Resonance and Wonder: Susan Philipsz's 'Study for Strings'

This article offers a reading of Susan Philipsz's sound work Study for Strings (2012) informed by two notions proposed by Stephen Greenblatt: resonance and wonder. In considering resonance, I present the strong historical influences identified in the location the artwork was first commissioned for — Kassel Hauptbahnhof, during dOCUMENTA 13. I also present the traumatic events that led to the composition of Pavel Haas's Study for Strings Orchestra in Theresienstadt, and its appropriation by Philipsz. The use of silence, or absence, in a sound piece features as a fundamental element in the understanding of the work as a certificate of disappearance. Nevertheless, viewed through the lens of John Cage's 4'33'' (1952), Study for Strings will also be examined as a musical composition in its own right. It is here, and in the spectator's first encounter with the work, that the presence of wonder will surface. &nbsp

The Glass Figure: Prosopopeia and Mourning in André Kertész's Polaroids

In this article, I propose to examine how prosopopoeia might be identified in some of André Kertész’s final photographic works, not only in the recourse of a glass figurine, that stood-in for his late-wife, Elizabeth, but also through the analysis of his choice of medium, the Polaroid: an image that holds a distinct material existence, small enough to share, and captivating in its instant development before one’s eyes. Additionally, I will consider the association of prosopopoeia and death, as a literary figure that gives voice to those that have lost it, but also in the very mourning process for Kertész.In this article, I propose to examine how prosopopoeia might be identified in some of André Kertész’s final photographic works, not only in the recourse of a glass figurine, that stood-in for his late-wife, Elizabeth, but also through the analysis of his choice of medium, the Polaroid: an image that holds a distinct material existence, small enough to share, and captivating in its instant development before one’s eyes. Additionally, I will consider the association of prosopopoeia and death, as a literary figure that gives voice to those that have lost it, but also in the very mourning process for Kertész

Miscel·lània

Índex de l'obra ressenyada: Sandra CAMACHO CLAVIJO, La formació del contracte electrònic. Tesi doctoral de Sandra Camacho Clavijo. Universitat Autònoma de Barcelona, 200

El Concepte de testament merament revocatori

El llibre quart del Codi civil de Catalunya admet expressament per primera vegada en l'article 422-9 la validesa del testament que tingui com a contingut únic la revocació d'un testament anterior sense necessitat de la institució d'hereu. És l'anomenat testament merament revocatori, la novetat del qual i la dificultat del seu encaix en el nostre dret de successions exigeixen un estudi rigorós del seu concepte i la seva naturalesa, amb especial atenció als problemes pràctics que planteja. L'objecte d'aquest treball és aproximar-nos a l'estudi i la construcció jurídica del concepte de testament merament revocatori en el dret successori català, i amb aquesta pretensió realitzarem una breu anàlisi de les seves fonts històriques, la seva interpretació doctrinal i la seva tipificació en el Codi civil de Catalunya.Book iv of the Civil Code of Catalonia explicitly admits for the first time in Article 422-9 the validity of a will whose only content is the revocation of a previous will, without the need to institute an heir. This is the so called merely revocatory will and its innovatory character and difficulty of fitting into our Succession Law demands a rigorous analysis of its concept and of its nature, with special attention to the practical problems which it entails. The aim of this paper is to approach the study and legal construction of the merely revocatory will concept in Catalan Succession Law, and with this goal we make a brief analysis of its historical sources, its doctrinal interpretation and its classification within the Civil Code of Catalonia

Model Predictive Controller for piecewise affine system

2005 IFAC 16th Triennial World Congress, Prague, Czech RepublicThis paper presents a hybrid procedure to solve Model Predictive Controller (MPC) for Piecewise Affine System (PWA) The approach presented here belong to the class of Branch and Bound (B&B) methods. The procedure uses the concepts of reachable set combined to the specific B&B methods, in order to reduce the number of Quadratic Problems (QP) needed to be solved by the optimization algorithm

From Analogue to Image Retrieval: Concepts of Archival Art in Daniel Blaufuks

From Analogue to Image Retrieval: Concepts of Archival Art in Daniel Blaufuks, seeks to explore a question first triggered by the viewing of Daniel Blaufuks’s Constellation series in his exhibition-project, All the Memory of the World, part one (2014): might digital databases and image retrieval systems be viewed as developments of archival processes and thinking? Has the touted rupture between analogue and digital occurred, or does archival art live in them both? With a career that spans several decades, Blaufuks has been deeply engaged with questions surrounding the Holocaust, exile, memory and postmemory. Photography, film and archival material have been the tools chosen for his excavations; nonetheless, it is impossible to overlook the influence of literature in the artist’s work. Having begun with the appropriation of physical archival material, such as photographic albums, polaroids or slides, Blaufuks has also employed digital images and image-retrieval systems such as Google Image. In the view to proceed with an analysis on the crucial argument of this thesis, I have divided it into to three sections. The first, Daniel Blaufuks: The ‘Material’ Archive, as the name indicates, focuses on considerations on the so-called material archive, meaning the analogue archive. Daniel Blaufuks: Writing with Images, the second section, is devoted to two thematic components of the artist’s oeuvre: memory and literature. Here I equally offer a comparative analysis between Blaufuks and the works of writers Georges Perec and W. G. Sebald. In Daniel Blaufuks: Traversing the Archive, the final section, I return to the theoretical frameworks surrounding the archive, yet one founded on 0s and 1s rather than paper and ink. In writing From Analogue to Image Retrieval: Concepts of Archival Art in Daniel Blaufuks, I strive to illuminate the continuities from analogue to digital archives, and analogue to digital archival art practices. Blaufuks’s ease and breadth in the incorporation of a variety of media into his projects stands as an ideal case study for the exploration of the questions I put forward in this thesis.From Analogue to Image Retrieval: Concepts of Archival Art in Daniel Blaufuks, explora uma questão desencadeada pela série Constelações de Daniel Blaufuks no seu projeto-exposição, Toda a Memória do Mundo, parte um (2014): poderão bases de dados e sistemas de recuperação de imagens ser vistos como extensões de processos e de concepções do arquivo? Terá a ruptura entre analógico e digital ocorrido, ou será que a arte arquivística é transversal a ambos? Com uma carreira que se estende por várias décadas, Blaufuks tem desenvolvido projectos relacionados com questões em torno do Holocausto, exílio, memória e pós memória. Fotografia, imagem em movimento e material de arquivo são as ferramentas escolhidas pelo artista para as suas escavações; no entanto, é impossível ignorar a influência da literatura na sua obra. Tendo começado com a apropriação de material de arquivo, como álbuns fotográficos, polaroids ou slides, Blaufuks emprega também imagens digitais e motores de busca de imagens como o Google Image nos seus projectos mais recentes. A fim de prosseguir com uma análise da questão central desta tese, a mesma foi dividida em três secções. A primeira, Daniel Blaufuks: The ‘Material’ Archive, tem como foco considerações sobre o arquivo analógico. Já Daniel Blaufuks: Writing with Images, a segunda secção, é dedicada a duas componentes temáticas da obra do artista: memória e literatura. Aqui, procedo igualmente a uma análise comparativa entre Blaufuks e as obras dos escritores Georges Perec e W. G. Sebald. Em Daniel Blaufuks: Traversing the Archive, a secção final, regresso às estruturas teóricas associadas ao arquivo, olhando no entanto para um arquivo construído sobre 0s e 1s ao invés de papel e tinta. Com From Analogue to Image Retrieval: Concepts of Archival Art in Daniel Blaufuks, procuro iluminar continuidades entre arquivos analógicos e digitais, bem como estabelecer paralelos entre o uso de sistemas analógicos e digitais em práticas de arte de arquivo. A facilidade com que Blaufuks integra uma variedade de formatos e média no seu trabalho faz com que o artista seja o estudo de caso ideal para a exploração das questões que apresento nesta tese