Baroque Science,Experimental Art? Jusepe de Ribera and other Neapolitan Sceptics

Current attempts by historians of science to revise the narrative of the Scientific Revolution by using the concept of the Baroque have important implications for art history. Correspondences between baroque art and baroque science gain new complexity when the rational, epistemologically optimistic image of the New Science is put in doubt. Rather than a method of objective observation, early seventeenth‐century science and art share an acceptance of the constructed nature of reality, of human epistemological limitations and of the role of passions in the observation of the world. While Caravaggio has revolutionised art precisely through his interest in questions of knowledge and sensorial perception and by his subversive transformation of Renaissance epistemological values and ideals, this article concentrates on the work of Jusepe de Ribera, who made the senses and their shortcomings a major theme of his pictorial research. Ribera's epistemology is examined in the context of contemporary Neapolitan philosophy and science. Through the confrontation of some of the Spagnoletto's paintings with the work of figures such as Giovanni Battista della Porta, Federico Cesi and particularly Colantonio Stigliola, it becomes clear that early modern Neapolitan faith in rational knowledge was more ambiguous than is sometimes assumed.     

Comments on Jörn Staecker: The Concepts of imitatio and translatio: Perceptions of a Viking‐Age Past.

Three groups of motifs – cervids, boats and human figures – dominate North European hunter‐gatherer rock art. The scarcity of explicit narrative scenes makes the interpretation of this art a very difficult task, but important clues can be found in a group of ‘ambiguous’ images, where the said three categories are combined in ‘unrealistic’ ways. In this paper, the prospect of an ethnographically informed approach to their interpretation is explored, using as a case study the rock painting of Pyhänpää (Central Finland) and ethnographic material drawn chiefly from Saami religion and traditional Finnish epic poetry. It is argued that the ambiguous imagery of rock art has a clear counterpart in the pre‐Christian religious tradition, where cervids and boats have a similarly ambiguous nature. The painting, which shows an elk, a boat and a human figure merged together, is interpreted as representing the shamanic flight and the sense of co‐essence between the shaman and his spirit helper beings. The making of the painting is associated with the belief that such beings lived inside specific rock cliffs and that their power could be obtained through visits to rock art sites.     

Merchandising and sanctity: the invasive cult of Padre Pio

In the final decades of the twentieth century, the Blessed Padre Pio da Pietrelcina (1887-1968) became a 'saint' of global stature. It is most exceptional for the cult of a saint to acquire such dimensions in so short a time. Further, this is the story not of someone with a modern profile of sanctity,but someone who on the contrary answers to the traditional model of sanctity, and whose cult is moreover characterized by an instrumental devotional repertoire. Despite this 'classic' model, his person and cult are extremely ambiguous. This article describes and analyses the processes which have brought and continue to bring this about, and the recent development of the cult in Italy. By these processes a controversial cult, often associated with anti-ecclesiastical devotional activities and of limited scope, has become one of the most important and irreproachable in Italy. In part through the personal support of Pope John Paul II, in about a decade Padre Pio has grown from a friar in a controversial fundamentalist context to an almost invulnerable national saint, who is beginning to become a part of the Italian identity. The power of his cult is so strong - a devotional avalanche - that it has sidelined other cults, and to an increasingly large degree defines the Italian sacred landscape. The Pio cult encroaches on other devotions, and moreover is becoming its own competitor: to an increasing degree Pio's central pilgrimage site at San Giovanni Rotondo is losing pilgrims to the secondary pilgrimage site at Pietrelcina and to the hundreds of chapels and local shrines that have sprung up the length of Italy.     

Philipp Otto Runge and the Semiotic Language of Nature and Patriotism

Philipp Otto Runge (1777–1810) was a leading German Romantic artist whose iconography represents a transition from the Neoclassical iconography of classical mythology and allegory to an abstract semiotic system of signs based on a mystical interpretation of nature. An admirer of Herder's theory of language, Runge's iconography was representative of a trend among Romantic artists to promote nationalism and cultural values through the implementation of formal epistemological systems in the medium of art. Runge's individual iconography reveals a synthesis of rational and mystical systems of knowledge that emphasizes Herder's concept of the German Volk as a unique cultural identity, and presents an analogy between the creation of the cosmos, the organic origins of language, and the conception of the German Volk. Runge's iconography expresses the nationalist sentiments and linguistic theory of Herder that formed the basis of German propaganda movements during the Wars of Liberation, 1807–1815.     

A Critical Reappraisal of Eustathios Makrembolites’ Hysmine and Hysminias

Abstract

Despite the massive amount of scholarly literature on Iconoclasm and its aftermath, there are really only two major publications that deal specifically and synthetically with ninth-century art. One of these is André Grabar's magisterial L'iconoclasme byzantin, a chronological analysis of monuments and texts; the other is Robin Cormack's short but insightful essay in Iconoclasm, the collection of papers originally presented at Birmingham in 1975, which asks ‘whether the discussion of religious images stimulated by Iconoclasm changed the nature of Byzantine Art’. My aim is rather different. Rather than presenting an encyclopedic overview, this article attempts to crawl into the fabric of Byzantine culture: to see and understand Byzantine art of the ninth century as the Byzantines saw and understood it. It follows that the material presented has not been segregated into the familiar (and often useful) categories of style, iconography, and context, for, to the Byzantines, the three were neither exclusive nor separable. For similar reasons, I have deemphasized any linear progression that might imposed with art historical hindsight on the distant past, and have thereby underplayed the flashes of innovation, novelty and erudition that such detachment allows. These sparks are probably more visible (and certainly more appealing) to twentieth-century art historians than they were to the ninth-century Byzantines, for whom, as we shall see, the power of tradition militated against individual creativity, and artists on the whole remained anonymous artisans. In my attempt to look at Byzantine art from the inside rather than from the outside I have, in other words, concentrated on the fluid interface between objects, and the shifting dialogue between objects and context. This is because what interests me here is how Byzantine ideas about art (their theories), Byzantine perception (how the Byzantines saw), and the artifacts themselves (the practice) come together in the ninth century: how art, that preeminent social construct, worked in the years after Iconoclasm.     

The Theory of Enchantment and the Enchantment of Theory: the Art of Alfred Gell

ABSTRACT Gell's Art and Agency that aimed to articulate the first anthropological theory of art has achieved a near‐cult status among the academic community. Departing from previous semiological and aesthetic approaches, this theory takes it that art is a form of instrumental action, the canonical efficacy of which lies in its power to function as a cognitive trap and to captivate the spectator's mind. In this article it is argued that Gell's theory is not as novel as it is claimed; that it fails to define the specific field of art; and that by excluding the aesthetic properties of art objects, it discards ethnographical data nonetheless necessary for understanding the agency of art in Melanesian local cultures. At a meta‐level, Gell assigned to his theory the same captivating purpose as he did to art, and this probably explains the seductive fascination that his work continues to exert.     

Boundary Crossings: Transitions from Childhood to Adulthood

In this paper I argue that the boundary between childhood and adulthood is very difficult to define. Notably, it is blurred by the ambiguous period of 'youth'. I therefore draw upon Beck's theoretical work on individualisation and the life-course, which has been influential in youth research in sociology and youth studies, to provide a framework for reviewing some of the processes through which young people make the transition from childhood to adulthood. In the conclusion I reflect on the need to explore the importance of the different spaces implicit in young people's transitions, and the interconnections between them. I also highlight how distinctions between the states of childhood and adulthood are not clear-cut, nor are transitions a one-off or one-way process. Rather I draw attention to the way that changes associated with growing up may or may not be connected, and may occur simultaneously, serially or not at all. Finally, I point out the limitations of normative models of transition given the way that other social differences such as gender, class and sexuality intersect with the categories children and youth.     

Ethics,politics and practices in rock art conservation

Abstract

Weathering and deterioration of Norwegian rock art has become an increasing area of concern over the last decade, with subsequent increasing efforts towards conservation. This has brought questions onto the agenda regarding the ethics and politics involved in conservation theory and practice. It is argued that such issues have been difficult to debate due to the concept of conservation being regarded as a legal and moral ideal. Referring the situation in Norway to ongoing global debates and perspectives regarding rock art conservation enables us to reveal and discuss some of the fundamental and complex philosophical issues involved. Notions of authenticity which implicitly underlie attitudes to rock art conservation are questioned, and the relationship between ‘green’ politics and rock art conservation is also discussed. A tendency towards uniform solutions and avoidance of critical issues, seen as influenced by strong social-democratic political traditions in Scandinavia, is at odds with the growing realization that most approaches to rock art conservation inevitably have unforeseen and frequently undesired consequences. Rather than further segmenting ethics, politics or practices in rock art conservation, a self-critical and reflective approach is suggested whereby changing concepts of ethics and authenticity are continuously debated.

Aucune loi ne pourra jamais préserver la sacralité d'un lieu … si ce n'est une loi morale, non écrite,adoptée et respectée par chaque individu, un véritable code personnel d'éthique.

(Soleilhavoup, 1994: 14)     

Spatial Planning in the Network Society-Rethinking the Principles of Planning in the Netherlands

The Dutch planning system rejoices a very positive reputation in the international academic planning literature. Yet both the conceptual orientation and the institutional practices of Dutch planning are eroded. New institutional practices have emerged that effectively form a 'shadow structure' to the official planning system, eroding both its effectiveness and legitimacy. The article suggests that this instititutional development is to be understood against the background of larger processes of social change to which the system has so far not responded: the coming 'network society'. In light of this analysis it is suggested that Dutch planning could enhance both its effectiveness and legitimacy by reconsidering some of the basic features of the planning system.     

The Poetics of Pastiche in Eco's Postmodern Detective Novel

While the traditional boulevard novel of Eugène Sue wants to entertain and sell, Umberto Eco's boulevard novel wants to entertain and educate the contemporary reader in Italian history and in a form of modern semiotic theory. However, Eco's educational mission does not transform the low genre of the boulevard novel but remains bound by its limitations of “rhetoric and ideology.” Eco's reader is left with a representation of history as pastiche and a populist misconception about the potential of semiotics to relativise the perception of reality. Both history and semiotics are ultimately used by Eco not as heuristic devices but as instruments of seduction directed at a modern middle-class reading public with intellectual aspirations.     

符号学视角下的旅游体验研究——西溪湿地的个案分析

本文以西溪湿地为例,将符号的解读和建构问题纳入到旅游体验中进行考察。在文献分析和实地调研的基础上,通过分层聚类、交互分析等方法,对西溪旅游者体验动机的符号感知、体验过程的符号解读以及体验质量的符号要素构建进行了实证分析。结果表明,休闲浪漫是旅游者对西溪的基本符号感知,不同符号类型旅游者人口社会属性和旅游行为存在结构差异,体验的质量也不尽相同;结合体验效果的符号要素相关性解读,不仅为研究旅游体验的本质提供了新的符号学理论视野,也为丰富和强化旅游体验提供了有效的操作途径。     

Workers,Unions and the State: Migrant Workers in China's Labour‐intensive Foreign Enterprises

Migrant workers present a new challenge both to China's increasingly diversified industrial relations and to its state–society relationship, especially vis‐à‐vis China's developmental state. Through an examination of the situation of migrant workers in the country's labour‐intensive foreign investment enterprises, this article argues that it is difficult to establish tripartite industrial relations in China and that pluralistic labour organizations will not easily develop into civil society type labour entities. China's developmental state is in an ambiguous process in redefining its role. Its ability to micro‐manage society is weakening substantially. However, its developmental character at the macro‐level largely remains strong, allowing it to continue to restrict progress towards civil society. The future will ultimately depend on a collective determination by key players — the workers, unions and the state — to find a compromise.     

Contemporary visual art and the construction of identity: maintenance and revision processes in older adults

This article explores how older visitors use meanings created through encounters with contemporary visual art in art galleries for identity maintenance and revision processes. The analysis is based on the results of a 28-month study of the responses of older people to contemporary visual art in art galleries in north-east England, UK. The identity processes used in this study are those defined as maintenance and revision as understood by Kroger (2002) Identity processes and contents through the years of late adulthood. Identity, 2, (1), 81-99, Kroger and Adair (2008) Symbolic meanings of valued personal objects in identity transitions of late adulthood. Identity, 8, (1), 5-24. and Marcia (2002) Identity and psychosocial development in adulthood. Identity, 2, (1), 7-28. Respondents who did not have an existing identity-defining commitment towards art and who had less ability to decode the art works used the art to make symbolic links to aspects of their identity. The meanings created were then used to help satisfy current identity needs. In contrast, those with an existing commitment to art used the experience of the visits to deepen their current knowledge. Engaging with contemporary visual art facilitated identity processes that contributed to participants’ well-being. This study contributes to studies on identity by exploring how content and identity processes interact and provides new perspectives on the role of art in identity formation for older people. It also has significance for museum, gallery and heritage policy and practice.     

Pictures of science

Abstract

The apparently minor art of scientific illustration raises questions that bear directly on the 'two cultures' confrontation of art and science. A marked shift in approach is discerned at the beginning of the twentieth century, from the incorporation of illustrations within the text to the use of 'enframed' figures, often with captions, as a separate entity. It is proposed that this change, which appears to have coincided with the introduction of bivariate plots in scientific journals, represents the transition from the essentially narrative structure of natural philosophy to the more adversarial mode of modern science. The link between the restraint required of the graphic artist and minimalist and functionalist aesthetics such as those of the Bauhaus is examined, together with the possibility that such a persimonious method of presentation can carry an implicit message. The different roles of abstraction in science and art are discussed with particular reference to the work of Paul Klee.     

Artistic Critiques of Modern Dictatorships

Under a political dictatorship it is primarily from the margins that an artistic critique can be articulated, as suggested by the examples presented in this article from Romania and Chile during the 1970s and 1980s. By focusing on their threefold marginality—of the artist, the art form, and the subject of art—and by applying to them Jacques Rancière's concept of dissensus, the analysis of artistic variants of marginality sheds light on the relationship of art and politics in totalitarian regimes.     

Dimensions of proximity in knowledge-based networks: The cases of investment banking and automobile design

The competitiveness of firms and regions is increasingly dependent on their capabilities to organise knowledge processes that unfold between different knowledge providers. In this article it is argued that this knowledge management in networks is a cognitive process that uses different dimensions of proximity. As much of the knowledge required is 'tacit' in character, 'embedded' social interaction becomes crucial. There are, however, conflicts of interest in business networks. The organisation of knowledge processes thus becomes a complex governance task that depends to a large extent on the characteristics of the learning processes of the sectors involved. This paper offers some empirical evidence from the service sector with the case of M&A activities and from the manufacturing sector with the case of automobile design.     

Memory in motion: soundings from Milltown,Montana

Geographers have begun to investigate the link between creative production and cultural memory-work, exploring how art interventions frame and facilitate engagements with the past in place. This paper builds on this emerging area of enquiry to examine the transformation of an industrial river landscape in Western Montana, and the production of a sound artwork which attempted to respond to the landscape's unmaking with an interactive installation at a local museum. An interest in how cultural remembrance is practised and performed in relation to processes of material disarticulation guides the analysis. In conclusion, the paper proposes that a form of kinetic memory characterises engagement with ephemeral sites and the cultural productions they catalyse. The researcher's involvement in the installation process opens up an adjacent discussion about geographical research conducted on, and through, contemporary art practice.     

Paleolithic Art: A Cultural History

In this article we review the history of the terms and ideas that have been used to conceptualize Paleolithic art since the end of the 19th century. Between 1900 and 1970, prehistoric representations were typically divided into two main groups: parietal art (including rock and cave art) and portable (or mobiliary) art. This classification gave rise to asymmetrical attitudes about Paleolithic images. In particular, many portable and nonfigurative representations were overlooked while a small number of cave paintings were praised for their realism. Although the portable/parietal division has remained a popular divide among archaeologists, in the last 30 years increasing numbers of specialists have crossed the boundaries established by these categories. They have developed new frameworks within which more kinds of images are meaningfully approached and incorporated into the analysis of Paleolithic art and symbolism. The emergence of new approaches to Pleistocene imagery is the result of a number of interrelated processes, including the globalization of Paleolithic art studies, the impact of new discoveries, and the development of new approaches to art, images, and symbolism.     

In here and out there: Sensations between Self and landscape

Early childhood experience of Self in relation to Other may profoundly influence subsequent perception and experience of landscape as an adult. Yet, these past and present spatial relationships are often held in unconscious levels of the psyche, which are difficult to articulate when approached by conventional qualitative methods. Engaging with psychotherapeutic methodologies has proved highly productive in facilitating adults to connect with and articulate their perception of landscape. In this paper I demonstrate the application of object relations psychoanalytic theory in qualitative research undertaken to explore the complexities of the influence of gender identity on landscape perception in adults. I draw on D.W. Winnicott's theory of 'potential space', as the location of culture, to develop a methodology that focuses on sensory experience, in particular the tactile. In this way participants were facilitated to access early regressed spaces whilst staying connected with present experience. Reporting on a series of practical workshops, used alongside in-depth interviewing techniques, I show how it is possible to examine the complex conscious and unconscious relationships at different sensory levels between Self and landscape.