening-- can also encourage apathy or forgetfulness. A project developed by Erik Carver and Marisa Jahn, SET is a game that critically examines the dynamics and assumptions of larger social givens. It's a game inspired by toy collectors, tourists, and museum curators. Throughout the game, players "play" by intervening and reorganizing existing groups of objects, thus questioning categories by constructing and redrawing them. In foregrounding the player's relation to the categories, SET explores the value of one's authorship in the production of knowledge. While games often risk normalizing power relationships by setting social roles and rules in stone, SET tries to do just the opposite.
--
Erik Carver
Erik Carver is an architect and artist. He is a founder of the Institute for Advanced Architecture (advancedarchitecture.org)-- an organization dedicated to advancing architecture through research, exchange, and exhibition-- as well as the Common Room exhibition space (common-room.net) and the interdisciplinary art group Seru. He lives in Brooklyn and teaches architecture at Rensselaer Polytechnic Institute.
Erik has worked for the firms of Diller+Scofidio, Laura Kurgan, and Lyn Rice before starting his own practice. These designs have included a student center renovation, an art museum, apartment renovations, a vacation home, exhibitions, a performance space/bar, an expo pavilion, schools, offices and an interpretation center.
His work has appeared in Volume magazine, Art in America, and Nature, and he has shown work and lectured at venues including Exit Art, the Ise Foundation, and Columbia's Neiman Gallery, and the Storefront for Art and Architecture (NYC), The Institute of Contemporary Art (Philadelphia), CAVS (MIT), Basekamp (Philadelphia), the Contemporary Art Center (North Adams, MA), and Pond (San Francisco).
Marisa Jahn
Of Ecuadorian and Chinese descent, Marisa Jahn is an artist whose work explores, constructs, and intervenes natural and social systems. In 2000, Jahn has co-founded Pond: art, activism, and ideas (www.mucketymuck.org), a non-profit organization dedicated to showcasing experimental art. Jahn has presented and exhibited work in museums, galleries, and spaces at venues such as The Institute of Contemporary Art (Philadelphia), the Asian Art Museum of San Francisco, Yerba Buena Center for the Arts (San Francisco), ISEA/Zero One 06/08 (San Jose, CA), MoKS (Estonia), the Moore Space (Miami), the Museum of Contemporary Art (North Miami), in galleries and public places in Tokyo, Honduras, Estonia, Turkey, North America, and Taiwan. Jahn's work has been reviewed in Art in America, Frieze, Punk Planet, Clamor, San Francisco Chronicle, the Fader, Artweek, Metropolis, the Discovery Channel, and Canadian Broadcasting Corporation (CBC). She has received awards and grants such as the Robert & Colleen Haas Scholarship, MIT Department of Architecture Fellowship (2005-8), CEC Artslink, and is an artist in residence at the MIT Media Lab (2007-9) and at the Headlands Center for the Arts (2008). She received her BA from UC Berkeley and an MS from MIT's Visual Arts Program. She lives between Boston and New York, where she functions as the Immediator of art-activist campaigns for The Church of Stop Shopping/Reverend Billy. www.marisajahn.com, www.mucketymuck.org