Identity formation at the beginning of the twenty-first century: Intersubjectivity, art, and medicine in Siri Hustvedt’s works

„Ich bin, weil du bist“ – so lautet eines der Schlüsselzitate in What I Loved, dem 2003 erschienenen dritten Roman der zeitgenössischen amerikanischen Autorin Siri Hustvedt. Die Bedeutung von Beziehung und Interaktion für die Identitätsbildung spielt eine zentrale Rolle nicht nur in diesem Roman, sondern auch in ihrem Gesamtwerk, das vier Romane, ein memoir, drei Essay-Sammlungen und einen Lyrikband umfasst. Hustvedt erforscht die Identität als ein vielschichtiges Produkt bewusster und unbewusster Verknüpfungen innerhalb der sozialen und biologischen Umwelt. Das Bewusstsein wird als eine dialogisch geprägte Entität gezeigt, dessen Identität erst durch die Beziehung auf ein Anderes geformt werden kann. Um dem Mysterium der menschlichen Identitätsfindung nachzuspüren, bedient sich Hustvedt sowohl philosophischer, psychoanalytischer, biologischer als auch kunsttheoretischer Diskurse. In ihren Romanen stellt sich die Frage nach der Erklärung von Identität als komplexe Problematik dar: Ist die Beziehung zu anderen Menschen vor allem durch unsere Entwicklung als Kind und die Nähe zu Bezugspersonen geprägt? In welchem Ausmaß ist das Empfinden von Subjektivität beeinflusst von körperlichen und unbewussten Mechanismen? Inwiefern ist die Wahrnehmung visueller Kunst eine Kooperation zwischen Betrachter und Künstler? rnDiesen und anderen Fragen geht diese Dissertation nach, indem sie Hustvedts Werk als Anlass für eine Analyse intersubjektiver Strukturen der Identität nimmt. Die Intersubjektivitätsphiloso¬phien von Hegel, Buber, Bakhtin, Husserl, und Merleau-Ponty dienen hierbei als Ausgangspunkt für die Interpretation von relationaler Identität in Hustvedts Werken. Die Dissertation konzentriert sich auf Hustvedts Darstellung der Beziehung zwischen Selbst und Anderem in der Photographie und in der Malerei, der Überschreitung von Körpergrenzen in Hysterie und Anorexie sowie der Auswirkung des Verlustes von Bezugspersonen auf die persönliche Identität. Entscheidend für den Hustvedtschen Kunstbegriff ist das Zusammenspiel von Kunstobjekt, Künstler und Betrachter. Die Grenzen zwischen Innerem und Äußeren werden aufgelöst: mal wird der Rezipient Teil des Kunstwerks, mal verschmilzt der Künstler förmlich mit seinem Objekt. Auch hier wird wiederum deutlich, dass Identität nur in Wechselbeziehung und als zwischenmenschliche Kooperation entsteht. Hustvedt betritt durch ihre einzigartige Auseinandersetzung mit den Wechselbeziehungen und fragilen Grenzen zwischen Ich und Umwelt Neuland auf dem Gebiet der literarischen Identitätsforschung, da sie ihr Prinzip des „mixing,“ des unausweichlichen Eindringens fremder Substanz in die eigene Identität, aus dem Blickwinkel dieser verschiedenen Erklärungsansätze beleuchtet. rn

Das neue digitale ‚Shakespeare-Bildarchiv Oppel-Hammerschmidt‘ an der Universitätsbibliothek Mainz : Reden und Beiträge anlässlich seiner öffentlichen Vorstellung am 17. November 2008 an der Johannes Gutenberg-Universität Mainz

On the basis of illustrations of Shakespeare's Hamlet, the new digital 'Oppel-Hammerschmidt Shakespeare Illustration Archive' at the Mainz University Library - together with a lavishly-constructed and multiply-linked Web interface version - was presented to the public on 17 November 2008. This e-book, edited by Andreas Anderhub and Hildegard Hammerschmidt-Hummel, contains the speeches and presentations given on the occasion of the opening ceremony of the electronic archive. The collection of the new archive, published here for the first time, holds about 3,500 images and is part of the only Shakespeare illustration archive in the world. The Shakespeare Illustration Archive was founded in 1946 by the internationally acclaimed Shakespeare and Goethe scholar, Prof. Horst Oppel. This part of the archive was donated to the Mainz University Library on condition that its holdings be digitalised and made available to the public. The collection has been named 'The Oppel-Hammerschmidt Shakespeare Illustration Archive' in accordance with the terms of the Agreement of Donation of 9, 15, and 16 September 2005, and honouring the 16 March 1988 Delegation of Authority and Declaration of Intent by Frau Ingeborg Oppel, Prof. Oppel's widow and legal assignee. Vice-President Prof. Jürgen Oldenstein opened the proceedings by noting that 2008 had been a good year for international Shakespeare scholarship. For, in London, the site of the 'Theatre' in Shoreditch, where Shakespeare's company performed, had been unearthed, and in Mainz the Shakespeare Archive had gone online with thousands of illustrations. The Dean of the Faculty of Philosophy and Philology, Prof. Mechthild Dreyer, who mentioned that she herself had long been successfully employing interdisciplinary research methods, took particular pleasure in the transdisciplinary approach to research resolutely pursued by Prof. Hammerschmidt-Hummel. Prof. Clemens Zintzen (Cologne), former President of the Mainz Academy of Literature and Sciences, recalled highlights from the more than sixty-year-long history of the Shakespeare Illustration Archive. Prof. Kurt Otten (Heidelberg and Cambridge) drew an impressive portrait of Horst Oppel's personality as an academic and praised his influential books on Goethe and Shakespeare. He pointed out that Oppel's Shakespeare Illustration Archive, the basis for many a dissertation, had enjoyed great popularity around the world. Prof. Otten also delineated the academic career of Prof. Hammerschmidt-Hummel and her new findings regarding Shakespeare's time, life and work. Prof. Rüdiger Ahrens OBE (Würzburg) drew attention to Prof. Hammerschmidt-Hummel's research results, directly or indirectly arising out of her work on the Shakespeare Illustration Archive. This research had centred on proving the authenticity of four visual representations of Shakespeare (the Chandos and Flower portraits, the Davenant bust and the Darmstadt Shakespeare death mask); solving the mystery around Shakespeare's 'Dark Lady'; and establishing the dramatist's Catholic religion. Prof. Hammerschmidt-Hummel reported on her 'Shakespeare Illustration' project, describing the nature, dimensions and significance of the Archive's pictorial material, which relates to all of Shakespeare's plays and stretches over five centuries. She explained that the digital 'Oppel-Hammerschmidt Illustration Archive' was an addition to the three-volume edition she had compiled, authored and edited for publication in 2003. Unlike the print version, however, the digital collection had only been partly editorially prepared. It represented source material and a basis for further work. Hammerschmidt-Hummel expressed her thanks to the Head of the Central University Library, Dr Andreas Anderhub, for his untiring commitment. After the initial donation had been made, he had entered enthusiastically into setting up the necessary contacts, getting all the work underway, and clearing the legal hurdles. Hammerschmidt-Hummel was especially grateful to University of Mainz librarian Heike Geisel, who had worked for nearly five years to carry out the large-scale digitalization of a total of 8,800 items. Frau Geisel was also extremely resourceful in devising ways of making the collection yield even more, e.g. by classifying and cross-linking the data, assembling clusters of individual topics that lend themselves to research, and (in collaboration with the art historian Dr Klaus Weber) making the archive's index of artists compatible with the data-bank of artists held by the University of Mainz Institute of Art History. In addition, she compiled an extremely helpful 'users' guide' to the new digital collection. Frau Geisel had enjoyed invaluable support from Dr Annette Holzapfel-Pschorn, the leading academic in the Central IT Department at the University, who set up an intelligent, most impressive Web interface using the latest application technologies. Frau Geisel and Dr Holzapfel-Pschorn were highly praised for their convincing demonstration, using illustrations to Hamlet, of how to access this well-devised and exceptionally user-friendly Web version. For legal reasons, Prof. Hammerschmidt-Hummel pointed out, the collection could not be released for open access on the internet. The media - as Dr Anderhub stressed in his foreword - had shown great interest in the new digital collection of thousands of Shakespearean illustrations (cf. Benjamin Cor's TV feature in "Tagesthemen", 17 November 2008, presented by Tom Buhrow). The ‘Oppel-Hammerschmidt Shakespeare Illustration Archive’ should also meet with particular interest not only among academic specialists, but also among the performers of the arts and persons active in the cultural realm in general, as well as theatre and film directors, literary managers, teachers, and countless Shakespeare enthusiasts.

Evaluation of the Design of Komendant's Cycloidal, Thin Shell Roofs At the Kimbell Art Museum Using Finite Element Analysis

The analysis of Komendant's design of the Kimbell Art Museum was carried out in order to determine the effectiveness of the ring beams, edge beams and prestressing in the shells of the roof system. Finite element analysis was not available to Komendant or other engineers of the time to aid them in the design and analysis. Thus, the use of this tool helped to form a new perspective on the Kimbell Art Museum and analyze the engineer's work. In order to carry out the finite element analysis of Kimbell Art Museum, ADINA finite element analysis software was utilized. Eight finite element models (FEM-1 through FEM-8) of increasing complexity were created. The results of the most realistic model, FEM-8, which included ring beams, edge beams and prestressing, were compared to Komendant's calculations. The maximum deflection at the crown of the mid-span surface of -0.1739 in. in FEM-8 was found to be larger than Komendant's deflection in the design documents before the loss in prestressing force (-0.152 in.) but smaller than his prediction after the loss in prestressing force (-0.3814 in.). Komendant predicted a larger longitudinal stress of -903 psi at the crown (vs. -797 psi in FEM-8) and 37 psi at the edge (vs. -347 psi in FEM-8). Considering the strength of concrete of 5000 psi, the difference in results is not significant. From the analysis it was determined that both FEM-5, which included prestressing and fixed rings, and FEM-8 can be successfully and effectively implemented in practice. Prestressing was used in both models and thus served as the main contribution to efficiency. FEM-5 showed that ring and edge beams can be avoided, however an architect might find them more aesthetically appropriate than rigid walls.

Physiological correlates of aesthetic perception of artworks in a museum

Arts experts are commonly skeptical of applying scientific methods to aesthetic experiencing, which remains a field of study predominantly for the humanities. Laboratory research has however indicated that artworks may elicit emotional and physiological responses. Yet, this line of aesthetics research has previously suffered from insufficient external validity. We therefore conducted a study in which aesthetic perception was monitored in a fine-art museum, unrestricting to the viewers’ freedom of aesthetic choice. Visitors were invited to wear electronic gloves through which their locomotion, heart rate and skin conductance were continuously recorded. Emotional and aesthetic responses to selected works of an exhibition were assessed using a customized questionnaire. In a sample of 373 adult participants, we found that physiological responses during perception of an artwork were significantly related to aesthetic-emotional experiencing. The dimensions ‘Aesthetic Quality’, ‘Surprise/Humor’, ‘Dominance’ and ‘Curatorial Quality’ were associated with cardiac measures (heart rate variability, heart rate level) and skin conductance variability. This is first evidence that aesthetics can be statistically grounded in viewers’ physiology in an ecologically valid environment, the art gallery, enhancing our understanding of the effects of artworks and their curatorial staging.

Connecting Interactive Arts and Virtual Reality with Enaction

This paper reports on a Virtual Reality theater experiment named Il était Xn fois, conducted by artists and computer scientists working in cognitive science. It offered the opportunity for knowledge and ideas exchange between these groups, highlighting the benefits of collaboration of this kind. Section 1 explains the link between enaction in cognitive science and virtual reality, and specifically the need to develop an autonomous entity which enhances presence in an artificial world. Section 2 argues that enactive artificial intelligence is able to produce such autonomy. This was demonstrated by the theatrical experiment, "Il était Xn fois" (in English: Once upon Xn time), explained in section 3. Its first public performance was in 2009, by the company Dérézo. The last section offers the view that enaction can form a common ground between the artistic and computer science areas.

What's Happening? Allan Kaprow and Claes Oldenburg Argue About Art And Life

In 1961 Allan Kaprow (1927–2006) and Claes Oldenburg (b. 1929) exchanged a number of letters in which they argued about the definition of their avant-garde practices as Happenings. Kaprow, who first introduced this "root-metaphor," as he would later call it, describes with it the necessity of the respective activity to be as far removed as possible from all motives, materials, and formats conventionally connected to art. Oldenburg, who at the time of this exchange was just as active in the New York performance scene as Kaprow, disagrees with his colleague's removal of their practice from the artistic sphere. Oldenburg is also dissatisfied with the fact that Kaprow, through his writings, launches a critical discourse that follows his own definition of the Happening. The two artists thus argue just as much about the positioning of their practices with respect to art as over the authority to establish such a position. This essay traces their argument through their written conversation and in doing so exposes the immense influence Kaprow's rhetoric had on the subsequent art-historical canonization of their respective practices: Oldenburg's more ambivalent position is today amalgamated with Kaprow's theoretical stance.

Katalog der vom Verein "Jüdisches Museum Breslau" in den Räumen des Schlesischen Museums für Kunstgewerbe und Altertümer veranstalteten Ausstellung Das Judentum in der Geschichte Schlesiens : 3. Februar bis 17. März 1929

verfaßt von Erwin Hintze