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become separate and opposed terms. In the example used by Marx, there was no naturally motivated relationship such as there was between the form and the material stuff of a tree. 65 Form became merely the remainder of living labour and had nothing to do with the material that had been formed – “labour
towards carbon neutrality by 2035, high quality of life, advanced technological solutions and increased attractiveness to business. Kalasatama is a new district in southeastern Helsinki, currently under construction. Its urban plan was instigated in 2005 with the building of a new metro station that
cultivated by socio-cultural practices. 2 The affordance of sitting on a wooden chair created by a carpenter, for instance, exists only against a wider background of socio-cultural practices of sitting on chairs, rather than say sitting on the floor or perhaps living in a non-sedentary way altogether. 3
, hydroelectricity captured in something modelled on the bell shapes of jellyfish, solar-powered signs with pollution filtering mechanisms motivated by marine creatures like salpidae, paddlefish, and peacock worms, bat sonar imitated to fly drones around obstacles in the dark, the wrinkling of a skin to repel dirt
lasting changes in perspective, but also in behavioural changes. As cosmonaut Boris Volynov (Soyuz 5 and 21) put it: “During a space flight, the psyche of each astronaut is re-shaped; having seen the Sun, the stars and our planet, you become more full of life, softer. You begin to look at all living
also recalled a prominent recent subscription campaign run by Life in March of 1959, when stock inserts in the magazine read “Whatever it is, wherever it happens, with LIFE, you’re there , to see it with your own eyes as little as four days after it happens!” (fig. 32). You’re there : in Kaprow
complementary text, usually a maxim with which death addresses the beholder. 32 The words initiate interaction and bring the image as a personification of death to life. In the 15th and early 16th centuries the theme of death was frequently brought to the notice on the exterior of diptychs, usually accompanied
collection of Chinese art that is the focus of this essay was owned by a Dutch-born emigrant to the early United States, Andreas Everardus van Braam Houckgeest [1739–1801]. Although Van Braam lived in China at several points during his life, his collection of art was amassed during his final residence in
the topic of embodied experience.” 8 For there is in fact a long-standing tradition of attention to mobile viewership in art historical discourse – which was often motivated, in turn, by the stated interests of practicing artists and by the visible features of works of art. Moreover, this strand of
Charlotte Moorman and the Festival of the Avant Garde – New York 1964 Even a quick glance at the programmes Mary Bauermeister planned in her studio reveals the massive mobility among artists at this time, many of whom seem to have been constantly on tour or living a nomadic life with longer residencies in