Unity in Diversity Through Art? Joseph Beuys’ Models of Cultural Dialogue

This essay proposes the artist Joseph Beuys and his work as paradigmatic for art that through its own diversity of approach can show possibilities for addressing diverse audiences, diverging receptions and modes of participation. It arises from a symposium on the occasion of the 20th anniversary of the artist’s death held at the Goethe Institut Dublin, 23 January 2006. The argument focuses on Beuys practice from his Ulysses-Extension to the Migration Workshop at documenta 6, 1977, the FIU, as well as his work (and legacy) in Ireland. Relevant theories include Ecos openness and Adorno’s negative and positive representation, since Beuys works relationship to the Holocaust and trauma turns out to be central. Beuys is offered as predecessor of current discourse such as Bourriaud’s Relational Aesthetics and Documenta11. The article concludes with a new theoretization of participation in culture, Irit Rogoff’s Looking Away. It is supported by Beuys multi-layered, diversity-sustaining practice.Cultural Dialogue, Joseph Beuys, Diversity, Reception, Participation, Migration, documenta, FIU, Ireland, Openness, Holocaust, Trauma, Relational Aesthetics

How Mycobacterium tuberculosis Manipulates Innate and Adaptive Immunity – New Views of an Old Topic

Mycobacterium tuberculosis in an attempt to understand the extent to which the bacilli has adapted itself to the host and to its final target. On the other hand, there is a section in which other specialists discuss how to manipulate this immune response to obtain innovative prophylactic and therapeutic approaches to truncate the intimal co-evolution between Mycobacterium tuberculosis and the Homo sapiens

The Bankruptcy-Law Safe Harbor for Derivatives: A Path-Dependence Analysis

U.S. bankruptcy law grants special rights and immunities to creditors in derivatives transactions, including virtually unlimited enforcement rights. This article argues that these rights and immunities result from a form of path dependence, a sequence of industry-lobbied legislative steps, each incremental and in turn serving as apparent justification for the next step, without a rigorous and systematic vetting of the consequences. Because the resulting “safe harbor” has not been fully vetted, its significance and utility should not be taken for granted; and thus regulators, legislators, and other policymakers—whether in the United States or abroad—should not automatically assume, based on its existence, that the safe harbor necessarily reflects the most appropriate treatment of derivatives transactions under bankruptcy and insolvency law or the treatment most likely to minimize systemic risk

Accepting Love and the Paradoxes of (Political) Art in Northern Ireland: Sandra Johnston

Brendiranje gradova s nasilnom poviješću obilježeno je srcima, no kakva ljubav pogoduje uspostavljanju i unaprjeđivanju demokratskih zajednica – i kako umjetnici ovoj temi mogu pristupiti na vjerodostojan način? U Belfastu, u Sjevernoj Irskoj, dužnosnici su odlučili srušiti zgradu umjetničke škole, nazvanu po Orfeju, prvome umjetniku i graditelju mira koji je riskirao smrt za ljubav svoje žene i bio brutalno ubijen. Ovaj esej bavi se radom Sandre Johnston, koja se tamo školovala, a kasnije i predavala. Sama žrtva nasilja, svojim hrabrim performansima, instalacijama i videografijom analizira i prikazuje ljubav koja prihvaća: nešto što Martha Nussbaum ističe kao vjerodostojan odraz zrelog, demokratskog stava.City branding of contested cities with violent histories has taken hold of hearts, but what kind of love is conducive to establishing and furthering democratic communities - and how can artists approach this subject matter in a credible way? In Belfast, Northern Ireland, officials decided to demolish the art school’s building, named after Orpheus, the first artist and peace-builder, who braved death for the love of his wife, and was brutally murdered. This essay reflects on the work of Sandra Johnston, who studied and then taught there. Herself a victim of violence, her courageous performance, installation and video work analyses and models accepting love: that which Martha Nussbaum put forward as credible reflection of a mature, democratic attitude