Post mankind and mass culture

Este texto trata la pobreza de la experiencia humana en la sociedad mediática. La eclosión de simulacros y el abuso de la metáfora en la explicación del mundo ha virtualizado la vida en imágenes fugaces. La falta de espiritualidad y de metafísica en el discurso de los medios globales vacía de esencia la experiencia. La naturaleza humana parece encaminarse hacia una hibridación con la máquina. El mundo es percibido en un orden colectivo a través de percepciones mediadas por la tecnología más que por la solidez de la mirada del sujeto individuo.This paper deals with poverty of human experience in media society. Shams and metaphor’s abuse in the explanation of the world have made life visual in fleeting images. The lack of spirituality and metaphysics in global media discourse empties life of experience. Human nature seems to head towards a hybridization with machine. The world is perceived in a collective order through perceptions mediated by technology, better than by the solidity of the human look

De la aldea global al circuito integrado

L'autora fa seva I'analisi semidtica de F. Rossi-Landi entorn de la relació entre economia i Ilenguatge, i des d'aquí aborda els efectes de la mundialització de I'economia i la comunicació. En aquest punt oposa certs aspectes de la teoria de McLuhan a un nou mapa político-cognitium que Donna Haraway ha presentat amb el nom de acircuit integrat. Examina Ilavors les transformacions que la nova situació genera en el subjecte i la societat. I acaba suggerint una resposta que parteix del rebuig de categories ontologiques com ara la identitat, negant així mateix -a partir de Benjamin- que en el camp artístic les velles categories puguin tenir validesa com a eina de comprensió. El cyborg és la metafora o amite ironico-polític en que s'encarna aquesta resposta.The author bases his semiotic analysis of F. Rossi-Landi on the relationship between the economy and language, and from here examines the effects of the globalization of the economy and communication. Here, he contrasts certain aspects of McLuhan's theory with a new "politico-cognitive map" to which Donna Haraway has given the name "integrated circuit". He, then, examines the transformations that the new situation generates in the subject and society. He concludes by suggesting a reply based on the rejection of ontological categories such as identity, thus denying -as did Benjamin before him- that in theartislic field earlier categories can still be valid as interpretative tools. The cyborg is the metaphor or "ironic-political-myth" in which the response is embodied

New Research in Modern and Contemporary Art

Chair: Dr. Vic Colaizzi, Department of Art Histor

Homer, Pietas, and the Cycle of Duels in Aeneid 10 and 12

Readers who encounter the Aeneid today often face an abridgement meant to fit the demands of a college literature survey: Troy, anderings, Dido, the Underworld-the exotic Odyssean Aeneid of the first six books. The poem\u27s second half, if read at all, might offer only scenes from book 8 (etiology and shield), Nisus and Euryalus from book 9, sometimes Camilla in book 11, Turnus\u27s death at the end of the poem. But since the first cut in such selections usually includes most of the warfare, Vergil\u27s subtlety (and difficulty) can be misunderstood, especially if the poem\u27s close is to be considered. In the combat scenes, in particular a series of duels in Aeneid 10 and 12, the poet exchanges Homeric fatalism for Vergilian pathos by constructing scenes that develop the complexities of pietas

Mary Heilmann: To Be Someone, by Elizabeth Armstrong, Johanna Burton, and Dave Hickey. Prestel: New York 2007; Mary Heilmann: Save the Last Dance for Me, by Terry R. Myers. Afterall: London, 2007 (Book Reviews)

Colaizzi reviews two books discussing the work of Abstract painter Mary Heilmann. Mary Heilmann : To Be Someone, by Elizabeth Armstrong, Johanna Burton, and Dave Hickey (Prestel 2007); and Mary Heilmann : Save the Last Dance for Me, by Terry R. Myers (Afterall 2007)

Lorna Simpson, by Joan Simon et al., Prestel: Munich, 2013 (Book Review)

[First paragraph] The images and essays in this catalogue, which documents Lorna Simpson\u27s (b. 1960) first museum exhibition in Europe,1 trace an increasing emphasis on the enigmatically personal at the expense of the linguistic, although her work remains concerned with the discursive behavior of images as they reveal assumptions about race and gender. Simpson, as the author and contributors show, activates looking by short-circuiting the possessive aspects of the gaze

Agnes Martin, by Lynne Cooke et al. Dia Art Foundation: New York and Yale University Press: New Haven, 2011 (Book Review)

[First Paragraph] The impression emerges, through reading this anthology and remembering the work, that Agnes Martin\u27s paintings are somehow not there. Their qualities and effects are of a second order, not directly tied to their material facts, because as perceptions, they evade and exceed these facts. Although it is entirely clear of what they consist and how they were made, viewers report constant dissolution and condensation of screens, veils, or mists from the tiny elements on the surface. Emblems of the less than absolute sufficiency of empirical knowledge, they reinforce Martin\u27s claim that The cause of the response is not traceable in the work (232). The question with which these essays grapple in light of these effects is: what could such phenomena mean? How are the artist\u27s ambitions and conditions, as well as the conditions of the viewer, inscribed upon them

Joan Thorne, Analytic Ecstasy

The article focuses on American artist Joan Thorne. The author examines several of her abstract panitings, including Squazemo, Aahee, and Ananda, explores how her work relates to minimalism, non-composition, and postmodernism, and discusses her role in the women\u27s art movement of the 1970s in New York City