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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
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------------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]
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#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
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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
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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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
Seeing this image large for the first time ever fills me with anxiety and relief. It was a shallow relationship that ended because of no emotional depth. It was a hard period of life. Relief because I chose to end it in search of my own emotional wholeness, and pursuit of relational and emotional integrity. I think I chose wisely. But hard choices never feel good at the time. But painful doesn't mean bad, it most often time mean an opportunity for growth we would have never taken if the emotional stimulus wasn't there. I'll take the hard along with the growth. | shot on Fuji Reala film, Canon A2E, 2002; scanned in 2018 on Nikon CoolScan 4000.
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
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------------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
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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
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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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
Love doing this to my stories!
maybe this is how Flickr works...
I could spend hours documenting and linking to other images on this trip...
Flickr is the worlds most used relational database with hyperlinks everywhere amongst its 100 million members!
Just how huge is the scale? Monstrously huge. We have more than 100 million accounts. We store, render, and serve tens of billions of photos. Our storage footprint alone is hundreds of petabytes (that’s hundreds of millions of gigabytes). We have hundreds of databases. The list goes on - all the numbers are enormous. They’re so big that we’re often literally hitting the limits of physics, such as the speed of light and the rotational speed of disks, as we try to move faster.
Flickr is a very large platform built out of a number of smaller internal services. Together, those services deliver the Flickr experience you know and love. I’m happy to report that a number of services have already moved to our new infrastructure 100%, and more will finish in the next few weeks and months. Each time a service moves, the error rate drops dramatically and the performance jumps. Fewer Pandas are seen.
see www.flickr.com/help/forum/en-us/72157707090281734/
See more history here..
www.britannica.com/topic/Flickrcom
Flickr, photo-sharing Web site owned by SmugMug and headquartered in San Francisco, California.
Flickr is an ad-supported service, free to the general public, that allows users to upload digital photographs from their own computers and share them online with either private groups or the world at large. In the early 2000s it won a fast-growing contingent of enthusiasts on the strength of its many social-networking features, most significantly the ability for users to discuss photographs online.
The service began as a peripheral feature in an online electronic game being developed by the Canadian software company Ludicorp. Company founders (and spouses) Stewart Butterfield and Caterina Fake ultimately abandoned the game and debuted Flickr by itself in 2004. Its key early innovation was the use of “free tagging,” a feature that enabled users to associate metadata tags—searchable keywords—of their own devising with any photographs they viewed, thus creating a large network of associations and allowing users around the world to discover each other’s work. By developing an unregulated but expansive “folksonomy,” Flickr spared itself the prohibitive cost of centrally creating links and groupings.
In March 2005 Flickr was purchased by the Internet giant Yahoo! and relocated to California. Under the Yahoo! banner, Flickr became a dominant photo-sharing service, increasing its roster of registered users from 250,000 to more than 2,000,000 in less than a year. The site continued rolling out new features, including copyright management, an interactive map of photographed locations, and customizable print products. In June 2008 Butterfield and Fake left Yahoo!, and Flickr continued to expand. In July 2008 Getty Images, one of the world’s largest photographic agencies, announced a plan to begin inviting selected Flickr members to participate in one of its commercial photo groups. Flickr was supplanted as the dominant photo-sharing service by social media companies such as Facebook and Instagram, and it also faced competition from other services that offered inexpensive online data storage. In 2017 the American telecommunications company Verizon Communications acquired Yahoo! and reorganized it into a subsidiary, Oath, and the next year SmugMug acquired Flickr from Oath.
All the Hard Quiz tags and names moved to the comment below.. 07-09-24
Limiting discipline to behavioral modification by a system of rewards and punishments may be effective in the short term, but may well lead to rebellion in the end. Children are not laboratory rats that can be conditioned by stimuli to behave in a certain way – they are precious and unique creatures of God, who has vested them with personal worth and dignity. If we respect and embrace this larger relational context, we stand a much better chance of reaping a relationship with our child that continues far beyond the childhood and growing-up years. - Andrea Kostenberger
Info for Organetto in circolo class wa +339 3356769559
You can ask a workshop in your city about:
• the training contexts in which one works through music;
• to private associations or organizations that promote inclusion and happiness through music;
• the contexts in which the conflict is dealt with and its repair;
• to parents who wish to acquire an artistic language in educational background;
• companies for relational training;
• to the elderly for motor activities.
Organetto in circle 3th Edition 2016
by Viola Buzzi
Carmen Winant
United States (1983)
Arrangements
Carmen Winant’s artwork involves diligently collecting images and experimenting with collage techniques which she then uses to investigate the dynamics of ‘feminist survival and revolt’. With her innovative Arrangements project, the Laureate of the Images Vevey Book Award 2021/2022 rearranged entire pages taken from magazines or artists’ books. Drawing from a collection of over 2000 pages, she assembled them in pairs according to a shared topic or form, or at random. Carmen Winant reveals their content in a surprising way, with new editorial purposes in mind. Placed side by side, these torn pages shape new relational narratives.
“Science Has Disproved God”
The following essay from Vince Vitale is an excerpt from his newly released Jesus Among Secular Gods, coauthored with Ravi Zacharias.
The first time I met people who encouraged me to consider God, I was in college. I began by reading the gospels, and I found myself attracted to the Christian message. I found myself especially attracted to the person of Jesus and the beautiful life that he lived. But, to be honest, I assumed that belief in God was for people who didn’t think hard enough. I assumed that smart people somewhere had already disproved belief in God. More specifically, I assumed that there was some purely scientific way of understanding the world, and that miracles had no part in it.
I can remember picking up a book in a university bookshop around that time and reading the back cover, which summarized the book as an attempt to hold on to a form of Christianity while explaining away all the supposed miracles of Jesus in scientific terms. And I remember hoping it could be done, because I was longing for the person of Jesus, but I thought the traditional account of Christianity was just too extraordinary to believe.
I had this assumption that the burden of proof for belief in God must be higher, because God is such an extraordinary option. Richard Dawkins puts it this way:
“If you want to believe in…unicorns, or tooth fairies, Thor or Yahweh—the onus is on you to say why you believe in it. The onus is not on the rest of us to say why we do not.”(1)
I bought into that way of thinking—that God is the crazy option, whereas a fully naturalistic and fully scientifically explainable universe is the sober, sensible, rational option. Without ever really reasoning it through, I accepted the cultural myth that we used to need God to miraculously explain thunder and lightning, rainbows and shooting stars. But now that we have scientific explanations for these things, we should stop believing in God.
That’s actually not a very good argument. A good engineer doesn’t need to keep stepping in to override systems and fix malfunctions. If God is a good engineer, isn’t the ability to explain his design in terms of consistently functioning processes exactly what we should expect?
Moreover, we no longer think we need the moon to explain lunacy. (Lunacy comes from the word lunar, because people used to think the position of the moon explained madness.) Does that mean we should no longer believe in the moon? Should we become not only a-theists but a-moonists?(2) Of course not. Even if the moon doesn’t explain madness, there are many other things, such as the tides of the oceans, that it does explain. Likewise, the reasons for believing in God extend far beyond just scientific reasons and include historical, philosophical, moral, aesthetic, experiential, and relational reasons.
Without thinking it through, I jumped from science to scientism—from the fact that science can explain a lot to the assumption that it can explain everything. However, just because the advancement of science has taught us new things about how the universe works, that doesn’t tell us whether there is a who behind the how.
I can give you a full scientific explanation of how Microsoft Office works (well, I can’t, but a computer expert could; he could sit you down with the design instructions for Microsoft Office and give you a full scientific explanation of how it works). But that would not show that Bill Gates doesn’t exist; it wouldn’t show that there is no who behind the how. To the contrary, it would show that Bill Gates is really smart!
The how question (a question of mechanism) does not answer the who question (a question of agency), and it also doesn’t answer the why question (a question of purpose): Why was Microsoft Office created? We can only get an answer to that question if Bill Gates chooses to share it with us, if the creator of the system chooses to reveal it.
Some of the standard arguments against God based on science are actually not very good. But I think there are a lot of people out there like I was. People who might be open to Christian faith, but who have just assumed that science has made that impossible. They’ve bought into a cultural myth about the battle between science and religion without actually thinking it through.
In my own life, I’m so thankful to have met some friends, seventeen years ago, who were able to communicate to me in an accessible way their reasons for God, including their reasons for thinking that science and God are in no way incompatible. I found myself persuaded. In fact, today I would agree with Peter van Inwagen, one of the world’s foremost philosophers, when he says that “No discovery of science (so far, at any rate) has the least tendency to show that there is no God.”(3)
I would actually go further. Not only do I think science is in no way incompatible with belief in God, but I actually think that science points strongly to the existence of God, and there are four reasons why I believe this:
The universe has a beginning.
The universe is knowable.
The universe is regular.
The universe is finely tuned for life.
I believe all four of these facts about our universe are best explained by the existence of God.
Vince Vitale is director of the Zacharias Institute at Ravi Zacharias International Ministries in Atlanta, Georgia.
Schippersgracht 04/12/2016 18h23
Colorful letters which changes all the times from white, white and blue to multicolor like at the moment of the picture.
Amsterdam Light Festival
Amsterdam Light Festival is an annual light art festival in Amsterdam. Artists, architects and (light) designers from all over the world bring their light artworks and installations alive during the festival every winter. The artworks are placed alongside two routes. Each route has their own theme, set of artworks and visitor experience. Water Colors, the boat rout, displays big monumental objects and offers visitors the chance to experience the art from a water perspective. Illuminade, the walking route, shows interactive and innovative installations from upcoming designers in the Plantage neighborhood.
Celebrate winter, with art, light and water!
www.amsterdamlightfestival.com
Together
Artist: Luigi Console & Valentina Novembre
Location: Schippersgracht
Danger Zone. Love is contagious. Pericolo. L’amore è contagioso. Zona peligrosa. El amore es contagioso. Zone dangereuse. L’amour est contagieux. Gefahrenzone. Die Liebe ist ansteckend.
Italian artists Luigi Console and Valentina Novembre warn you for the contagiousness of love. Together is a subtle ambiguous comment on the contemporary status of love, as Amsterdam Light Festival jury member Tim Molloy states. Because what does love mean in times of individuality, loose connections, polarization and self-interest?
Console and Novembre make their statement about love in various languages, referring to the international character of Amsterdam. Both residents and visitors contribute to the city in their own way, all in their own language, creating a melting of mixed identities. Every word might have a different connotation in a different language, making this artwork open for various interpretations by people from different cultures.
Luigi Console and Valentina Novembre are both from the south of Italy. Console his work varies with different kinds of media, from screen-printing to creative coding and from offline media to digital media. Console focuses on the connections between visual communication techniques such as poster design and video mapping performance. Novembre has finished a master in Relational Design. She specializes in the application of relation dynamics in communication through speech and story telling. She produces design activities that combine digital media with community activities and innovation projects.
@UN Climate Conference (COP23):
The pollution of the oceans with plastic waste should be stopped immediately !
Some facts about plastic:
Parts of the plastic waste accumulate through currents in huge plastic islands in the North Pacific. A man-made continent. According to the French space agency CNES, the surface area of this continent in the Pacific Ocean covers around 3.4 million square kilometres. This is about the same size as Central Europe or half the size of Australia.
Every year, more than 100 million tons of plastic are produced for products that are used for less than five minutes, such as disposable tableware and cups for "To Go" coffee.
Currently, 311 million tons of plastic are produced per year, and the trend is rising sharply. The main customer is the packaging industry - which is primarily engaged in product marketing. But the content does not get any better.
Plastic manufacturing is estimated to use 8 percent of yearly global oil production. The EPA estimates as many as five ounces of carbon dioxide are emitted for each ounce of polyethylene (PET) produced—the type of plastic most commonly used for beverage bottles.
Between 5 and 13 million metric tons of plastic leaks into the world’s oceans each year to be ingested by sea birds, fish and other organisms, and by 2050 the ocean will contain more plastic by weight than fish.
Half of all plastics that ever existed were produced in just the last 13 years, according to a first-ever accounting of all plastic created anywhere on Earth. Of the 6300 million metric tons of plastic waste ever generated through 2015, roughly one-fifth has been recycled or incinerated, leaving four-fifths amassed in landfills or the natural environment.
The needed relational shift is to transition from an economy based on fossil fuels as a primary source of energy and feedstock for manufactured goods to one thriving on renewable energy and manufactured goods which are biodegradable or easily recycled !
Beach in Corcovado N.P, Costa Rica
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
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Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------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]
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#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
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#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
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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
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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
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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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
www.youtube.com/watch?v=7yea4qSJMx4&list=LL5uj1b2ONu2...
ART THOUGHTZ: Relational Aesthetics by Hennesy Youngman
1. The Mind-Body Problem and the History of Dualism
1.1 The Mind-Body Problem
The mind-body problem is the problem: what is the relationship between mind and body? Or alternatively: what is the relationship between mental properties and physical properties?
Humans have (or seem to have) both physical properties and mental properties. People have (or seem to have)the sort of properties attributed in the physical sciences. These physical properties include size, weight, shape, colour, motion through space and time, etc. But they also have (or seem to have) mental properties, which we do not attribute to typical physical objects These properties involve consciousness (including perceptual experience, emotional experience, and much else), intentionality (including beliefs, desires, and much else), and they are possessed by a subject or a self. Physical properties are public, in the sense that they are, in principle, equally observable by anyone. Some physical properties – like those of an electron – are not directly observable at all, but they are equally available to all, to the same degree, with scientific equipment and techniques. The same is not true of mental properties. I may be able to tell that you are in pain by your behaviour, but only you can feel it directly. Similarly, you just know how something looks to you, and I can only surmise. Conscious mental events are private to the subject, who has a privileged access to them of a kind no-one has to the physical. The mind-body problem concerns the relationship between these two sets of properties. The mind-body problem breaks down into a number of components. The ontological question: what are mental states and what are physical states? Is one class a subclass of the other, so that all mental states are physical, or vice versa? Or are mental states and physical states entirely distinct?
The causal question: do physical states influence mental states? Do mental states influence physical states? If so, how?
Different aspects of the mind-body problem arise for different aspects of the mental, such as consciousness, intentionality, the self. The problem of consciousness: what is consciousness? How is it related to the brain and the body? The problem of intentionality: what is intentionality? How is it related to the brain and the body? The problem of the self: what is the self? How is it related to the brain and the body? Other aspects of the mind-body problem arise for aspects of the physical. For example:
The problem of embodiment: what is it for the mind to be housed in a body? What is it for a body to belong to a particular subject?
The seemingly intractable nature of these problems have given rise to many different philosophical views.
Materialist views say that, despite appearances to the contrary, mental states are just physical states. Behaviourism, functionalism, mind-brain identity theory and the computational theory of mind are examples of how materialists attempt to explain how this can be so. The most common factor in such theories is the attempt to explicate the nature of mind and consciousness in terms of their ability to directly or indirectly modify behaviour, but there are versions of materialism that try to tie the mental to the physical without explicitly explaining the mental in terms of its behaviour-modifying role. The latter are often grouped together under the label ‘non-reductive physicalism’, though this label is itself rendered elusive because of the controversial nature of the term ‘reduction’.
Idealist views say that physical states are really mental. This is because the physical world is an empirical world and, as such, it is the intersubjective product of our collective experience.
Dualist views (the subject of this entry) say that the mental and the physical are both real and neither can be assimilated to the other. For the various forms that dualism can take and the associated problems, see below.
In sum, we can say that there is a mind-body problem because both consciousness and thought, broadly construed, seem very different from anything physical and there is no convincing consensus on how to build a satisfactorily unified picture of creatures possessed of both a mind and a body.
Other entries which concern aspects of the mind-body problem include (among many others): behaviorism, consciousness, eliminative materialism, epiphenomenalism, functionalism, identity theory, intentionality, mental causation, neutral monism, and physicalism.
1.2 History of dualism
In dualism, ‘mind’ is contrasted with ‘body’, but at different times, different aspects of the mind have been the centre of attention. In the classical and mediaeval periods, it was the intellect that was thought to be most obviously resistant to a materialistic account: from Descartes on, the main stumbling block to materialist monism was supposed to be ‘consciousness’, of which phenomenal consciousness or sensation came to be considered as the paradigm instance.
The classical emphasis originates in Plato’s Phaedo. Plato believed that the true substances are not physical bodies, which are ephemeral, but the eternal Forms of which bodies are imperfect copies. These Forms not only make the world possible, they also make it intelligible, because they perform the role of universals, or what Frege called ‘concepts’. It is their connection with intelligibility that is relevant to the philosophy of mind. Because Forms are the grounds of intelligibility, they are what the intellect must grasp in the process of understanding. In Phaedo Plato presents a variety of arguments for the immortality of the soul, but the one that is relevant for our purposes is that the intellect is immaterial because Forms are immaterial and intellect must have an affinity with the Forms it apprehends (78b4–84b8). This affinity is so strong that the soul strives to leave the body in which it is imprisoned and to dwell in the realm of Forms. It may take many reincarnations before this is achieved. Plato’s dualism is not, therefore, simply a doctrine in the philosophy of mind, but an integral part of his whole metaphysics.
One problem with Plato’s dualism was that, though he speaks of the soul as imprisoned in the body, there is no clear account of what binds a particular soul to a particular body. Their difference in nature makes the union a mystery.
Aristotle did not believe in Platonic Forms, existing independently of their instances. Aristotelian forms (the capital ‘F’ has disappeared with their standing as autonomous entities) are the natures and properties of things and exist embodied in those things. This enabled Aristotle to explain the union of body and soul by saying that the soul is the form of the body. This means that a particular person’s soul is no more than his nature as a human being. Because this seems to make the soul into a property of the body, it led many interpreters, both ancient and modern, to interpret his theory as materialistic. The interpretation of Aristotle’s philosophy of mind – and, indeed, of his whole doctrine of form – remains as live an issue today as it was immediately after his death (Robinson 1983 and 1991; Nussbaum 1984; Rorty and Nussbaum, eds, 1992). Nevertheless, the text makes it clear that Aristotle believed that the intellect, though part of the soul, differs from other faculties in not having a bodily organ. His argument for this constitutes a more tightly argued case than Plato’s for the immateriality of thought and, hence, for a kind of dualism. He argued that the intellect must be immaterial because if it were material it could not receive all forms. Just as the eye, because of its particular physical nature, is sensitive to light but not to sound, and the ear to sound and not to light, so, if the intellect were in a physical organ it could be sensitive only to a restricted range of physical things; but this is not the case, for we can think about any kind of material object (De Anima III,4; 429a10–b9). As it does not have a material organ, its activity must be essentially immaterial.
It is common for modern Aristotelians, who otherwise have a high view of Aristotle’s relevance to modern philosophy, to treat this argument as being of purely historical interest, and not essential to Aristotle’s system as a whole. They emphasize that he was not a ‘Cartesian’ dualist, because the intellect is an aspect of the soul and the soul is the form of the body, not a separate substance. Kenny (1989) argues that Aristotle’s theory of mind as form gives him an account similar to Ryle (1949), for it makes the soul equivalent to the dispositions possessed by a living body. This ‘anti-Cartesian’ approach to Aristotle arguably ignores the fact that, for Aristotle, the form is the substance.
These issues might seem to be of purely historical interest. But we shall see in below, in section 4.5, that this is not so.
The identification of form and substance is a feature of Aristotle’s system that Aquinas effectively exploits in this context, identifying soul, intellect and form, and treating them as a substance. (See, for example, Aquinas (1912), Part I, questions 75 and 76.) But though the form (and, hence, the intellect with which it is identical) are the substance of the human person, they are not the person itself. Aquinas says that when one addresses prayers to a saint – other than the Blessed Virgin Mary, who is believed to retain her body in heaven and is, therefore, always a complete person – one should say, not, for example, ‘Saint Peter pray for us’, but ‘soul of Saint Peter pray for us’. The soul, though an immaterial substance, is the person only when united with its body. Without the body, those aspects of its personal memory that depend on images (which are held to be corporeal) will be lost.(See Aquinas (1912), Part I, question 89.)
The more modern versions of dualism have their origin in Descartes’ Meditations, and in the debate that was consequent upon Descartes’ theory. Descartes was a substance dualist. He believed that there were two kinds of substance: matter, of which the essential property is that it is spatially extended; and mind, of which the essential property is that it thinks. Descartes’ conception of the relation between mind and body was quite different from that held in the Aristotelian tradition. For Aristotle, there is no exact science of matter. How matter behaves is essentially affected by the form that is in it. You cannot combine just any matter with any form – you cannot make a knife out of butter, nor a human being out of paper – so the nature of the matter is a necessary condition for the nature of the substance. But the nature of the substance does not follow from the nature of its matter alone: there is no ‘bottom up’ account of substances. Matter is a determinable made determinate by form. This was how Aristotle thought that he was able to explain the connection of soul to body: a particular soul exists as the organizing principle in a particular parcel of matter.
The belief in the relative indeterminacy of matter is one reason for Aristotle’s rejection of atomism. If matter is atomic, then it is already a collection of determinate objects in its own right, and it becomes natural to regard the properties of macroscopic substances as mere summations of the natures of the atoms.
Although, unlike most of his fashionable contemporaries and immediate successors, Descartes was not an atomist, he was, like the others, a mechanist about the properties of matter. Bodies are machines that work according to their own laws. Except where there are minds interfering with it, matter proceeds deterministically, in its own right. Where there are minds requiring to influence bodies, they must work by ‘pulling levers’ in a piece of machinery that already has its own laws of operation. This raises the question of where those ‘levers’ are in the body. Descartes opted for the pineal gland, mainly because it is not duplicated on both sides of the brain, so it is a candidate for having a unique, unifying function.
The main uncertainty that faced Descartes and his contemporaries, however, was not where interaction took place, but how two things so different as thought and extension could interact at all. This would be particularly mysterious if one had an impact view of causal interaction, as would anyone influenced by atomism, for whom the paradigm of causation is like two billiard balls cannoning off one another.
Various of Descartes’ disciples, such as Arnold Geulincx and Nicholas Malebranche, concluded that all mind-body interactions required the direct intervention of God. The appropriate states of mind and body were only the occasions for such intervention, not real causes. Now it would be convenient to think that occasionalists held that all causation was natural except for that between mind and body. In fact they generalized their conclusion and treated all causation as directly dependent on God. Why this was so, we cannot discuss here.
Descartes’ conception of a dualism of substances came under attack from the more radical empiricists, who found it difficult to attach sense to the concept of substance at all. Locke, as a moderate empiricist, accepted that there were both material and immaterial substances. Berkeley famously rejected material substance, because he rejected all existence outside the mind. In his early Notebooks, he toyed with the idea of rejecting immaterial substance, because we could have no idea of it, and reducing the self to a collection of the ‘ideas’ that constituted its contents. Finally, he decided that the self, conceived as something over and above the ideas of which it was aware, was essential for an adequate understanding of the human person. Although the self and its acts are not presented to consciousness as objects of awareness, we are obliquely aware of them simply by dint of being active subjects. Hume rejected such claims, and proclaimed the self to be nothing more than a concatenation of its ephemeral contents.
In fact, Hume criticised the whole conception of substance for lacking in empirical content: when you search for the owner of the properties that make up a substance, you find nothing but further properties. Consequently, the mind is, he claimed, nothing but a ‘bundle’ or ‘heap’ of impressions and ideas – that is, of particular mental states or events, without an owner. This position has been labelled bundle dualism, and it is a special case of a general bundle theory of substance, according to which objects in general are just organised collections of properties. The problem for the Humean is to explain what binds the elements in the bundle together. This is an issue for any kind of substance, but for material bodies the solution seems fairly straightforward: the unity of a physical bundle is constituted by some form of causal interaction between the elements in the bundle. For the mind, mere causal connection is not enough; some further relation of co-consciousness is required. We shall see in 5.2.1 that it is problematic whether one can treat such a relation as more primitive than the notion of belonging to a subject.
One should note the following about Hume’s theory. His bundle theory is a theory about the nature of the unity of the mind. As a theory about this unity, it is not necessarily dualist. Parfit (1970, 1984) and Shoemaker (1984, ch. 2), for example, accept it as physicalists. In general, physicalists will accept it unless they wish to ascribe the unity to the brain or the organism as a whole. Before the bundle theory can be dualist one must accept property dualism, for more about which, see the next section.
A crisis in the history of dualism came, however, with the growing popularity of mechanism in science in the nineteenth century. According to the mechanist, the world is, as it would now be expressed, ‘closed under physics’. This means that everything that happens follows from and is in accord with the laws of physics. There is, therefore, no scope for interference in the physical world by the mind in the way that interactionism seems to require. According to the mechanist, the conscious mind is an epiphenomenon (a notion given general currency by T. H. Huxley 1893): that is, it is a by-product of the physical system which has no influence back on it. In this way, the facts of consciousness are acknowledged but the integrity of physical science is preserved. However, many philosophers found it implausible to claim such things as the following; the pain that I have when you hit me, the visual sensations I have when I see the ferocious lion bearing down on me or the conscious sense of understanding I have when I hear your argument – all have nothing directly to do with the way I respond. It is very largely due to the need to avoid this counterintuitiveness that we owe the concern of twentieth century philosophy to devise a plausible form of materialist monism. But, although dualism has been out of fashion in psychology since the advent of behaviourism (Watson 1913) and in philosophy since Ryle (1949), the argument is by no means over. Some distinguished neurologists, such as Sherrington (1940) and Eccles (Popper and Eccles 1977) have continued to defend dualism as the only theory that can preserve the data of consciousness. Amongst mainstream philosophers, discontent with physicalism led to a modest revival of property dualism in the last decade of the twentieth century. At least some of the reasons for this should become clear below.
2. Varieties of Dualism: Ontology
There are various ways of dividing up kinds of dualism. One natural way is in terms of what sorts of things one chooses to be dualistic about. The most common categories lighted upon for these purposes are substance and property, giving one substance dualism and property dualism. There is, however, an important third category, namely predicate dualism. As this last is the weakest theory, in the sense that it claims least, I shall begin by characterizing it.
2.1 Predicate dualism
Predicate dualism is the theory that psychological or mentalistic predicates are (a) essential for a full description of the world and (b) are not reducible to physicalistic predicates. For a mental predicate to be reducible, there would be bridging laws connecting types of psychological states to types of physical ones in such a way that the use of the mental predicate carried no information that could not be expressed without it. An example of what we believe to be a true type reduction outside psychology is the case of water, where water is always H2O: something is water if and only if it is H2O. If one were to replace the word ‘water’ by ‘H2O’, it is plausible to say that one could convey all the same information. But the terms in many of the special sciences (that is, any science except physics itself) are not reducible in this way. Not every hurricane or every infectious disease, let alone every devaluation of the currency or every coup d’etat has the same constitutive structure. These states are defined more by what they do than by their composition or structure. Their names are classified as functional terms rather than natural kind terms. It goes with this that such kinds of state are multiply realizable; that is, they may be constituted by different kinds of physical structures under different circumstances. Because of this, unlike in the case of water and H2O, one could not replace these terms by some more basic physical description and still convey the same information. There is no particular description, using the language of physics or chemistry, that would do the work of the word ‘hurricane’, in the way that ‘H2O’ would do the work of ‘water’. It is widely agreed that many, if not all, psychological states are similarly irreducible, and so psychological predicates are not reducible to physical descriptions and one has predicate dualism. (The classic source for irreducibility in the special sciences in general is Fodor (1974), and for irreducibility in the philosophy of mind, Davidson (1971).)
2.2 Property Dualism
Whereas predicate dualism says that there are two essentially different kinds of predicates in our language, property dualism says that there are two essentially different kinds of property out in the world. Property dualism can be seen as a step stronger than predicate dualism. Although the predicate ‘hurricane’ is not equivalent to any single description using the language of physics, we believe that each individual hurricane is nothing but a collection of physical atoms behaving in a certain way: one need have no more than the physical atoms, with their normal physical properties, following normal physical laws, for there to be a hurricane. One might say that we need more than the language of physics to describe and explain the weather, but we do not need more than its ontology. There is token identity between each individual hurricane and a mass of atoms, even if there is no type identity between hurricanes as kinds and some particular structure of atoms as a kind. Genuine property dualism occurs when, even at the individual level, the ontology of physics is not sufficient to constitute what is there. The irreducible language is not just another way of describing what there is, it requires that there be something more there than was allowed for in the initial ontology. Until the early part of the twentieth century, it was common to think that biological phenomena (‘life’) required property dualism (an irreducible ‘vital force’), but nowadays the special physical sciences other than psychology are generally thought to involve only predicate dualism. In the case of mind, property dualism is defended by those who argue that the qualitative nature of consciousness is not merely another way of categorizing states of the brain or of behaviour, but a genuinely emergent phenomenon.
2.3 Substance Dualism
There are two important concepts deployed in this notion. One is that of substance, the other is the dualism of these substances. A substance is characterized by its properties, but, according to those who believe in substances, it is more than the collection of the properties it possesses, it is the thing which possesses them. So the mind is not just a collection of thoughts, but is that which thinks, an immaterial substance over and above its immaterial states. Properties are the properties of objects. If one is a property dualist, one may wonder what kinds of objects possess the irreducible or immaterial properties in which one believes. One can use a neutral expression and attribute them to persons, but, until one has an account of person, this is not explanatory. One might attribute them to human beings qua animals, or to the brains of these animals. Then one will be holding that these immaterial properties are possessed by what is otherwise a purely material thing. But one may also think that not only mental states are immaterial, but that the subject that possesses them must also be immaterial. Then one will be a dualist about that to which mental states and properties belong as well about the properties themselves. Now one might try to think of these subjects as just bundles of the immaterial states. This is Hume’s view. But if one thinks that the owner of these states is something quite over and above the states themselves, and is immaterial, as they are, one will be a substance dualist.
Substance dualism is also often dubbed ‘Cartesian dualism’, but some substance dualists are keen to distinguish their theories from Descartes’s. E. J. Lowe, for example, is a substance dualist, in the following sense. He holds that a normal human being involves two substances, one a body and the other a person. The latter is not, however, a purely mental substance that can be defined in terms of thought or consciousness alone, as Descartes claimed. But persons and their bodies have different identity conditions and are both substances, so there are two substances essentially involved in a human being, hence this is a form of substance dualism. Lowe (2006) claims that his theory is close to P. F. Strawson’s (1959), whilst admitting that Strawson would not have called it substance dualism.
3. Varieties of Dualism: Interaction
If mind and body are different realms, in the way required by either property or substance dualism, then there arises the question of how they are related. Common sense tells us that they interact: thoughts and feelings are at least sometimes caused by bodily events and at least sometimes themselves give rise to bodily responses. I shall now consider briefly the problems for interactionism, and its main rivals, epiphenomenalism and parallelism.
3.1 Interactionism
Interactionism is the view that mind and body – or mental events and physical events – causally influence each other. That this is so is one of our common-sense beliefs, because it appears to be a feature of everyday experience. The physical world influences my experience through my senses, and I often react behaviourally to those experiences. My thinking, too, influences my speech and my actions. There is, therefore, a massive natural prejudice in favour of interactionism. It has been claimed, however, that it faces serious problems (some of which were anticipated in section 1).
The simplest objection to interaction is that, in so far as mental properties, states or substances are of radically different kinds from each other, they lack that communality necessary for interaction. It is generally agreed that, in its most naive form, this objection to interactionism rests on a ‘billiard ball’ picture of causation: if all causation is by impact, how can the material and the immaterial impact upon each other? But if causation is either by a more ethereal force or energy or only a matter of constant conjunction, there would appear to be no problem in principle with the idea of interaction of mind and body.
Even if there is no objection in principle, there appears to be a conflict between interactionism and some basic principles of physical science. For example, if causal power was flowing in and out of the physical system, energy would not be conserved, and the conservation of energy is a fundamental scientific law. Various responses have been made to this. One suggestion is that it might be possible for mind to influence the distribution of energy, without altering its quantity. (See Averill and Keating 1981). Another response is to challenge the relevance of the conservation principle in this context. The conservation principle states that ‘in a causally isolated system the total amount of energy will remain constant’. Whereas ‘[t]he interactionist denies…that the human body is an isolated system’, so the principle is irrelevant (Larmer (1986), 282: this article presents a good brief survey of the options). This approach has been termed conditionality, namely the view that conservation is conditional on the physical system being closed, that is, that nothing non-physical is interacting or interfering with it, and, of course, the interactionist claims that this condition is, trivially, not met. That conditionality is the best line for the dualist to take, and that other approaches do not work, is defended in Pitts (2019) and Cucu and Pitts (2019). This, they claim, makes the plausibility of interactionism an empirical matter which only close investigation on the fine operation of the brain could hope to settle. Cucu, in a separate article (2018), claims to find critical neuronal events which do not have sufficient physical explanation.This claim clearly needs further investigation.
Robins Collins (2011) has claimed that the appeal to conservation by opponents of interactionism is something of a red herring because conservation principles are not ubiquitous in physics. He argues that energy is not conserved in general relativity, in quantum theory, or in the universe taken as a whole. Why then, should we insist on it in mind-brain interaction?
Most discussion of interactionism takes place in the context of the assumption that it is incompatible with the world’s being ‘closed under physics’. This is a very natural assumption, but it is not justified if causal overdetermination of behaviour is possible. There could then be a complete physical cause of behaviour, and a mental one. The strongest intuitive objection against overdetermination is clearly stated by Mills (1996: 112), who is himself a defender of overdetermination.
For X to be a cause of Y, X must contribute something to Y. The only way a purely mental event could contribute to a purely physical one would be to contribute some feature not already determined by a purely physical event. But if physical closure is true, there is no feature of the purely physical effect that is not contributed by the purely physical cause. Hence interactionism violates physical closure after all.
Mills says that this argument is invalid, because a physical event can have features not explained by the event which is its sufficient cause. For example, “the rock’s hitting the window is causally sufficient for the window’s breaking, and the window’s breaking has the feature of being the third window-breaking in the house this year; but the facts about prior window-breakings, rather than the rock’s hitting the window, are what cause this window-breaking to have this feature.”
The opponent of overdetermination could perhaps reply that his principle applies, not to every feature of events, but to a subgroup – say, intrinsic features, not merely relational or comparative ones. It is this kind of feature that the mental event would have to cause, but physical closure leaves no room for this. These matters are still controversial.
The problem with closure of physics may be radically altered if physical laws are indeterministic, as quantum theory seems to assert. If physical laws are deterministic, then any interference from outside would lead to a breach of those laws. But if they are indeterministic, might not interference produce a result that has a probability greater than zero, and so be consistent with the laws? This way, one might have interaction yet preserve a kind of nomological closure, in the sense that no laws are infringed. Because it involves assessing the significance and consequences of quantum theory, this is a difficult matter for the non-physicist to assess. Some argue that indeterminacy manifests itself only on the subatomic level, being cancelled out by the time one reaches even very tiny macroscopic objects: and human behaviour is a macroscopic phenomenon. Others argue that the structure of the brain is so finely tuned that minute variations could have macroscopic effects, rather in the way that, according to ‘chaos theory’, the flapping of a butterfly’s wings in China might affect the weather in New York. (For discussion of this, see Eccles (1980), (1987), and Popper and Eccles (1977).) Still others argue that quantum indeterminacy manifests itself directly at a high level, when acts of observation collapse the wave function, suggesting that the mind may play a direct role in affecting the state of the world (Hodgson 1988; Stapp 1993).
3.2 Epiphenomenalism
If the reality of property dualism is not to be denied, but the problem of how the immaterial is to affect the material is to be avoided, then epiphenomenalism may seem to be the answer. According to this theory, mental events are caused by physical events, but have no causal influence on the physical. I have introduced this theory as if its point were to avoid the problem of how two different categories of thing might interact. In fact, it is, at best, an incomplete solution to this problem. If it is mysterious how the non-physical can have it in its nature to influence the physical, it ought to be equally mysterious how the physical can have it in its nature to produce something non-physical. But that this latter is what occurs is an essential claim of epiphenomenalism. (For development of this point, see Green (2003), 149–51). In fact, epiphenomenalism is more effective as a way of saving the autonomy of the physical (the world as ‘closed under physics’) than as a contribution to avoiding the need for the physical and non-physical to have causal commerce.
There are at least three serious problems for epiphenomenalism. First, as I indicated in section 1, it is profoundly counterintuitive. What could be more apparent than that it is the pain that I feel that makes me cry, or the visual experience of the boulder rolling towards me that makes me run away? At least one can say that epiphenomenalism is a fall-back position: it tends to be adopted because other options are held to be unacceptable.
The second problem is that, if mental states do nothing, there is no reason why they should have evolved. This objection ties in with the first: the intuition there was that conscious states clearly modify our behaviour in certain ways, such as avoiding danger, and it is plain that they are very useful from an evolutionary perspective.
Frank Jackson (1982) replies to this objection by saying that it is the brain state associated with pain that evolves for this reason: the sensation is a by-product. Evolution is full of useless or even harmful by-products. For example, polar bears have evolved thick coats to keep them warm, even though this has the damaging side effect that they are heavy to carry. Jackson’s point is true in general, but does not seem to apply very happily to the case of mind. The heaviness of the polar bear’s coat follows directly from those properties and laws which make it warm: one could not, in any simple way, have one without the other. But with mental states, dualistically conceived, the situation is quite the opposite. The laws of physical nature which, the mechanist says, make brain states cause behaviour, in no way explain why brain states should give rise to conscious ones. The laws linking mind and brain are what Feigl (1958) calls nomological danglers, that is, brute facts added onto the body of integrated physical law. Why there should have been by-products of that kind seems to have no evolutionary explanation.
The third problem concerns the rationality of belief in epiphenomenalism, via its effect on the problem of other minds. It is natural to say that I know that I have mental states because I experience them directly. But how can I justify my belief that others have them? The simple version of the ‘argument from analogy’ says that I can extrapolate from my own case. I know that certain of my mental states are correlated with certain pieces of behaviour, and so I infer that similar behaviour in others is also accompanied by similar mental states. Many hold that this is a weak argument because it is induction from one instance, namely, my own. The argument is stronger if it is not a simple induction but an ‘argument to the best explanation’. I seem to know from my own case that mental events can be the explanation of behaviour, and I know of no other candidate explanation for typical human behaviour, so I postulate the same explanation for the behaviour of others. But if epiphenomenalism is true, my mental states do not explain my behaviour and there is a physical explanation for the behaviour of others. It is explanatorily redundant to postulate such states for others. I know, by introspection, that I have them, but is it not just as likely that I alone am subject to this quirk of nature, rather than that everyone is?
For more detailed treatment and further reading on this topic, see the entry epiphenomenalism.
3.3 Parallelism
The epiphenomenalist wishes to preserve the integrity of physical science and the physical world, and appends those mental features that he cannot reduce. The parallelist preserves both realms intact, but denies all causal interaction between them. They run in harmony with each other, but not because their mutual influence keeps each other in line. That they should behave as if they were interacting would seem to be a bizarre coincidence. This is why parallelism has tended to be adopted only by those – like Leibniz – who believe in a pre-established harmony, set in place by God. The progression of thought can be seen as follows. Descartes believes in a more or less natural form of interaction between immaterial mind and material body. Malebranche thought that this was impossible naturally, and so required God to intervene specifically on each occasion on which interaction was required. Leibniz decided that God might as well set things up so that they always behaved as if they were interacting, without particular intervention being required. Outside such a theistic framework, the theory is incredible. Even within such a framework, one might well sympathise with Berkeley’s instinct that once genuine interaction is ruled out one is best advised to allow that God creates the physical world directly, within the mental realm itself, as a construct out of experience.
4. Arguments for Dualism
4.1 The Knowledge Argument Against Physicalism
One category of arguments for dualism is constituted by the standard objections against physicalism. Prime examples are those based on the existence of qualia, the most important of which is the so-called ‘knowledge argument’. Because this argument has its own entry (see the entry qualia: the knowledge argument), I shall deal relatively briefly with it here. One should bear in mind, however, that all arguments against physicalism are also arguments for the irreducible and hence immaterial nature of the mind and, given the existence of the material world, are thus arguments for dualism.
The knowledge argument asks us to imagine a future scientist who has lacked a certain sensory modality from birth, but who has acquired a perfect scientific understanding of how this modality operates in others. This scientist – call him Harpo – may have been born stone deaf, but become the world’s greatest expert on the machinery of hearing: he knows everything that there is to know within the range of the physical and behavioural sciences about hearing. Suppose that Harpo, thanks to developments in neurosurgery, has an operation which finally enables him to hear. It is suggested that he will then learn something he did not know before, which can be expressed as what it is like to hear, or the qualitative or phenomenal nature of sound. These qualitative features of experience are generally referred to as qualia. If Harpo learns something new, he did not know everything before. He knew all the physical facts before. So what he learns on coming to hear – the facts about the nature of experience or the nature of qualia – are non-physical. This establishes at least a state or property dualism. (See Jackson 1982; Robinson 1982.)
There are at least two lines of response to this popular but controversial argument. First is the ‘ability’ response. According to this, Harpo does not acquire any new factual knowledge, only ‘knowledge how’, in the form of the ability to respond directly to sounds, which he could not do before. This essentially behaviouristic account is exactly what the intuition behind the argument is meant to overthrow. Putting ourselves in Harpo’s position, it is meant to be obvious that what he acquires is knowledge of what something is like, not just how to do something. Such appeals to intuition are always, of course, open to denial by those who claim not to share the intuition. Some ability theorists seem to blur the distinction between knowing what something is like and knowing how to do something, by saying that the ability Harpo acquires is to imagine or remember the nature of sound. In this case, what he acquires the ability to do involves the representation to himself of what the thing is like. But this conception of representing to oneself, especially in the form of imagination, seems sufficiently close to producing in oneself something very like a sensory experience that it only defers the problem: until one has a physicalist gloss on what constitutes such representations as those involved in conscious memory and imagination, no progress has been made.
The other line of response is to argue that, although Harpo’s new knowledge is factual, it is not knowledge of a new fact. Rather, it is new way of grasping something that he already knew. He does not realise this, because the concepts employed to capture experience (such as ‘looks red’ or ‘sounds C-sharp’) are similar to demonstratives, and demonstrative concepts lack the kind of descriptive content that allow one to infer what they express from other pieces of information that one may already possess. A total scientific knowledge of the world would not enable you to say which time was ‘now’ or which place was ‘here’. Demonstrative concepts pick something out without saying anything extra about it. Similarly, the scientific knowledge that Harpo originally possessed did not enable him to anticipate what it would be like to re-express some parts of that knowledge using the demonstrative concepts that only experience can give one. The knowledge, therefore, appears to be genuinely new, whereas only the mode of conceiving it is novel.
Proponents of the epistemic argument respond that it is problematic to maintain both that the qualitative nature of experience can be genuinely novel, and that the quality itself be the same as some property already grasped scientifically: does not the experience’s phenomenal nature, which the demonstrative concepts capture, constitute a property in its own right? Another way to put this is to say that phenomenal concepts are not pure demonstratives, like ‘here’ and ‘now’, or ‘this’ and ‘that’, because they do capture a genuine qualitative content. Furthermore, experiencing does not seem to consist simply in exercising a particular kind of concept, demonstrative or not. When Harpo has his new form of experience, he does not simply exercise a new concept; he also grasps something new – the phenomenal quality – with that concept. How decisive these considerations are, remains controversial.
4.2 The Argument from Predicate Dualism to Property Dualism
I said above that predicate dualism might seem to have no ontological consequences, because it is concerned only with the different way things can be described within the contexts of the different sciences, not with any real difference in the things themselves. This, however, can be disputed.
The argument from predicate to property dualism moves in two steps, both controversial. The first claims that the irreducible special sciences, which are the sources of irreducible predicates, are not wholly objective in the way that physics is, but depend for their subject matter upon interest-relative perspectives on the world. This means that they, and the predicates special to them, depend on the existence of minds and mental states, for only minds have interest-relative perspectives. The second claim is that psychology – the science of the mental – is itself an irreducible special science, and so it, too, presupposes the existence of the mental. Mental predicates therefore presuppose the mentality that creates them: mentality cannot consist simply in the applicability of the predicates themselves.
First, let us consider the claim that the special sciences are not fully objective, but are interest-relative.
No-one would deny, of course, that the very same subject matter or ‘hunk of reality’ can be described in irreducibly different ways and it still be just that subject matter or piece of reality. A mass of matter could be characterized as a hurricane, or as a collection of chemical elements, or as mass of sub-atomic particles, and there be only the one mass of matter. But such different explanatory frameworks seem to presuppose different perspectives on that subject matter.
This is where basic physics, and perhaps those sciences reducible to basic physics, differ from irreducible special sciences. On a realist construal, the completed physics cuts physical reality up at its ultimate joints: any special science which is nomically strictly reducible to physics also, in virtue of this reduction, it could be argued, cuts reality at its joints, but not at its minutest ones. If scientific realism is true, a completed physics will tell one how the world is, independently of any special interest or concern: it is just how the world is. It would seem that, by contrast, a science which is not nomically reducible to physics does not take its legitimation from the underlying reality in this direct way. Rather, such a science is formed from the collaboration between, on the one hand, objective similarities in the world and, on the other, perspectives and interests of those who devise the science. The concept of hurricane is brought to bear from the perspective of creatures concerned about the weather. Creatures totally indifferent to the weather would have no reason to take the real patterns of phenomena that hurricanes share as constituting a single kind of thing. With the irreducible special sciences, there is an issue of salience , which involves a subjective component: a selection of phenomena with a certain teleology in mind is required before their structures or patterns are reified. The entities of metereology or biology are, in this respect, rather like Gestalt phenomena.
Even accepting this, why might it be thought that the perspectivality of the special sciences leads to a genuine property dualism in the philosophy of mind? It might seem to do so for the following reason. Having a perspective on the world, perceptual or intellectual, is a psychological state. So the irreducible special sciences presuppose the existence of mind. If one is to avoid an ontological dualism, the mind that has this perspective must be part of the physical reality on which it has its perspective. But psychology, it seems to be almost universally agreed, is one of those special sciences that is not reducible to physics, so if its subject matter is to be physical, it itself presupposes a perspective and, hence, the existence of a mind to see matter as psychological. If this mind is physical and irreducible, it presupposes mind to see it as such. We seem to be in a vicious circle or regress.
We can now understand the motivation for full-blown reduction. A true basic physics represents the world as it is in itself, and if the special sciences were reducible, then the existence of their ontologies would make sense as expressions of the physical, not just as ways of seeing or interpreting it. They could be understood ‘from the bottom up’, not from top down. The irreducibility of the special sciences creates no problem for the dualist, who sees the explanatory endeavor of the physical sciences as something carried on from a perspective conceptually outside of the physical world. Nor need this worry a physicalist, if he can reduce psychology, for then he could understand ‘from the bottom up’ the acts (with their internal, intentional contents) which created the irreducible ontologies of the other sciences. But psychology is one of the least likely of sciences to be reduced. If psychology cannot be reduced, this line of reasoning leads to real emergence for mental acts and hence to a real dualism for the properties those acts instantiate (Robinson 2003).
4.3 The Modal Argument
There is an argument, which has roots in Descartes (Meditation VI), which is a modal argument for dualism. One might put it as follows:
It is imaginable that one’s mind might exist without one’s body.
therefore
It is conceivable that one’s mind might exist without one’s body.
therefore
It is possible one’s mind might exist without one’s body.
therefore
One’s mind is a different entity from one’s body.
The rationale of the argument is a move from imaginability to real possibility. I include (2) because the notion of conceivability has one foot in the psychological camp, like imaginability, and one in the camp of pure logical possibility and therefore helps in the transition from one to the other.
This argument should be distinguished from a similar ‘conceivability’ argument, often known as the ‘zombie hypothesis’, which claims the imaginability and possibility of my body (or, in some forms, a body physically just like it) existing without there being any conscious states associated with it. (See, for example, Chalmers (1996), 94–9.) This latter argument, if sound, would show that conscious states were something over and above physical states. It is a different argument because the hypothesis that the unaltered body could exist without the mind is not the same as the suggestion that the mind might continue to exist without the body, nor are they trivially equivalent. The zombie argument establishes only property dualism and a property dualist might think disembodied existence inconceivable – for example, if he thought the identity of a mind through time depended on its relation to a body (e.g., Penelhum 1970).
Before Kripke (1972/80), the first challenge to such an argument would have concerned the move from (3) to (4). When philosophers generally believed in contingent identity, that move seemed to them invalid. But nowadays that inference is generally accepted and the issue concerns the relation between imaginability and possibility. No-one would nowadays identify the two (except, perhaps, for certain quasi-realists and anti-realists), but the view that imaginability is a solid test for possibility has been strongly defended. W. D. Hart ((1994), 266), for example, argues that no clear example has been produced such that “one can imagine that p (and tell less imaginative folk a story that enables them to imagine that p) plus a good argument that it is impossible that p. No such counterexamples have been forthcoming…” This claim is at least contentious. There seem to be good arguments that time-travel is incoherent, but every episode of Star-Trek or Doctor Who shows how one can imagine what it might be like were it possible.
It is worth relating the appeal to possibility in this argument to that involved in the more modest, anti-physicalist, zombie argument. The possibility of this hypothesis is also challenged, but all that is necessary for a zombie to be possible is that all and only the things that the physical sciences say about the body be true of such a creature. As the concepts involved in such sciences – e.g., neuron, cell, muscle – seem to make no reference, explicit or implicit, to their association with consciousness, and are defined in purely physical terms in the relevant science texts, there is a very powerful prima facie case for thinking that something could meet the condition of being just like them and lack any connection with consciousness. There is no parallel clear, uncontroversial and regimented account of mental concepts as a whole that fails to invoke, explicitly or implicitly, physical (e.g., behavioural) states.
For an analytical behaviourist the appeal to imaginability made in the argument fails, not because imagination is not a reliable guide to possibility, but because we cannot imagine such a thing, as it is a priori impossible. The impossibility of disembodiment is rather like that of time travel, because it is demonstrable a priori, though only by arguments that are controversial. The argument can only get under way for those philosophers who accept that the issue cannot be settled a priori, so the possibility of the disembodiment that we can imagine is still prima facie open.
A major rationale of those who think that imagination is not a safe indication of possibility, even when such possibility is not eliminable a priori, is that we can imagine that a posteriori necessities might be false – for example, that Hesperus might not be identical to Phosphorus. But if Kripke is correct, that is not a real possibility. Another way of putting this point is that there are many epistemic possibilities which are imaginable because they are epistemic possibilities, but which are not real possibilities. Richard Swinburne (1997, New Appendix C), whilst accepting this argument in general, has interesting reasons for thinking that it cannot apply in the mind-body case. He argues that in cases that involve a posteriori necessities, such as those identities that need discovering, it is because we identify those entities only by their ‘stereotypes’ (that is, by their superficial features observable by the layman) that we can be wrong about their essences. In the case of our experience of ourselves this is not true.
Now it is true that the essence of Hesperus cannot be discovered by a mere thought experiment. That is because what makes Hesperus Hesperus is not the stereotype, but what underlies it. But it does not follow that no one can ever have access to the essence of a substance, but must always rely for identification on a fallible stereotype. One might think that for the person him or herself, while what makes that person that person underlies what is observable to others, it does not underlie what is experienceable by that person, but is given directly in their own self-awareness.
This is a very appealing Cartesian intuition: my identity as the thinking thing that I am is revealed to me in consciousness, it is not something beyond the veil of consciousness. Now it could be replied to this that though I do access myself as a conscious subject, so classifying myself is rather like considering myself qua cyclist. Just as I might never have been a cyclist, I might never have been conscious, if things had gone wrong in my very early life. I am the organism, the animal, which might not have developed to the point of consciousness, and that essence as animal is not revealed to me just by introspection.
But there are vital differences between these cases. A cyclist is explicitly presented as a human being (or creature of some other animal species) cycling: there is no temptation to think of a cyclist as a basic kind of thing in its own right. Consciousness is not presented as a property of something, but as the subject itself. Swinburne’s claim that when we refer to ourselves we are referring to something we think we are directly aware of and not to ‘something we know not what’ that underlies our experience seemingly ‘of ourselves’ has powerful intuitive appeal and could only be overthrown by very forceful arguments. Yet, even if we are not referring primarily to a substrate, but to what is revealed in consciousness, could it not still be the case that there is a necessity stronger than causal connecting this consciousness to something physical? To consider this further we must investigate what the limits are of the possible analogy between cases of the water-H2O kind, and the mind-body relation.
We start from the analogy between the water stereotype – how water presents itself – and how consciousness is given first-personally to the subject. It is plausible to claim that something like water could exist without being H2O, but hardly that it could exist without some underlying nature. There is, however, no reason to deny that this underlying nature could be homogenous with its manifest nature: that is, it would seem to be possible that there is a world in which the water-like stuff is an element, as the ancients thought, and is water-like all the way down. The claim of the proponents of the dualist argument is that this latter kind of situation can be known to be true a priori in the case of the mind: that is, one can tell by introspection that it is not more-than-causally dependent on something of a radically different nature, such as a brain or body. What grounds might one have for thinking that one could tell that a priori?
The only general argument that seem to be available for this would be the principle that, for any two levels of discourse, A and B, they are more-than-causally connected only if one entails the other a priori. And the argument for accepting this principle would be that the relatively uncontroversial cases of a posteriori necessary connections are in fact cases in which one can argue a priori from facts about the microstructure to the manifest facts. In the case of water, for example, it would be claimed that it follows a priori that if there were something with the properties attributed to H2O by chemistry on a micro level, then that thing would possess waterish properties on a macro level. What is established a posteriori is that it is in fact H2O that underlies and explains the waterish properties round here, not something else: the sufficiency of the base – were it to obtain – to explain the phenomena, can be deduced a priori from the supposed nature of the base. This is, in effect, the argument that Chalmers uses to defend the zombie hypothesis. The suggestion is that the whole category of a posteriori more-than-causally necessary connections (often identified as a separate category of metaphysical necessity) comes to no more than this. If we accept that this is the correct account of a posteriori necessities, and also deny the analytically reductionist theories that would be necessary for a priori connections between mind and body, as conceived, for example, by the behaviourist or the functionalist, does it follow that we can tell a priori that consciousness is not more-than-causally dependent on the body?
It is helpful in considering this question to employ a distinction like Berkeley’s between ideas and notions. Ideas are the objects of our mental acts, and they capture transparently – ‘by way of image or likeness’ (Principles, sect. 27) – that of which they are the ideas. The self and its faculties are not the objects of our mental acts, but are captured only obliquely in the performance of its acts, and of these Berkeley says we have notions, meaning by this that what we capture of the nature of the dynamic agent does not seem to have the same transparency as what we capture as the normal objects of the agent’s mental acts. It is not necessary to become involved in Berkeley’s metaphysics in general to feel the force of the claim that the contents and internal objects of our mental acts are grasped with a lucidity that exceeds that of our grasp of the agent and the acts per se. Because of this, notions of the self perhaps have a ‘thickness’ and are permanently contestable: there seems always to be room for more dispute as to what is involved in that concept. (Though we shall see later, in 5.2.2, that there is a ‘non-thick’ way of taking the Berkeleyan concept of a notion.)
Because ‘thickness’ always leaves room for dispute, this is one of those cases in philosophy in which one is at the mercy of the arguments philosophers happen to think up. The conceivability argument creates a prima facie case for thinking that mind has no more than causal ontological dependence on the body. Let us assume that one rejects analytical (behaviourist or functionalist) accounts of mental predicates. Then the above arguments show that any necessary dependence of mind on body does not follow the model that applies in other scientific cases. This does not show that there may not be other reasons for believing in such dependence, for so many of the concepts in the area are still contested. For example, it might be argued that identity through time requires the kind of spatial existence that only body can give: or that the causal continuity required by a stream of consciousness cannot be a property of mere phenomena. All these might be put forward as ways of filling out those aspects of our understanding of the self that are only obliquely, not transparently, presented in self-awareness. The dualist must respond to any claim as it arises: the conceivability argument does not pre-empt them.......
5.2 The Unity of the Mind
Whether one believes that the mind is a substance or just a bundle of properties, the same challenge arises, which is to explain the nature of the unity of the immaterial mind. For the Cartesian, that means explaining how he understands the notion of immaterial substance. For the Humean, the issue is to explain the nature of the relationship between the different elements in the bundle that binds them into one thing. Neither tradition has been notably successful in this latter task: indeed, Hume, in the appendix to the Treatise, declared himself wholly mystified by the problem, rejecting his own initial solution (though quite why is not clear from the text).
Volume 2 ~ March, 2015
cover painting: Lissane Lake
Kevin Cheek
*******************
Table of Contents
*******************
Inventions Bright and New: Original Essays
Working With Ray: My Experiences with R.A. Lafferty by Greg Ketter
Ray’s Recycling Rewards Program by John Owen
Valery’s Really Eyes and the Parade of Creatures by Daniel Otto Jack Petersen
“This Was More Than a Spectacle, More Than an Illusion, It was a Communicating Instrument”: R. A. Lafferty and Hans Urs von Balthasar on the Relational Form of Being by Gregorio Montejo
Through a Glass Darkly by Craig May
Exploring Themes From Catholic Theology in Two Short Stories by R. A. Lafferty by John Ellison
Late Light by Rich Persaud
Lafferty’s Monkey by Clinton Reid Claussen
Lafferty: An Appreciation by Patrick May
Question: Why? Excuse: Because Monsters by Rich Persaud
All the People: International Fandom
Seven-Story Dream on Terschelling by Peter Sijbenga
The Lafferty Centennial In Japan by Kenji Matsuzaki
Continued on Next Book by 7 Japanese Laffertians
Russia Discovers R. A. Lafferty by Sergei Sobolev and Yakov Varganov
Those Who Know Everything: Interviews
An Interview with Nat! by Kevin Cheek
Oh, Whatta Ya Do When The Well Runs Dry: Reprinted Essays
Despair and the Duck Lady by Michael Swanwick
R. A. Lafferty—the secret sci-fi genius more than ready for a comeback by David Barnett
Twice Beheaded: R. A. Lafferty’s Thomas More by Anne Lake Prescott
Excerpt from a Thesis by John Ellison
A Richness of Endings by Dan Knight
Introduction to More than Melchisedech by Robert Whitaker Sirignano
On Sodom and Gomorrah, Texas by Andrew Ferguson
You’re On The Right Track, Kid: Reviews
R. A. Lafferty Spins a Yarn by Keith Purtell
Strange Doings - a review by Stephen R. Case
Oklahoma Gothic by Martin Heavisides
Arrive at Easterwine—a brief review by Kevin Cheek
Task Force Fifty-Eight and a Half by Heywood Reynolds
Iron Tears - a review by Darrell Schweitzer
Iron Tears - a review by Don Webb
The Emperor’s Shoestrings: Works Inspired by R. A. Lafferty
Land of the Great Horses by Peter Sijbenga
The Honking Worm and The Gorilla Cheetah by Bill Rogers
The Waltz Macabre by Logan Giannini
Fourteenth Chambers by Noah Wareness
A Fisherman’s Tune by Daniel Otto Jack Petersen
What I Wrote for Andronicus by Stephen R. Case
Willow Beeman by Howard Waldrop and Steven Utley
Primary Education: Lafferties
An Interview with R. A. Lafferty by Tom Jackson
Sodom and Gomorrah, Texas by R. A. Lafferty
Lafferty Blogs:
Live with Integrity
“ Stand firm then, with the belt of truth buckled around your waist, (Ephesians 6:14a NIV)
In integrity matters, the Bible says that we’re in a war “against the rulers, against the authorities, against the powers of this dark world.” (Ephesians 6;:12) And we can’t battle those spiritual forces that threaten to derail our lives if we’re not living with integrity. Essentially, we’re committed to taking the truth of God’s Word and applying it to all areas of our lives, such as our moral, financial, relational, and sexual lives. It’s why Paul tells us that we need to put on the Belt of Truth before we go into the spiritual battles that are all around us, and he says, “So stand ready, with truth as a belt tight around your waist” (Ephesians 6:14a GNT). As we know that the Belt of Truth holds up everything. Without truth, your life will fall apart, and spiritual darkness will take over. We put on our Belt of Truth by living with integrity. Integrity comes from the word “integer,” which means “unit of one.” Your life of integrity isn’t the pieces of the pie; it’s being the whole pie. To live a life of integrity, don’t just know the truth; but live it out, like your belt, integrity gives you stability, it holds you together in the middle through tough times, it gives you much-needed strength. Of course, living with integrity doesn’t mean perfection, it doesn’t mean always doing what’s right, to live with integrity, let people see on the outside what’s going on inside. It means what you see is what you get. In the other side we will practice hypocrisy when we know the truth and don’t do it, It’s happened when we say isn’t the same as what we do. "Hypocrisy" is the great enemy of integrity. And it’s dangerous — very dangerous. A lack of integrity in any area of your life will leave you vulnerable to Satan’s arrows. In fact, the moment you start segmenting your life into different pieces — your church life, family life, sex life, etc. — you’ve lost your integrity. You’re not living the same in all areas of your life. Does life seem overwhelming? Do you feel like darkness is winning the battle in your life? It always will if you’re living a double life. Check your integrity. Do what God’s Word teaches in all areas of your life, not just where and when it is most convenient. You have no hope without that kind of integrity. Hallelujah God bless
"He will wear righteousness like a belt and truth like an undergarment." (Isaiah 11:5 NLT)
Volume 2 ~ March, 2015
back cover photo by: Keith Purtell
Kevin Cheek
*******************
Table of Contents
*******************
Inventions Bright and New: Original Essays
Working With Ray: My Experiences with R.A. Lafferty by Greg Ketter
Ray’s Recycling Rewards Program by John Owen
Valery’s Really Eyes and the Parade of Creatures by Daniel Otto Jack Petersen
“This Was More Than a Spectacle, More Than an Illusion, It was a Communicating Instrument”: R. A. Lafferty and Hans Urs von Balthasar on the Relational Form of Being by Gregorio Montejo
Through a Glass Darkly by Craig May
Exploring Themes From Catholic Theology in Two Short Stories by R. A. Lafferty by John Ellison
Late Light by Rich Persaud
Lafferty’s Monkey by Clinton Reid Claussen
Lafferty: An Appreciation by Patrick May
Question: Why? Excuse: Because Monsters by Rich Persaud
All the People: International Fandom
Seven-Story Dream on Terschelling by Peter Sijbenga
The Lafferty Centennial In Japan by Kenji Matsuzaki
Continued on Next Book by 7 Japanese Laffertians
Russia Discovers R. A. Lafferty by Sergei Sobolev and Yakov Varganov
Those Who Know Everything: Interviews
An Interview with Nat! by Kevin Cheek
Oh, Whatta Ya Do When The Well Runs Dry: Reprinted Essays
Despair and the Duck Lady by Michael Swanwick
R. A. Lafferty—the secret sci-fi genius more than ready for a comeback by David Barnett
Twice Beheaded: R. A. Lafferty’s Thomas More by Anne Lake Prescott
Excerpt from a Thesis by John Ellison
A Richness of Endings by Dan Knight
Introduction to More than Melchisedech by Robert Whitaker Sirignano
On Sodom and Gomorrah, Texas by Andrew Ferguson
You’re On The Right Track, Kid: Reviews
R. A. Lafferty Spins a Yarn by Keith Purtell
Strange Doings - a review by Stephen R. Case
Oklahoma Gothic by Martin Heavisides
Arrive at Easterwine—a brief review by Kevin Cheek
Task Force Fifty-Eight and a Half by Heywood Reynolds
Iron Tears - a review by Darrell Schweitzer
Iron Tears - a review by Don Webb
The Emperor’s Shoestrings: Works Inspired by R. A. Lafferty
Land of the Great Horses by Peter Sijbenga
The Honking Worm and The Gorilla Cheetah by Bill Rogers
The Waltz Macabre by Logan Giannini
Fourteenth Chambers by Noah Wareness
A Fisherman’s Tune by Daniel Otto Jack Petersen
What I Wrote for Andronicus by Stephen R. Case
Willow Beeman by Howard Waldrop and Steven Utley
Primary Education: Lafferties
An Interview with R. A. Lafferty by Tom Jackson
Sodom and Gomorrah, Texas by R. A. Lafferty
Lafferty Blogs:
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
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------------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
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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
God is the one who made all things, and all things are for his glory. He wanted to have many children share his glory. Hebrews 2:10a (NCV)
See how very much our heavenly Father loves us, for he allows us to be called his children, and we really are! 1 John 3:1 (NLT)
You were formed for God's family.
God wants a family, and he created you to be a part of it. This is God's second purpose for your life, which he planned before you were born. The entire Bible is the story of God building a family who will love him, honor him, and reign with him forever. It says, "His unchanging plan has always been to adopt us into his own family by bringing us to himself through Jesus Christ. And this gave him great pleasure."
Because God is love, he treasures relationships. His very nature is relational, and he identifies himself in family terms: Father, Son, and Spirit. The Trinity is God's relationship to himself. It's the perfect pattern for relational harmony, and we should study its implications.
God has always existed in loving relationship to himself, so he has never been lonely. He didn't need a family-he desired one, so he devised a plan to create us, bring us into his family, and share with us all he has. This gives God great pleasure. The Bible says, "It was a happy day for him when he gave us our new lives, through the truth of his Word, and we became, as it were, the first children in his new family. "
When we place our faith in Christ, God becomes our Father, we become his children, other believers become our brothers and sisters, and the church becomes our spiritual family. The family of God includes all believers in the past, the present, and the future.
Every human being was created by God, but not everyone is a child of God. The only way to get into God's family is by being born again into it. You became part of the human family by your first birth, but you become a member of God's family by your second birth. God "has given us the privilege of being born again, so that we are now members of God's own family."
The invitation to be part of God's family is universal, but there is one condition: faith in Jesus. The Bible says, "You are all children of God through faith in Christ Jesus."
Your spiritual family is even more important than your physical family because it will last forever. Our families on earth are wonderful gifts from God, but they are temporary and fragile, often broken, by divorce, distance, growing old, and inevitably, death. On the other hand, our spiritual family-our relationship to other believers-will continue throughout eternity. It is a much stronger union, a more permanent bond, than blood relationships. Whenever Paul would stop to consider God's eternal purpose for us together, he would break out into praise: "When I think of the wisdom and scope of his plan I fall down on my knees and pray to the Father of all the great family of God-some of them already in heaven and some down here on earth."
-Rick Warren's Purpose Driven Life
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
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------------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
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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
ARCHITECTURAL Body
An ORGANISM that PERSONS
Gins and Arakawa 2002
Although the human condition is a crisis condition if ever there was one, few individuals and societies act with the dispatch a state of emergency requires. The fact that the human condition is a crises condition gets routinely covered up, with culture invariably functioning to obscure how dire the condition is and to float it as bearable
If organisms form themselves as persons by uptaking the environment, then they involve not only bodies but domains, spheres of activity and influence
Start by thinking of architecture as a tentative constructing toward a holding in place. Architecture's holding in place occurs within and as part of a prevailing atmospheric condition that others routinely call biosphere but which we, feeling the need to stress its dynamic nature, have renamed bioscleave
Procedural Architure/Architectural Body
Gins and Arakawa
The role of architecture as a tool for researching the body-environment towards the implementation of these considerations is paramount
The goal of an experimental teaching and learning space based on architectural procedures would be that the process of design and construction would allow students/staff to rethink, re-imagine and enact the curriculum
An Arakawa and Gins Experimental Teaching Space/A Feasibility Study 2013
Jondi Keane
An Architecture of Viability
To help to sustain one throughout life/ to stay tentative
Bioscleave House as an inter-active laboratory of everyday life
Wayfinding (unpacking discourse/meaning) through Landing Sites and Architectural Bodies
What is the metachallenge that bioscleave demands of us? Is it, I propose, wayfinding, a wayfinding defined at many scales from finding one's way as a person to finding one's way in a strange physical or social environment
Exploring the Roles of Trajectoriness, Affectivatoriness, and Imaging Along 2013
Reuben M. Baron
Figure/Ground : Double Occupations of Discourses and Events (relationships/co-existances)
So as a diagram (performative agent), the figure/ground does not function to represent even something real. But rather constructs a real that is yet to come (theoretical object/apparatus) as a new type of reality
Situated Field/Constructed Site of People, Institutions, Apparatuses, Events, Discourses
We see intraventions as heuristic devices, as apparatuses that are imbued with a will to transform.
The intravention is not autonomous but contingent and relational and dependent on many other things
The intravention is made as it happens, and it makes us at the same time
Immediate Architectural Interventions, Durations and Effects
Oren Lieberman, Alberto Altes
AEffect initiating Heuristic Life
Procedural architecture, developed in both their written and buillt discourse, providing a process by which to connect theory to practice, disciplinary inquiry to knowledge and art to life
Research should be conducted , not in a library or laboratory but where living happens, enabling the complexity of relationships to be studied within and across the organism-person-environment
Jondi Keane
Carnal Knowledge
Towards a New Materialism through the Arts
Estelle Barrett, Barbara Bolt
To provide observational heuristic devices so that persons may devise transformational and reconfigurative opportunities
Heuristic tools whether built hypothesis or discursive sequences, are of no use if they do not provide a way forward, a way of learning
This house is a tool, a procedural one
A functional tool, whether it be a hammer, a telephone, or a telescope, extends the senses, but a procedural tool examines and reorders the sensorium
Interlude : Cornering a Beginning
An object becomes the threshold for thinking feeling
Relationscapes : Movement, Art, Philosopy
Erin Manning
Born into a new territory, and that territory is myself as organism. There is no place to go but here. Each organism that persons finds the new territory that is itself, and having found it, adjusts it
Ellipsis,(gaps in everyday narratives)
The Construction of Representation of Identity
Using their bodies and immediate surroundings and environment as both subject and context
An Organism-Person-Environment
You cannot see me from where I look at myself
Francesca Woodman
An organism-person-environment has given birth to an organism-person-environment
Bioscleave
Chaos, Territory, Art
Deleuze and the framing of the earth
Elizabeth Grosz
Body, Personal Relations, Spatial Values
Upright Human Body : Space and Time
Yi Fu Tuan
Figuring It Out
The Parallel Visions of Artists and Archaeologists
Colin Renfrew
The act of relating is analysed as a constitutive feature of human agency. Relating is viewed as the continuous work of connecting and disconnecting in a fluctuating network of existential events
Categories and things may make it easier for us to grasp reality but they also hide its underlying complexities
Relationality 2005
Robert Cooper
"Claywork/Correspondences" explores how clay, as a material, and the resulting artforms, can reveal situated interactions between bodies and habitats, emphasizing the material and relational aspects of human-environment connections.
Here's a deeper dive into the concept:
Clay as a Material of Connection:
Clay, being a natural material found in the earth, becomes a tangible link between humans and their environment. The act of working with clay, from gathering the raw material to shaping and firing it, involves a direct engagement with the earth and its processes.
Correspondences and Situated Interactions:
The term "correspondences" suggests a relationship or connection between different things, in this case, the human body and the habitat. By examining claywork, we can understand how humans interact with their environment, how their bodies are shaped by their surroundings, and how these interactions are reflected in the art they create.
The study of claywork can extend beyond the object itself to encompass the broader context of human-environment interactions. By analyzing the materials, techniques, and cultural meanings associated with clay, we can gain a deeper understanding of how humans have shaped and been shaped by their environments.
Mind and material engagement | Phenomenology and the Cognitive
SQL ,often referred to as Structured Query Language, is a database computer language designed for managing data in relational database management systems (RDBMS), and originally based upon relational algebra and calculus. Its scope includes data insert, query, update and delete, schema creation and modification, and data access control. SQL was one of the first commercial languages for Edgar F. Codd's relational model, as described in his influential 1970 paper, "A Relational Model of Data for Large Shared Data Banks".Despite not adhering to the relational model as described by Codd, it became the most widely used database language.
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Claywork/Correspondences : Situated interactions between bodies and habitats.
"Claywork/Correspondences" explores how clay, as a material, and the resulting artforms, can reveal situated interactions between bodies and habitats, emphasizing the material and relational aspects of human-environment connections.
Here's a deeper dive into the concept:
Clay as a Material of Connection:
Clay, being a natural material found in the earth, becomes a tangible link between humans and their environment. The act of working with clay, from gathering the raw material to shaping and firing it, involves a direct engagement with the earth and its processes.
Correspondences and Situated Interactions:
The term "correspondences" suggests a relationship or connection between different things, in this case, the human body and the habitat. By examining claywork, we can understand how humans interact with their environment, how their bodies are shaped by their surroundings, and how these interactions are reflected in the art they create.
Examples in Art and Culture:
Ceramics and Pottery: The creation of pottery and other ceramic objects demonstrates a deep connection to the earth and its resources. The process of shaping and firing clay involves a careful manipulation of the material, reflecting a knowledge of its properties and behavior.
Figurines and Sculptures: Clay figurines and sculptures can offer insights into the beliefs, practices, and social structures of past cultures. The forms and materials used in these objects can reveal how people perceived themselves and their relationship with the natural world.
Glazing and Decoration: The application of glazes and decorations on clay objects can further enhance the connection between the material and the artist's vision. Glazes, with their diverse colors and textures, can transform the raw material into a vibrant and expressive medium.
Beyond the Object:
The study of claywork can extend beyond the object itself to encompass the broader context of human-environment interactions. By analyzing the materials, techniques, and cultural meanings associated with clay, we can gain a deeper understanding of how humans have shaped and been shaped by their environments.
Mind and material engagement | Phenomenology and the Cognitive ...
1 Dec 2018 — The preferred analytical convention is to break the line's cognitive life into pieces: first by separating ourselves fro...
Springer
Clays and the Origin of Life: The Experiments - PMC
In our view, the most promising theory to explain the origin of life is centered around the interaction of active sites on clay mi...
PubMed Central
Cherokee Unaker, British Ceramics, and Productions of Whiteness ...
But there is a key difference: in contrast to the map, Indigenous human life on land is omitted. However, three small figures can ...
British Art Studies
Show all
Generative AI is experimental.
[God] waits to be wanted. Too bad that with many of us He waits so long, so very long, in vain. — A. W. Tozer
-----------------------------------
The Search for Grace: My father and My Father
by Lee Strobel, from The Case for Grace
He was leaning back in his leather recliner in the wood-paneled den, his eyes darting back and forth between the television set and me, as if he didn’t deign to devote his full attention to our confrontation. In staccato bursts, he would lecture and scold and shout, but his eyes never met mine.
It was the evening before my high school graduation, and my dad had caught me lying to him — big-time.
Finally, he snapped his chair forward and shifted to look fully into my face, his eyes angry slits behind his glasses. He held up his left hand, waving his pinky like a taunt as he pounded each and every word: “I don’t have enough love for you to fill my little finger.”
He paused as the words smoldered. He was probably expecting me to fight back, to defend myself, to blubber or apologize or give in — at least to react in some way. But all I could do was to glare at him, my face flushed. Then after a few tense moments he sighed deeply, reclined again in his chair, and resumed watching TV. That’s when I turned my back on my father and strode toward the door.
I didn’t need him. I was brash, I was driven and ambitious — I would slice my way through the world without his help. After all, I was about to make almost a hundred dollars a week at a summer job as a reporter for a rural newspaper in Woodstock, Illinois, and live on my own at a boarding house.
A plan formulated in my mind as I slammed the back door and began the trek toward the train station, lugging the duffel bag I had hurriedly packed. I would ask the newspaper to keep me on after the summer. Lots of reporters have succeeded without college, so why not me? Soon I’d make a name for myself. I’d impress the editors at the Chicago papers and eventually break into the big city. I’d ask my girlfriend to move in with me. I was determined to make it on my own — and never to go back home.
Someday, there would be payback. The day would come when my father would unfold the Chicago Tribune and his eye would catch my byline on a front-page exclusive. That would show him.
I was on a mission — and it was fueled by rage. But what I didn’t realize as I marched down the gravel shoulder of the highway on that sultry June evening was that I was actually launching a far different quest than what I had supposed. It was a journey that I couldn’t understand back then — and which would one day reshape my life in ways I never could have imagined.
That day I embarked on a lifelong pursuit of grace.
Grace Withheld, Grace Extended
See to it that no one misses the grace of God. — Hebrews 12:15
I always wondered: Would I cry when my father died?
After the confrontation in which my dad declared he didn’t have enough love for me to fill his little finger, I stormed out of the house, determined never to return. I lived for two months in a small apartment nearly forty miles away as I worked as a reporter for a small daily newspaper. The publisher agreed to hire me beyond the summer. My future seemed set.
I never heard from my father, but my mother kept urging me to return. She would call and write to tell me my dad certainly couldn’t have meant what he said. Finally, I did come home briefly, but my father and I never discussed the incident that prompted me to leave. I never broached it, and neither did he. We maintained a civil but distant relationship through the years.
He paid for my college tuition, for which I never thanked him. He never wrote, visited, or came to my graduation. When I got married after my sophomore year at the University of Missouri, my parents hosted the reception, but my dad and I never had a heart-to-heart talk.
Fresh from Missouri’s journalism school, I was hired as a general assignment reporter at the Chicago Tribune, later developing an interest in law. I took a leave of absence to study at Yale Law School, planning to return to the Tribune as legal editor.
A few days before my graduation, I settled into a cubicle in the law school’s gothic library and unfolded the New York Times for a leisurely morning of reading. I was already prepared for my final exams and was getting excited about returning to Chicago. Then my friend Howard appeared. I folded the newspaper and greeted him; he stared at me as if he had something urgent to say but couldn’t find the right words. “What’s wrong?” I asked. He didn’t answer, but somehow I knew. “My father died, right?” He nodded, then led me to the privacy of a small alcove, where I sobbed inconsolably.
Nothing heals like grace
Alone with My Father
Before my father’s wake began at the funeral parlor, I asked for the room to be cleared. I stood in front of the open casket for the longest time. A lifetime of thoughts tumbled through my mind. My emotions churned. There was nothing to say, and yet there was everything to say.
So many times in my life, I had rationalized away my need to take responsibility for the role I had played in our relational breakdown. He’s the one who should be apologizing to me. Or pride got in my way. Why should I go crawling to him? Or sometimes I’d just put it off. I can always handle that later.
Finally, after a long period of silence, I managed to whisper the words I desperately wished I had spoken so many years earlier: “I’m sorry, Dad.”
Sorry for the ways I had rebelled against him, lied to him, and disrespected him over the years. Sorry for my ingratitude. Sorry for the bitterness and rancor I had allowed to poison my heart. For the first time, I admitted my own culpability in our relational strife.
Then came my last words to my father: “I forgive you.” As best I could, I extended him grace — too late for our relationship, but in so many ways liberating and life-changing for me.
Over time, I found that nothing heals like grace.
Unexpected Words
Soon business associates, neighbors, golfing buddies, and others arrived at the wake to offer condolences to my mother and other family members. I sat by myself in a folding chair off to the side. I was dealing with deep and conflicted emotions and didn’t feel like interacting with anyone.
One of my dad’s business associates walked over and sat down beside me. “Are you Lee?” he asked.
“Yes, I am,” I said. We shook hands.
“Well, it’s great to finally meet you after hearing so much about you,” he said. “Your dad could never stop talking about you. He was so proud of you and excited about what you’re doing. Every time you’d have an article in the Tribune, he’d clip it and show it to everyone. When you went off to Yale — well, he was bursting with pride. He was always showing us pictures of your kids. He couldn’t stop bragging about you. It’s good to finally put a face with the name because we heard your name a lot from your dad. ‘Lee’s doing this.’ ‘Lee’s doing that.’ ‘Did you see Lee’s article on the front page?’ But then, I suppose you knew all that.”
My mind reeled as I tried to conceal my astonishment. I couldn’t help wondering what might have been different if those words had come to me directly from my dad.
When I became a follower of Jesus several years later, I saw the stark contrast. Here, there was no concealing how my Father felt about me. In direct declarations, the Bible shouted over and over: God’s love for me is unrestrained and unconditional; His grace is lavish and unending. I am His workmanship and His pride, and He couldn’t stand the thought of spending eternity without me in His family. And as God’s grace utterly rocked my life — forgiving me, adopting me, and changing my life and my eternity — something else became clear: how tragic it would be to withhold the news of that grace from others. How could I revel in it myself but never pass it along to a world that is dying for it? As atheist Penn Jillette said, “How much do you have to hate somebody to believe that everlasting life is possible and not tell them that?”
As the apostle Paul asked, how can people believe in Christ if they have never heard about Him?
“[God] dispenses His goodness not with an eyedropper but a fire hydrant. Your heart is a Dixie cup and His grace is the Mediterranean Sea. You simply can’t contain it all,” said Max Lucado. “So let it bubble over. Spill out. Pour forth. ‘Freely you have received, freely give.’”
Writing about my journey of grace in this book has only strengthened my resolve to emulate the apostle Paul. “What matters most to me,” Paul wrote, “is to finish what God started: the job the Master Jesus gave me of letting everyone I meet know all about this incredibly extravagant generosity of God.”
That is the joyful task of every follower of Jesus.
Someday may it be written about me on my tombstone: He was so amazed by God’s grace that he couldn’t keep it to himself.
Excerpted from The Case for Grace by Lee Strobel, Zondervan.
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
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------------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
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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
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#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
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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
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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
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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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
Humanistic Mystic Movement - Building Inclusive Futures by Daniel Arrhakis (2025)
Humanistic Mystic Movement - Building Inclusive Futures
A futuristic vision of the world implies building inclusive futures in which everyone can think, dream, participate and create freely, and in which everyone can access and fully exist.
To build an inclusive future, it is important to recognize, respect, and consider the individual and collective differences present in sociocultural, family, and work environments.
It's also necessary to develop communication, relational, and managerial skills that foster interaction between people with different backgrounds, identities, experiences, and perspectives.
Furthermore, it involves a critical analysis of beliefs, attitudes, and behaviors related to the individual, diversity, social context, education, health, and environmental preservation.
Movimento Místico Humanista - Construir Futuros Inclusivos
Uma visão futurista do mundo implica a construção de futuros inclusivos em que todos possam pensar, sonhar, participar e criar em liberdade e aos quais todos possam ter acesso e existir plenamente.
Para a construção de um futuro inclusivo é importante reconhecer, respeitar e considerar as diferenças individuais e coletivas presentes nos ambientes sociocultural, familiar e de trabalho.
Também é necessário desenvolver aptidões comunicativas, relacionais e gerenciais que favoreçam a interação entre pessoas com diferentes origens, identidades, experiências e perspetivas.
Além disso implica uma análise crítica sobre crenças, atitudes e comportamentos relacionados ao indivíduo, à diversidade, ao contexto social, à educação, à saúde e à preservação ambiental.
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
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Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------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
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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
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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
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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
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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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
A dark pattern is "a user interface that has been carefully crafted to trick users into doing things, such as buying insurance with their purchase or signing up for recurring bills." The neologism dark pattern was coined by Harry Brignull on July 28, 2010 with the registration of darkpatterns.org, a "pattern library with the specific goal of naming and shaming deceptive user interfaces.Bait-and-switch patterns advertise a free (or greatly reduced) product or service which is wholly unavailable or stocked in small quantities. After it is apparent the product is no longer available, they are exposed to other priced products similar to the one advertised. This is common in software installers, where a button will be presented in the fashion of a typical continuation button. It is common that one has to accept the program's terms of service, so a dark pattern would show a prominent "I accept these terms" button on a page where the user is asked to accept the terms of a program unrelated to the program they are trying to install. Since the user will typically accept the terms by force of habit, the unrelated program can subsequently be installed. The installer's authors do this because they are paid by the authors of the unrelated program for each install that they procure. The alternative route in the installer, allowing the user to skip installing the unrelated program, is much less prominently displayed or seems counter-intuitive (such as declining the terms of service).
en.wikipedia.org/wiki/Dark_pattern
This pattern is also used by some websites, where the user is shown a page where information is asked that is not required. For example, one would fill out a username and password on one page, and after clicking the "next" button the user is asked for their email address with another "next" button as the only option. It is not apparent that the step can be skipped. When simply pressing "next" without entering their personal information, however, the website will just continue. In some cases, a method to skip the step is visible but not shown as a button (instead, usually, as a small and greyed-out link) so that it does not stand out to the user. Other examples that often use this pattern are inviting friends by entering someone else's email address, uploading a profile picture, or selecting interests.
”This is a civilizational moment in a way I’m not sure we’re all reckoning with,” Harris said on stage. “It’s a historical moment when a species that is intelligent builds technology that ... can simulate a puppet version of its creator, and the puppet can control the master. That’s an unprecedented situation to be in. That could be the end of human agency, when you can perfectly simulate not just the strengths of people but their weaknesses.”
Where does technology exploit our minds weaknesses?
I learned to think this way when I was a magician. Magicians start by looking for blind spots, edges, vulnerabilities and limits of people’s perception, so they can influence what people do without them even realizing it. Once you know how to push people’s buttons, you can play them like a piano.
That’s me performing sleight of hand magic at my mother’s birthday party
And this is exactly what product designers do to your mind. They play your psychological vulnerabilities (consciously and unconsciously) against you in the race to grab your attention.
I want to show you how they do it.
Hijack #1: If You Control the Menu, You Control the Choices
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Western Culture is built around ideals of individual choice and freedom. Millions of us fiercely defend our right to make “free” choices, while we ignore how we’re manipulated upstream by limited menus we didn’t choose.
This is exactly what magicians do. They give people the illusion of free choice while architecting the menu so that they win, no matter what you choose. I can’t emphasize how deep this insight is.
When people are given a menu of choices, they rarely ask:
“what’s not on the menu?”
“why am I being given these options and not others?”
“do I know the menu provider’s goals?”
“is this menu empowering for my original need, or are the choices actually a distraction?” (e.g. an overwhelmingly array of toothpastes)
Photo by Kevin McShane
How empowering is this menu of choices for the need, “I ran out of toothpaste”?
For example, imagine you’re out with friends on a Tuesday night and want to keep the conversation going. You open Yelp to find nearby recommendations and see a list of bars. The group turns into a huddle of faces staring down at their phones comparing bars. They scrutinize the photos of each, comparing cocktail drinks. Is this menu still relevant to the original desire of the group?
It’s not that bars aren’t a good choice, it’s that Yelp substituted the group’s original question (“where can we go to keep talking?”) with a different question (“what’s a bar with good photos of cocktails?”) all by shaping the menu.
Moreover, the group falls for the illusion that Yelp’s menu represents acomplete set of choices for where to go. While looking down at their phones, they don’t see the park across the street with a band playing live music. They miss the pop-up gallery on the other side of the street serving crepes and coffee. Neither of those show up on Yelp’s menu.
Yelp subtly reframes the group’s need “where can we go to keep talking?” in terms of photos of cocktails served.
The more choices technology gives us in nearly every domain of our lives (information, events, places to go, friends, dating, jobs) — the more we assume that our phone is always the most empowering and useful menu to pick from. Is it?
The “most empowering” menu is different than the menu that has the most choices. But when we blindly surrender to the menus we’re given, it’s easy to lose track of the difference:
“Who’s free tonight to hang out?” becomes a menu of most recent people who texted us (who we could ping).
“What’s happening in the world?” becomes a menu of news feed stories.
“Who’s single to go on a date?” becomes a menu of faces to swipe on Tinder (instead of local events with friends, or urban adventures nearby).
“I have to respond to this email.” becomes a menu of keys to type a response (instead of empowering ways to communicate with a person).
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All user interfaces are menus. What if your email client gave you empowering choices of ways to respond, instead of “what message do you want to type back?” (Design by Tristan Harris)
When we wake up in the morning and turn our phone over to see a list of notifications — it frames the experience of “waking up in the morning” around a menu of “all the things I’ve missed since yesterday.”
A list of notifications when we wake up in the morning — how empowering is this menu of choices when we wake up? Does it reflect what we care about? (credit to Joe Edelman)
By shaping the menus we pick from, technology hijacks the way we perceive our choices and replaces them new ones. But the closer we pay attention to the options we’re given, the more we’ll notice when they don’t actually align with our true needs.
Hijack #2: Put a Slot Machine In a Billion Pockets
If you’re an app, how do you keep people hooked? Turn yourself into a slot machine.
The average person checks their phone 150 times a day. Why do we do this? Are we making 150 conscious choices?
How often do you check your email per day?
One major reason why is the #1 psychological ingredient in slot machines:intermittent variable rewards.
If you want to maximize addictiveness, all tech designers need to do is link a user’s action (like pulling a lever) with a variable reward. You pull a lever and immediately receive either an enticing reward (a match, a prize!) or nothing. Addictiveness is maximized when the rate of reward is most variable.
Does this effect really work on people? Yes. Slot machines make more money in the United States than baseball, movies, and theme parkscombined. Relative to other kinds of gambling, people get ‘problematically involved’ with slot machines 3–4x faster according to NYU professor Natasha Dow Shull, author of Addiction by Design.
But here’s the unfortunate truth — several billion people have a slot machine their pocket:
When we pull our phone out of our pocket, we’re playing a slot machineto see what notifications we got.
When we pull to refresh our email, we’re playing a slot machine to see what new email we got.
When we swipe down our finger to scroll the Instagram feed, we’replaying a slot machine to see what photo comes next.
When we swipe faces left/right on dating apps like Tinder, we’re playing a slot machine to see if we got a match.
When we tap the # of red notifications, we’re playing a slot machine to what’s underneath.
Apps and websites sprinkle intermittent variable rewards all over their products because it’s good for business.
But in other cases, slot machines emerge by accident. For example, there is no malicious corporation behind all of email who consciously chose to make it a slot machine. No one profits when millions check their email and nothing’s there. Neither did Apple and Google’s designers want phones to work like slot machines. It emerged by accident.
But now companies like Apple and Google have a responsibility to reduce these effects by converting intermittent variable rewards into less addictive, more predictable ones with better design. For example, they could empower people to set predictable times during the day or week for when they want to check “slot machine” apps, and correspondingly adjust when new messages are delivered to align with those times.
Hijack #3: Fear of Missing Something Important (FOMSI)
Another way apps and websites hijack people’s minds is by inducing a “1% chance you could be missing something important.”
If I convince you that I’m a channel for important information, messages, friendships, or potential sexual opportunities — it will be hard for you to turn me off, unsubscribe, or remove your account — because (aha, I win) you might miss something important:
This keeps us subscribed to newsletters even after they haven’t delivered recent benefits (“what if I miss a future announcement?”)
This keeps us “friended” to people with whom we haven’t spoke in ages (“what if I miss something important from them?”)
This keeps us swiping faces on dating apps, even when we haven’t even met up with anyone in a while (“what if I miss that one hot match who likes me?”)
This keeps us using social media (“what if I miss that important news story or fall behind what my friends are talking about?”)
But if we zoom into that fear, we’ll discover that it’s unbounded: we’ll always miss something important at any point when we stop using something.
There are magic moments on Facebook we’ll miss by not using it for the 6th hour (e.g. an old friend who’s visiting town right now).
There are magic moments we’ll miss on Tinder (e.g. our dream romantic partner) by not swiping our 700th match.
There are emergency phone calls we’ll miss if we’re not connected 24/7.
But living moment to moment with the fear of missing something isn’t how we’re built to live.
And it’s amazing how quickly, once we let go of that fear, we wake up from the illusion. When we unplug for more than a day, unsubscribe from those notifications, or go to Camp Grounded — the concerns we thought we’d have don’t actually happen.
We don’t miss what we don’t see.
The thought, “what if I miss something important?” is generated in advance of unplugging, unsubscribing, or turning off — not after. Imagine if tech companies recognized that, and helped us proactively tune our relationships with friends and businesses in terms of what we define as “time well spent” for our lives, instead of in terms of what we might miss.
Hijack #4: Social Approval
Easily one of the most persuasive things a human being can receive.
We’re all vulnerable to social approval. The need to belong, to be approved or appreciated by our peers is among the highest human motivations. But now our social approval is in the hands of tech companies (like when we’re tagged in a photo).
When I get tagged by my friend Marc (above), I imagine him making aconscious choice to tag me. But I don’t see how a company like Facebook orchestrated him doing that in the first place.
Facebook, Instagram or SnapChat can manipulate how often people get tagged in photos by automatically suggesting all the faces people should tag (e.g. by showing a box with a 1-click confirmation, “Tag Tristan in this photo?”).
So when Marc tags me, he’s actually responding to Facebook’s suggestion, not making an independent choice. But through design choices like this,Facebook controls the multiplier for how often millions of people experience their social approval on the line.
Facebook uses automatic suggestions like this to get people to tag more people, creating more social externalities and interruptions.
The same happens when we change our main profile photo — Facebook knows that’s a moment when we’re vulnerable to social approval: “what do my friends think of my new pic?” Facebook can rank this higher in the news feed, so it sticks around for longer and more friends will like or comment on it. Each time they like or comment on it, I’ll get pulled right back.
Everyone innately responds to social approval, but some demographics (teenagers) are more vulnerable to it than others. That’s why it’s so important to recognize how powerful designers are when they exploit this vulnerability.
Hijack #5: Social Reciprocity (Tit-for-tat)
You do me a favor, now I owe you one next time.
You say, “thank you”— I have to say “you’re welcome.”
You send me an email— it’s rude not to get back to you.
You follow me — it’s rude not to follow you back. (especially for teenagers)
We are vulnerable to needing to reciprocate others’ gestures. But as with Social Approval, tech companies now manipulate how often we experience it.
In some cases, it’s by accident. Email, texting and messaging apps are social reciprocity factories. But in other cases, companies exploit this vulnerability on purpose.
LinkedIn is the most obvious offender. LinkedIn wants as many people creating social obligations for each other as possible, because each time they reciprocate (by accepting a connection, responding to a message, or endorsing someone back for a skill) they have to come back through linkedin.com where they can get people to spend more time.
Like Facebook, LinkedIn exploits an asymmetry in perception. When you receive an invitation from someone to connect, you imagine that person making a conscious choice to invite you, when in reality, they likely unconsciously responded to LinkedIn’s list of suggested contacts. In other words, LinkedIn turns your unconscious impulses (to “add” a person) into new social obligations that millions of people feel obligated to repay. All while they profit from the time people spend doing it.
Imagine millions of people getting interrupted like this throughout their day, running around like chickens with their heads cut off, reciprocating each other — all designed by companies who profit from it.
Welcome to social media.
After accepting an endorsement, LinkedIn takes advantage of your bias to reciprocate by offering *four* additional people for you to endorse in return.
Imagine if technology companies had a responsibility to minimize social reciprocity. Or if there was an “FDA for Tech” that monitored when technology companies abused these biases?
Hijack #6: Bottomless bowls, Infinite Feeds, and Autoplay
YouTube autoplays the next video after a countdown
Another way to hijack people is to keep them consuming things, even when they aren’t hungry anymore.
How? Easy. Take an experience that was bounded and finite, and turn it into a bottomless flow that keeps going.
Cornell professor Brian Wansink demonstrated this in his study showing you can trick people into keep eating soup by giving them a bottomless bowl that automatically refills as they eat. With bottomless bowls, people eat 73% more calories than those with normal bowls and underestimate how many calories they ate by 140 calories.
Tech companies exploit the same principle. News feeds are purposely designed to auto-refill with reasons to keep you scrolling, and purposely eliminate any reason for you to pause, reconsider or leave.
It’s also why video and social media sites like Netflix, YouTube or Facebookautoplay the next video after a countdown instead of waiting for you to make a conscious choice (in case you won’t). A huge portion of traffic on these websites is driven by autoplaying the next thing.
Facebook autoplays the next video after a countdown
Tech companies often claim that “we’re just making it easier for users to see the video they want to watch” when they are actually serving their business interests. And you can’t blame them, because increasing “time spent” is the currency they compete for.
Instead, imagine if technology companies empowered you to consciously bound your experience to align with what would be “time well spent” for you. Not just bounding the quantity of time you spend, but the qualities of what would be “time well spent.”
Hijack #7: Instant Interruption vs. “Respectful” Delivery
Companies know that messages that interrupt people immediately are more persuasive at getting people to respond than messages delivered asynchronously (like email or any deferred inbox).
Given the choice, Facebook Messenger (or WhatsApp, WeChat or SnapChat for that matter) would prefer to design their messaging system to interrupt recipients immediately (and show a chat box) instead of helping users respect each other’s attention.
In other words, interruption is good for business.
It’s also in their interest to heighten the feeling of urgency and social reciprocity. For example, Facebook automatically tells the sender when you “saw” their message, instead of letting you avoid disclosing whether you read it(“now that you know I’ve seen the message, I feel even more obligated to respond.”) By contrast, Apple more respectfully lets users toggle “Read Receipts” on or off.
The problem is, while messaging apps maximize interruptions in the name of business, it creates a tragedy of the commons that ruins global attention spans and causes billions of interruptions every day. This is a huge problem we need to fix with shared design standards (potentially, as part of Time Well Spent).
Hijack #8: Bundling Your Reasons with Their Reasons
Another way apps hijack you is by taking your reasons for visiting the app (to perform a task) and make them inseparable from the app’s business reasons(maximizing how much we consume once we’re there).
For example, in the physical world of grocery stories, the #1 and #2 most popular reasons to visit are pharmacy refills and buying milk. But grocery stores want to maximize how much people buy, so they put the pharmacy and the milk at the back of the store.
In other words, they make the thing customers want (milk, pharmacy) inseparable from what the business wants. If stores were truly organized to support people, they would put the most popular items in the front.
Tech companies design their websites the same way. For example, when you you want to look up a Facebook event happening tonight (your reason) the Facebook app doesn’t allow you to access it without first landing on the news feed (their reasons), and that’s on purpose. Facebook wants to convert every reason you have for using Facebook, into their reason which is to maximize the time you spend consuming things.
In an ideal world, apps would always give you a direct way to get what you want separately from what they want.
Imagine a digital “bill of rights” outlining design standards that forced the products that billions of people used to support empowering ways to navigate towards their goals.
Hijack #9: Inconvenient Choices
We’re told that it’s enough for businesses to “make choices available.”
“If you don’t like it you can always use a different product.”
“If you don’t like it, you can always unsubscribe.”
“If you’re addicted to our app, you can always uninstall it from your phone.”
Businesses naturally want to make the choices they want you to make easier, and the choices they don’t want you to make harder. Magicians do the same thing. You make it easier for a spectator to pick the thing you want them to pick, and harder to pick the thing you don’t.
For example, NYTimes.com let’s you “make a free choice” to cancel your digital subscription. But instead of just doing it when you hit “Cancel Subscription,” they force you to call a phone number that’s only open at certain times.
NYTimes claims it’s giving a free choice to cancel your account
Instead of viewing the world in terms of choice availability of choices, we should view the world in terms of friction required to enact choices.
Imagine a world where choices were labeled with how difficult they were to fulfill (like coefficients of friction) and there was an FDA for Tech that labeled these difficulties and set standards for how easy navigation should be.
Hijack #10: Forecasting Errors, “Foot in the Door” strategies
Facebook promises an easy choice to “See Photo.” Would we still click if it gave the true price tag?
People don’t intuitively forecast the true cost of a click when it’s presented to them. Sales people use “foot in the door” techniques by asking for a small innocuous request to begin with (“just one click”), and escalating from there (“why don’t you stay awhile?”). Virtually all engagement websites use this trick.
Imagine if web browsers and smartphones, the gateways through which people make these choices, were truly watching out for people and helped them forecast the consequences of clicks (based on real data about what it actually costs most people?).
That’s why I add “Estimated reading time” to the top of my posts. When you put the “true cost” of a choice in front of people, you’re treating your users or audience with dignity and respect.
In a Time Well Spent internet, choices would be framed in terms of projected cost and benefit, so people were empowered to make informed choices.
TripAdvisor uses a “foot in the door” technique by asking for a single click review (“How many stars?”) while hiding the three page form behind the click.
Summary And How We Can Fix This
Are you upset that technology is hijacking your agency? I am too. I’ve listed a few techniques but there are literally thousands. Imagine whole bookshelves, seminars, workshops and trainings that teach aspiring tech entrepreneurs techniques like this. They exist.
The ultimate freedom is a free mind, and we need technology to be on our team to help us live, feel, think and act freely.
We need our smartphones, notifications screens and web browsers to be exoskeletons for our minds and interpersonal relationships that put our values, not our impulses, first. People’s time is valuable. And we should protect it with the same rigor as privacy and other digital rights.
Tristan Harris was Product Philosopher at Google until 2016 where he studied how technology affects a billion people’s attention, wellbeing and behavior.
For more information and get involved, check out timewellspent.io. This piece is cross-posted on Medium.
MARCH 7, 2016 by TRISTAN HARRIS
Tech Companies Design Your Life, Here’s Why You Should Care
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Four years ago, I sold my company to Google and joined the ranks there. I spent my last three years there as Product Philosopher, looking at the profound ways the design of screens shape billions of human lives – and asking what it means for them to do so ethically and responsibly.
What I came away with is that something’s not right with how our screens are designed, and I’m writing this to help you understand why you should care, and what you can do about it.
I shouldn’t have to cite statistics about the central role screens play in our lives. Billions of us turn to smartphones every day. We wake up with them. We fall asleep with them. You’re looking at one right now.
Of course, new technologies always reshape society, and it’s always tempting to worry about them solely for this reason. Socrates worried that the technology of writing would “create forgetfulness in the learners’ souls, because they [would] not use their memories.” We worried that newspapers would make people stop talking to each other on the subway. We worried that we would use television to “amuse ourselves to death.”
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“And see!” people say. “Nothing bad happened!” Isn’t humanity more prosperous, more technically sophisticated, and better connected than ever? Is it really that big of a problem that people spend so much time staring at their smartphones? Isn’t it just another cultural shift, like all the others? Won’t we just adapt?
Invisibility of the New Normal
I don’t think so. What’s missing from this perspective is that all these technologies (books, television, radio, newspapers) did change everything about society, we just don’t see it. They replaced our old menus of choices with new ones. Each new menu eventually became the new normal – “the way things are” – and, after our memories of old menus had faded into the past, the new menus became “the way things have always been.”
gold-fish-in-waterASK A FISH ABOUT WATER AND THEY’LL RESPOND, “WHAT’S WATER?”
Consider that the average American now watches more than 5.5 hours of television per day. Regardless of whether you think TV is good or bad, hundreds of millions of people spend 30% of their waking hours watching it. It’s hard to overstate the vast consequences of this shift– for the blood flows of millions of people, for our understanding of reality, for the relational habits of families, for the strategies and outcomes of political campaigns. Yet for those who live with them day-to-day, they are invisible.
So what best describes the nature of what smart phones are “doing” to us?
A New “Perfect” Choice on Life’s Menu
If I had to summarize it, it’s this: Our phone puts a new choice on life’s menu, in any moment, that’s “sweeter” than reality.
If, at any moment, reality gets dull or boring, our phone offers something more pleasurable, more productive and even more educational than whatever reality gives us.
And this new choice fits into any moment. Our phone offers 5-second choices like “checking email” that feel better than waiting in line. And it offers 30-minute choices like a podcast that will teach you that thing you’ve been dying to learn, which feels better than a 30-minute walk in silence.
Once you see your phone this way, wouldn’t you turn to it more often? It always happens this way: when new things fill our needs better than the old, we switch:
When cheaper, faster to prepare food appears, we switch: Packaged foods.
When more accurate search engines appear, we switch: Google.
When cheaper, faster forms of transportation appear, we switch: Uber.
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So it goes with phones.
But it also changes us on the inside. We grow less and less patient for reality as it is, especially when it’s boring or uncomfortable. We come to expect more from the world, more rapidly. And because reality can’t live up to our expectations, it reinforces how often we want to turn to our screens. A self-reinforcing feedback loop.
And because of the attention economy, every product will only get more persuasive over time. Facebook must become more persuasive if it wants to compete with YouTube and survive. YouTube must become more persuasive if it wants to compete with Facebook. And we’re not just talking about ‘cheap’ amusement (aka cat videos). These products will only get better at giving us choices that make every bone in our body say, “yeah I want that!”
So what’s wrong about this? If the entire attention economy is working to fill us up with more perfect-feeling things to spend time on, which outcompete being with the discomfort of ourselves or our surroundings, shouldn’t that be fantastic?
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Clearly something is missing from this picture. But what is it?
Maybe it’s that “filling people up,” even with incredible choices on screens somehow doesn’t add up to a life well lived. Or that those choices weren’t what we wished we’d been persuaded to do in the bigger sense of our lives.
With design as it is today, screens threaten our fundamental agency. Maybe we are “choosing,” but we are choosing from persuasive menus driven by companies who have different goals than ours.
And that begs us to ask, “what are our goals?” or how do we want to spend our time? There are as many “good lives” as there are people, but our technology (and the attention economy) don’t really seem on our team to give us the agency to live according to them.
A Whole New Persuasive World
And it’s about to get a lot worse. Virtual Reality and Augmented Reality will offer whole new immersive realities that are even more persuasive than physical reality.
zuck-virtual-reality
When you could have sex with the person of your dreams, or fly through jungles in the Amazon rainforest while looking over at your best friend flying next to you, who would want to stick with reality?
By the way, this isn’t your usual “look, VR is coming!” prediction. This is the real deal. Facebook recently spent $2 billion to buy Oculus Rift, and hopes to put them in every home for this holiday season. Just like the late 1980’s when suddenly everyone you knew had a Nintendo.
Acknowledging the Problem
So we have a fundamental misalignment– between what the attention economy is competing to produce (more perfect, persuasive choices that fit into any moment), the design of our phones, and the aspirations people have for their lives (their definition of “the good life”).
AttentionEconomyMisalignment
So what’s missing from the design of our phones? I like to use the metaphor of ergonomics. When you think of ergonomics, you might think of boring things like how a cup fits into someone’s hand, but it’s way more than that.
If regular design is about how we want things to work, ergonomics is concerned with failure modes and extremes: how things break under repetition, stress or other limits. And the goal of ergonomics is to create an alignment between those limits, and the goals people have for how they want to use it.
10 Handle diameter
For example, an ergonomically designed coffee mug aligns the natural fatigue of forearm muscles during use (as a person “lifts” it to sip) with how frequently people want to use it, so they still can lift it successfully with repetition.
What does this have to do with phones?
Our minds urgently need a new “ergonomics,” based on the mind’s limited capacities, biases, fatigue curves and the ways it forms habits. The attention economy tears our minds apart. With its onslaught of never-ending choices, never-ending supply of relationships and obligations, the attention economy bulldozes the natural shape of our physical and psychological limits and turns impulses into bad habits.
Just like the food industry manipulates our innate biases for salt, sugar and fat with perfectly engineered combinations, the tech industry bulldozes our innate biases for Social Reciprocity (we’re built to get back to others), Social Approval (we’re built to care what others think of us), Social Comparison (how we’re doing with respect to our peers) and Novelty-seeking (we’re built to seek surprises over the predictable).
Millions of years of evolution did a great job giving us genes to care about how others perceive us. But Facebook bulldozes those biases, by forcing us to deal with how thousands of people perceive us.
This isn’t to say that phones today aren’t designed ergonomically, they are just ergonomic to a narrow scope of goals:
for a single user (holding the phone)
for single tasks (opening an app)
for individual choices
And a narrow scope of human physical limits:
how far our thumb has to reach to tap an app
how loud the phone must vibrate for our ear to hear it
So what if we expanded the scope of ergonomics for a more holistic set of human goals:
a holistic sense of a person
a holistic sense of how they want to spend their time (and goals)
a holistic sense of their relationships (interpersonal & social choices)
an ability to make holistic choices (including opportunity costs & externalities)
an ability to reflect, before and after
…and what if we aligned these goals with a more holistic set of our mental, social and emotional limits?
A New Kind of Ergonomics
Let’s call this new kind of ergonomics “Holistic Ergonomics”. Holistic Ergonomics recognizes our holistic mental and emotional limits [vulnerabilities, fatigue and ways our minds form habits] and aligns them with the holistic goals we have for our lives (not just the single tasks). Holistic Ergonomics is built to give us back agency in an increasingly persuasive attention economy.
Joe Edelman and I have taught design workshops on this, calling it EmpoweringDesign.org, or designing to empower people’s agency.
It includes an interpersonal ergonomics, to “align” our social psychological instincts with how and when we want to make ourselves available to others (like in my TED talk), so that we can reclaim agency over how we want to relate to others.
Just like an ergonomic coffee mug is safe to live by, even under repetition, over and over again, without causing harm to ourselves or others, in a Time Well Spent world our phones would be designed with Holistic Ergonomics, so that even under repetition, over and over again, our phones do not cause harm to ourselves or others — our phones become safe to live by. They support our Agency.
How to Change the Game
Android.Apple_.001
Right now, two companies are responsible for the primary screens that a billion people live by. Apple and Google make the two dominant smartphone platforms. Facebook and Microsoft make leading Virtual and Augmented Reality platforms, Oculus and Hololens.
You might think that it’s against the business models of Apple and Google to facilitate people’s agency, which might include making it easier to spend time off the screen, and use apps less. But it’s not.
Apple and Google, like all companies, respond to what consumers demand.
When Privacy became important to you, they responded. They developed new privacy and security features, and it sparked a whole new public conversation and debate. It’s now the most popular concern about technology discussed in media.
When Organic food became important to you, they responded too. Walmart added it to their stores.
We need to do the same thing with this issue. Until now, with this experience of distraction, social media, and this vague sense that we don’t feel good when we use our phones for too long, there’s been nothing to rally behind. It’s too diffuse. We receive so many incredible benefits from tech, but we’ve also been feeling like we’ve been losing ourselves, and our humanity?
But we’re naming it now.
What’s at stake is our Agency. Our ability to live the lives we want to live, choose the way we want to choose, and relate to others the way we want to relate to them – through technology. This is a design problem, not just a personal responsibility problem.
If you want your Agency, you need to tell these companies that that’s what you want from them– not just another shiny new phone that overloads our psychological vulnerabilities. Tell them you want your Agency back, and to help you spend your time the way you want to, and they will respond.
I hope this helps spark that bigger conversation.
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
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------------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
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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
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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
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for activating the format or for inviting the installation
please contact 1@colonel.dk
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Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark