Visual Arts

Tomando como punto de partida la reelaboración de Maurizio Lazzarato del concepto de deudor/culpable desarrollado por Nietzsche en La genealogía de la moral, el presente artículo se aproxima a las imágenes que constituyen la deuda en el contexto del capitalismo actual. Asimismo veremos como la deuda, y el individuo endeudado, forman parte de un repertorio de imágenes más amplio que, por su especial crudeza o alusión al cuerpo, se graban con facilidad. Estas son las imágenes que constituyen la "mnemotecnia de la crueldad". Pero las mismas imágenes que sirven para afianzar la memoria, o sus reelaboraciones en el campo de la ficción del terror gótico, pueden funcionar también en un sentido crítico. Aquí ya no hablamos de la deuda sino del uso de las imágenes del terror-arte como parte de una maquinaria progresista, o simplemente liberadora, entre las que destaca la imagen del vampiro. Las imágenes empleadas para denunciar los abusos del capital constituyen desde el siglo XVIII el "capitalismo gótico": una visión del mundo moderno a través de imágenes de otro tiempo.

This paper lists all of author Rick Doble's experimental digital photographs that are available for public use. Doble's book, "Experimental Digital Photography" (Sterling Publishing, New York/London, 2010), is now being used as a text book in high schools and college courses. This book was the first to discuss digital experimental photographic effects, such as motion blur, rather than software effects created in a photo editing program such as PhotoShop. As a result Doble wanted many of his photographs to be accessible to students, teachers, artists, experimenters, scientists and others, and so he has made many of the photographs in that book available online. This paper is a complete listing of these works. Clicking on a thumbnail in this PDF document will take the reader to the full sized image on Wikimedia.org, photographs which can then be downloaded in a variety of sizes.

Kotlyar Eugeny. The East in Jewish House. Tradition and Culture of “Mizrah” // Anima Rerum. – Kharkov, 2005. – # 1. – P. 28-30. (in Russian)
Котляр Евгений. Мизрах: восток в еврейском доме // Anima Rerum. Журнал предметного искусства и антиквариата. – Харьков, 2005. – № 1. – С.28-30.

Kotlyar Eugeny. Ilya Efroimson’s War and Peace // Fine Art. Ukrainian Fine Art Theory and Practice Magazine. – Kiev: Ukrainian Artists` Union, 2006. – # 4. – P. 60-61. (in Ukrainian).
Котляр Євген. Війна і мир Іллі Ефроїмсона // Образотворче мистецтво. – К.: Національна спілка художників України, 2006. – № 4. – С. 60-61.

Kotlyar Eugeny. Gefilte Fish in Ukrainian Oil Painting: from Retrospection to Contemporary Painting // Fine Art. Ukrainian Fine Art Theory and Practice Magazine. – Kiev: Ukrainian Artists` Union, 2006. – # 4. – P. 38-43. (in Ukrainian).
Котляр Євген. Гефілте фіш в українській олії. Єврейська тема в мистецтві Харкова: від ретроспекції до сучасного живописа // Образотворче мистецтво. – К.: Національна спілка художників України, 2006. – № 4. – С. 38-43.

Djamel Kokene est un artiste nomade et à l'identité plurielle. Il
fait partie de ceux qui démultiplient les postures et tournent le
dos aux systèmes hiérarchiques de l'art. Protéiforme et
traversé par des champs diversifiés, son travail articule autant
la photographie, la vidéo, la sculpture que la performance et
explore les tensions entre langage, pensée et représentation.

Ventisette pensieri del Beato mistico del Tirolo, illetterato ed amico dei sovrani e del popolo, "commentati" dalle opere visuali di Roberto Alborghetti (esse non sono "dipinti", ma riproduzioni reali e non manipolate della realtà che ci circonda...). 

En prévision de l’année Barthes en 2015, l’introduction à la culture de l’art contemporain se fera selon un parcours qui mettra en regard la pensée de Barthes sur l’art mais aussi son influence sur les productions contemporaines et la pensée plastique, visuelle et esthétique à travers des notions comme la mythologie, le neutre, la mathesis singularis ou des formes comme le fragment ou l’assemblage texte et image. Une partie du séminaire sera consacrée aux outils théoriques : sémiologie, visual studies et relation texte et image.

parallel uses Google Earth to track along the 49th parallel, that is, the prairie border between Canada and the United States. It's about a few other parallels: parallel countries, parallel modes of imaging and imagining, parallels between political, technical, and visual territories. If you follow the border long enough, digital anomalies in the image become apparent; they have to do with when a given area came under the eye of a satellite, and at what resolution. These digital artefacts become landscapes in their own right, with their own boundaries, topography, areas of density and intensity. Something similar happens at the edges between satellite image tiles; their seams are rarely perfect, and we end up with one image blurred or spliced into another, contradictory image. The boundaries between these territories of image are especially visible along a political border like this. While they never equate to the border -- there's usually a displacement of some sort -- they do parallel it. In fact they're more visible than the border itself, which is otherwise realized mainly in agricultural boundaries. All of these anomalies in an ostensibly perfect map of the world invite interpretation, speculation, and imagination.
I developed parallel over about a year; it was projected at different stages at Culture Days Winnipeg (2012) RAW:Gallery of Architecture & Design (as part of the show Another Atlas, 2013), and Furtherfield Gallery, UK (as part of the show Movable Borders, 2013).
This version shows sixty-second clips from the complete piece, which runs the full length of the prairie border from the Rocky Mountains (it begins within a mountain) in the west to Lake of the Woods in the east, where the political border diverges from the 49th parallel in a sudden jog north. Sound comprises two superimposed tracks: Ambient Nothingness, by Hello Flowers, courtesy the Internet Archive, modified; Kibo (Japanese Experiment Module, International Space Station) Ambient Sound, courtesy Christopher Hadfield.

A photographer for over 40 years, my work with geometric digital camera pattern painting is an extension of my work that I wrote about in my book Experimental Digital Photography, Lark Books (Sterling Publishing), New York/London, 2010. I had studied the microscopic images of snowflake crystals as photographed by Wilson A. Bentley and the wonderfully varied geometric tiles at the Alhambra Palace in Granada Spain. Their patterns became the inspiration for these images. I discovered that digital photography made this kind of geometric pattern creation work now possible with photography since the immediate feedback of the LCD monitor was essential for learning and achieving these patterns. Although I was a film photographer for decades and experimented widely, this kind of imagery was extremely difficult if not impossible due to the lack of feedback with film. So digital camera pattern painting is a relatively new and exciting art form where there is much to be explored.