Presentando el dolor de los demás. Trabajando la empatía a través del Arte de Acción TITLE: Presenting the pain of others. Working empathy trought action art

Con frecuencia nos encontramos en el Arte Contemporáneo, y concretamente en el Arte de acción, obras que versan sobre el dolor y el sufrimiento, de las cuales, una gran proporción, presentando el dolor ajeno. Es por ello que nos cuestionamos hasta que punto podemos poner en la tarima el dolor de los demás sin meternos en su piel. La empatía habría de ser contemplada en la realización de ciertas obras artísticas. Y a su vez, a través del Arte, y concretamente, desde el Arte de acción y en conexión con actividades de psicodrama, podemos favorecer la empatía, como elemento favorecedor de nuestras relaciones interpersonales y de nuestra interpretación de la realidad.ABSTRACTWe often find ourselves in Contemporary Art, and, specifically in Action Art, works that deal with pain and suffering, of which a large proportion present the pain of others. That is why we question to what extent we can put on the platform the pain of others without getting into their skin. Empathy should be considered in the realization of certain artistic works. And in turn, through Art, and concretely, from Action Art and in connection with psychodrama activities, we can promote empathy as a favoring element of our interpersonal relationships and our interpretation of reality.

The Modern Image, II

Over the course of the modern period, a kinesthetic shift occurred in the arts from a tensional to a more elastic pattern of motion. The argument of this chapter is that meter, action art, and molecular art are also defined predominately by a distinctly elastic pattern of motion and a differential aesthetics. This chapter concludes the book’s historical analysis of the moving image and provides a material and historical foundation for interpreting the hybrid kinetic structure of contemporary arts in the next part of the book. Art history is not dead. It all returns and resurfaces in the present, forming hybrid combinations. Although their name and appearance might have changed, the same regimes are still at work today.

Play as Art of Survival

The study explores the art of performance and happening in Slovakia from the 1960s, and its influence on theatre. Given its interdisciplinarity, the first part is dedicated to the vantage points of performance in Slovakia: action art and related names. Action art had significant influence on later theatre performative forms. The second part focuses in detail on actions and performances by the company Temporary Society of Intense Experience, Balvan Theatre and on the artist Miloš Karásek.

Latinoamérica go.es: el arte de acción como metodología de investigación experiencial.

Latinoamérica Go.es es un proyecto de investigación multidisciplinar sobre las distintas apropiaciones culturales que se dan en el espacio público por parte de las comunidades latinoamericanas que viven en Madrid (2011-2015). El trabajo surge de una colaboración conjunta entre los colectivos Arquitectura Expandida (Bogotá) y Elgatoconmoscas (Madrid). El objetivo del presente artículo es analizar e interpretar los resultados de este estudio centrando la atención en las distintas estrategias de aproximación que fueron llevadas a cabo a través del arte de acción, todo ello documentado audiovisualmente (documental, videoarte). Las distintas intervenciones artísticas que componen la investigación: Ecuavóley, Carrito-barbacoa y Corte latino funcionan como piezas independientes, pero han sido compiladas y exhibidas conjuntamente en el proyecto expositivo C.I.T.I., bajo el título de El evento es fuera a modo de publicación de resultados. Lo que se pretende es subrayar la importancia del componente experiencial en un estudio sobre eventos cultuales puramente vivenciales. AbstractLatin America Go.es is a multidisciplinary research project on the different cultural appropriations that the Latin American communities living in Madrid carry out in the public areas (2011-2015). The idea arose from a joint collaboration between the groups “Arquitectura Expandida” (Bogota) and “Elgatoconmoscas” (Madrid). The objective of this article is to analyse and interpret the results of this study focusing on the different approaches that were carried out through the art of action, all documented audiovisually (documentary, Video-art). Various artistic performances that make up the research: Ecuavóley, Carrito Barbacoa (trolley-barbecue) and Corte Latino (Latin cut) work as independent pieces but have beencompiled and exhibited jointly in the Project exhibition C.I.T.I., under the title ofthe El Evento esta fuera (The Event Is Out There) as a public spread of the results. Keywords: Action art; latin communities; public space; situations design; videoart.

Latinoamérica go.es: el arte de acción como metodología de investigación experiencial

Latinoamérica Go.es es un proyecto de investigación multidisciplinar sobre las distintas apropiaciones culturales que se dan en el espacio público por parte de las comunidades latinoamericanas que viven en Madrid (2011-2015). El trabajo surge de una colaboración conjunta entre los colectivos Arquitectura Expandida (Bogotá) y Elgatoconmoscas (Madrid). El objetivo del presente artículo es analizar e interpretar los resultados de este estudio centrando la atención en las distintas estrategias de aproximación que fueron llevadas a cabo a través del arte de acción, todo ello documentado audiovisualmente (documental, videoarte). Las distintas intervenciones artísticas que componen la investigación: Ecuavóley, Carrito-barbacoa y Corte latino funcionan como piezas independientes, pero han sido compiladas y exhibidas conjuntamente en el proyecto expositivo C.I.T.I., bajo el título de El evento es fuera a modo de publicación de resultados. Lo que se pretende es subrayar la importancia del componente experiencial en un estudio sobre eventos cultuales puramente vivenciales. AbstractLatin America Go.es is a multidisciplinary research project on the different cultural appropriations that the Latin American communities living in Madrid carry out in the public areas (2011-2015). The idea arose from a joint collaboration between the groups “Arquitectura Expandida” (Bogota) and “Elgatoconmoscas” (Madrid). The objective of this article is to analyse and interpret the results of this study focusing on the different approaches that were carried out through the art of action, all documented audiovisually (documentary, Video-art). Various artistic performances that make up the research: Ecuavóley, Carrito Barbacoa (trolley-barbecue) and Corte Latino (Latin cut) work as independent pieces but have beencompiled and exhibited jointly in the Project exhibition C.I.T.I., under the title ofthe El Evento esta fuera (The Event Is Out There) as a public spread of the results. Keywords: Action art; latin communities; public space; situations design; videoart.

Rule 68: Contents of the Defence to the Statement for a declaration of non-infringement

Possible orders that can be applied for in the interim procedure are, in principle, all orders of the Court provided for in the UPCA and the Rules of Procedure. For a Statement of non-infringement, however, only a few orders may be relevant. Normally, the defendant in an action for a declaration of non-infringement does not lack any means of proof; therefore, all the rules on proof (Rule 190), on information (Rule 191), on preserving evidence (Rule 192), or on inspection (Rule 199) may be applicable in only a few cases. The reason for this is that the defendant has no direct advantage in the rejection of the claim (except for the cost decision in his favour). The defendant cannot enforce that decision, even if the Court decides positively on the infringement question. Claims arising out of an infringement are not the subject matter of the action. If the defendant wants to bring an infringement claim, he must do so in an infringement action (→ Art 33(6) UPCA).