O Fantasma de Jackson Pollock: Os estranhos movimentos do pintor pelas lentes do cinema

O artigo se propõe analisar o filme experimental de Hans Namuth, Jackson Pollock 51, sobre o processo de Pollock na fase do dripping. Ao longo do texto serão evidenciados os desajustes entre a tentativa de capturar o segredo dos movimentos do artista em volta da tela e as opacidades introduzidas pela câmera, que ao invés de mostrar mais, paradoxalmente, desnaturaliza o olhar. Os casos de Matisse, que percebe a “estranha excitação” do gesto de sua mão no filme de François Campaux (1946), e da atuação de Picasso no filme de Georges Clouzot, O Mistério Picasso (1956), servirão como contrapontos para explorar o tema da mediação da pintura operada pela imagem em movimento, nesse momento de transição entre o modernismo e as práticas dos anos 1960, quando os artistas exploraram a potência do gesto e de seus duplos na performance, na videoarte e na body art.

Jypp, Dompa och Jackson Pollock - Berättelser om plats, förortiska och överklass i ett innerstadsgymnasium

Jypp, Dompa and Jackson Pollock: Narratives on place, urban vernaculars, and upper class at a prestigious upper secondary school. Labelling a linguistic style by appointing it to certain groups of speakers and where they live can be a deeply problematic enterprise as both identities, language use and space become fixed and limited. In Sweden the speech style called Rinkeby Swedish (RS) has become an icon of ethnic Otherness, educational failure, and of an aggressive sexist and homophobic masculinity – ascribed to a fixed locality in the outskirts of the big cities. In this paper we have turned our gaze towards a place that have typically not been associated with RS before: a Stockholm elite school. The analysis reveals how a group of students, illustrated by how the participant Wille, perform authenticity and indexically anchor their linguistic practices and epistemics in various linguistic contexts. In a case study, we explore how the participants talk about and use not one but many different linguistic styles. We argue that the participants employ these styles as resources to comment on locality as well as social hierarchies in the school and the society at large.

Buscando la tierra de nadie. Obras contemporáneas de arte y matemáticas

En este artículo, a la luz de lo que se desprende del análisis de Bruno Latour en el libro Investigación sobre los modos de existencia, investigo algunas relaciones entre las categorías literarias calvinianas de la ligereza, de la velocidad, de la exactitud, la visibilidad, la multiplicidad y la consistencia, transfiriéndolas a diferentes contextos artísticos y científicos y poniendo de relieve los flujos de intercambio en las fronteras entre los diferentes territorios del conocimiento artístico y matemático, en particular. Comparadas, las obras de algunos artistas contemporáneos (Joseph Beuys, Michele Guido, Silvia Hell, Roni Horn, Armin Linke, Mark Lombardi, Sergio Lombardo, Sol Lewitt, Bruno Munari, Jackson Pollock, Tomas Saraceno, Luigi Veronesi) y las obras de los matemáticos contemporáneos Alexander Groetendieck y Fernando Zalamea, revelan la reciprocidad epistemológica en función de la ampliación de la percepción humana. Utilizando los métodos de la filosofía pragmática, a través del uso de la hoja-mundo y de los gráficos existenciales de Charles Peirce, la lógica de las analogías, de las similitudes y de los contrastes dialécticos y la lógica intuicionista, surgen, en las obras estudiadas, las relaciones fenomenológicas entre los elementos expresivos de las obras de los artistas investigados y los significados actuales, vinculados a los diferentes ámbitos disciplinarios. Por último, con las herramientas ofrecidas por la A/R/ Tografía, se traza un mapa de relaciones entre los elementos icónicos, las categorías calvinianas y los conceptos matemáticos de homotetia, isomorfismo, lista, red, superficie, proceso estocástico.

Movement in Aesthetic Experiences: What We Can Learn from Parkinson's Disease

Visual art offers cognitive neuroscience an opportunity to study how subjective value is constructed from representations supported by multiple neural systems. A surprising finding in aesthetic judgment research is the functional activation of motor areas in response to static, abstract stimuli, like paintings, which has been hypothesized to reflect embodied simulations of artists' painting movements, or preparatory approach–avoidance responses to liked and disliked artworks. However, whether this motor involvement functionally contributes to aesthetic appreciation has not been addressed. Here, we examined the aesthetic experiences of patients with motor dysfunction. Forty-three people with Parkinson's disease and 40 controls made motion and aesthetics judgments of high-motion Jackson Pollock paintings and low-motion Piet Mondrian paintings. People with Parkinson's disease demonstrated stable and internally consistent preferences for abstract art, but their perception of movement in the paintings was significantly lower than controls in both conditions. The patients also demonstrated enhanced preferences for high-motion art and an altered relationship between motion and aesthetic appreciation. Our results do not accord well with a straightforward embodied simulation account of aesthetic experiences, because artworks that did not include visual traces of the artist's actions were still experienced as lower in motion by Parkinson's patients. We suggest that the motor system may be involved in integrating low-level visual features to form abstract representations of movement rather than simulations of specific bodily actions. Overall, we find support for hypotheses linking motor responses and aesthetic appreciation and show that altered neural functioning changes the way art is perceived and valued.

COMPARISON OF METHODS FOR DETERMINING PERCENTAGE OF BODY FAT ON A SAMPLE OF KAYAKERS AND CANOEISTS – IN SLALOM

Determining body structure in physical culture, sports, but also in sports recreation is one of the ways to check effectiveness of certain training programs and their impact on a percentage of subcutaneous fat and fat-free components. This study was conducted on a sample of 49 kayakers and slalom canoeists (aged 19.9 ± 1.7 years), and the aim was to compare validity of methods for estimating percentage of body fat based on the skinfold measurement method in relation to the bioelectrical impedance method for application in diagnostics within a training process of slalom kayakers and slalom canoeists. The percentage of body fat was determined by methods of determining the percentage of body fat according to Siri (1961), Brozek et al. (1963), Jackson, & Pollock, (1985) and the BIA bioelectrical impedance method. After statistical procedures, correlation analysis revealed a high correlation between the methods: anthropometric methods according to Siri and Brozek, both methods with the Jackson Pollock method, while all three methods have a high level of correlation with the BIA method, while the Wilcoxon test showed that the bioelectrical impedance method had statistically significantly higher values than the method of determining the percentage of body fat according to Siri & Brozek (p <0.001), and significantly lower than the method of determining the percentage of body fat according to Jackson Pollock (p = 0.005). The research showed that in the observed sample of respondents, when it comes to one respondent, a group of respondents, respondents within one sport or an uneven sample of non-athletes, if it is not possible to use some of the more sophisticated BIA methods, a satisfactory method could be the skinfold measurement method.

Wendt versus Pollock: Toward visual semiotics in the discipline of IR theory

We focus on a key IR Theory article by Alexander Wendt (1992) and two Jackson Pollock paintings. Our aim is to identify meanings Pollock’s art communicates and reveals for Wendt (1992). It derives from an appeal to visual imagination and a desire for semiotic interpretation of Constructivist view of anarchy. The visual sign is an association such that there is Wendt’s theoretical claim on the one hand and an abstract painting on the other. We do not gaze at Wendt’s claim, we read it. We do not read a painting, look at it. This remark does not imply a one-way relationship. We can argue that a specific painting comes to life in our mind where colored movements are inextricably mixed up when we read the constructivist claim. Both Pollock paintings selected for our sign-making effort confirm the dynamic character of Constructivism and reveal not only three but countlessly many anarchies in international relations. They foment our assessments of abrupt changes of intersubjectivity among states. Cyclicality of dripped paints provides an anchor to fix Wendt’s anarchy conceptualization in these structural-abstract paintings. As to Wendt’s concept of anarchy, it acts as a helper, as a standard, against which interpretations of Pollock’s artwork construct meanings.