Gotowa bibliografia na temat „Interaction of emptiness and fullness”

<p align="LEFT">What is the discursive genealogy of an ecological approach to the Arctic? Building on distinctions suggested by Francis Spufford and Gísli Pálsson, this article examines a specific juncture in the history of European–Arctic interaction – the reception of the Austro-Hungarian Arctic Expedition in 1874 – and traces the potential for ecological and relational understandings in what seems to be an orientalist and exploitative material. Examining the medial reception in Austria and in Norway, along with certain key texts in which Arctic wildlife is described, we find that the Norwegian reception of the expedition emphasizes practical issues connected with resource exploitation in the Arctic, while the Austrian reception mostly sees the Arctic as a symbolic resource with which to negotiate issues of identity and modernity. The Austrian discourse revolves around a set of paradoxical contradictions, the most central being those between materialism and idealism and emptiness and fullness; we argue it is the instability of such ambiguities which produces the possibility of a future ecological discourse.</p>

The artwork of Raphael Montañez Ortiz (b. 1934) represents the broad sweep of new art forms since the 1950s, their imbrication with concurrent intellectual and social movements, and the productive tension between object-based and performance-based art. Starting out as an Abstract Expressionist painter in the late 1950s, Ortiz proceeded to participate in the development of several new modes: recycled film and music, mixed-media sculpture, installation, performance art, guerrilla theater, piano destruction concerts, and computer art. Yet despite his presence and impact, he remains missing from art history. This essay argues that Ortiz’s earliest destructions—recycled films made in 1957 and 1958—challenge the accepted history of US avant-garde film. These films were concurrent with Bruce Conner’s A MOVIE (1958), yet signaled an entirely different direction than the diagnostic and rational modernism of Conner and other avant-garde filmmakers. Ortiz turned to destruction, non-Western ritual, and the unconscious while also engaging film as an object rather than a text, bringing the medium into dialogue with the shifting status of the art object and the colonial underpinnings of modern art. The essay explores Ortiz’s intellectual and artistic development, not toward a psychological profile but rather as one element of a broader historical moment. The text moves between the experiential and the contextual, the individual and the societal, the art object and everything else outside the white cube, exploring the relations between them. In this way, telling the story of Ortiz also tells a constellation of simultaneous histories that overlap around his life. RESUMEN El arte de Raphael Montañez Ortiz (nacido en 1934 en Estados Unidos) representa el amplio abanico de nuevas formas de arte a partir de la década de 1950, su imbricación con movimientos intelectuales y sociales concurrentes, y la tensión productiva entre el arte basado en objetos y el arte basado en performance. Al comenzar como pintor expresionista abstracto a fines de la década de 1950, Ortiz participó en el desarrollo de nuevas formas: cine y música reciclados, escultura de medios mixtos, instalación, performance artístico, teatro de guerrillas, conciertos de destrucción de pianos y arte computacional. A pesar de la presencia e impacto de Ortiz en las artes, sigue siendo un artista poco visible en la historia. Este ensayo sostiene que las primeras destrucciones de Ortiz, las películas recicladas hechas en 1957 y 1958, ponen en cuestión la historia aceptada del cine de vanguardia de los Estados Unidos. Estas películas coinciden con A MOVIE (1958) de Bruce Conner, pero señalan una dirección completamente diferente a la del diagnóstico y el modernismo racional de Conner y otros cineastas de vanguardia. Ortiz recurre a la destrucción, los rituales no occidentales y el inconsciente, al tiempo que estudia el cine como un objeto en lugar de un texto, poniéndolo así en diálogo con el estado cambiante del objeto artístico y los fundamentos coloniales del arte moderno. El ensayo explora el desarrollo intelectual y artístico de Ortiz, no con el fin de realizar un perfil psicológico, sino como elemento de un momento histórico más amplio. El ensayo se mueve entre lo experiencial y lo contextual, lo individual y lo social, el objeto artístico y todo lo demás fuera del cubo blanco, explorando las relaciones entre ellos. De esta manera, contar la historia de Ortiz también es contar una constelación de historias simultáneas que se superponen alrededor de su vida. RESUMO A obra de Raphael Montañez Ortiz (n. 1934, Estados Unidos) representa a ampla variedade de novas formas de arte desde os anos 1950, sua imbricação com movimentos intelectuais e sociais simultâneos e a tensão produtiva entre arte baseada em objeto e performance. Começando como um pintor expressionista abstrato no final dos anos 1950, Ortiz participou do desenvolvimento de novas formas: cinema e música reciclados, escultura de mídia mista, instalação, performance, teatro de guerrilha, concertos de destruição de piano e arte computacional. Apesar da presença e do impacto de Ortiz nas artes, ele continua sendo um artista ausente da história. Este ensaio argumenta que as primeiras destruições de Ortiz, filmes reciclados feitos em 1957 e 1958, desafiam a história aceita do filme de vanguarda dos EUA. Esses filmes são concomitantes com A MOVIE (1958) de Bruce Conner, mas sinalizam uma direção totalmente diferente do diagnóstico e do modernismo racional de Conner e de outros cineastas de vanguarda. Ortiz recorre à destruição, ao ritual não-ocidental e ao inconsciente, ao mesmo tempo em que engaja o filme como um objeto em vez de um texto, colocando o filme em diálogo com o status cambiante do objeto de arte e os alicerces coloniais da arte moderna. O ensaio explora o desenvolvimento intelectual e artístico de Ortiz, não em relação a um perfil psicológico, mas sim como um elemento de um momento histórico mais amplo. O ensaio se move entre experiencial e contextual, individual e social, o objeto de arte e tudo o mais fora do cubo branco, explorando as relações entre eles. Desta forma, contar a história de Ortiz é também contar uma constelação de histórias simultâneas que se sobrepõem em torno de sua vida.

In Emptiness: Feeling Christian in America, John Corrigan delivers a sweeping study of the dialectic between emptiness and fullness in American Christianities. He draws from an impressive breadth of sources both over time and within different forms of American Christianity to explore how Christians have integrated the feelings of emptiness and, in turn fullness, as central to their identities, beliefs and practices. At the outset of the book Corrigan explains, “The practice of Christianity that was grounded in the feeling of emptiness, however, was not ambiguous. Christians determinedly chased the feeling of emptiness, valorized it as a longing for God, and performed devotions to prompt and deepen it.” He unpacks this argument in five chapters devoted to feelings, bodies, spaces, times, and believers.

The problem statement is that the understanding of the fullness as a certain state of consciousness is inherent not only in Christianity. An analysis of recent research on the subject involves the consideration of emptiness as fullness in Chinese mysticism. In view of this, the purpose of the article is to highlight the phenomenon of self-sufficiency and finding the similarity of Christianity, Taoism, the religion of ancient Ukrainians and modern mysticism.

The food habits of juvenile Lates calcarifer in the Shibsha river were investigated by examining the gastro-intestine contents of 720 specimens collected from June, 2010 to July, 2011. The major component of the diet was teleosts were dominant (32.40%) found in the stomach of Lates calcarifer. The next major food group were macro-crustacean (22.65%), followed by zooplankton (17.16%), algae (10.40%) and insects (9.89%). Monthly fluctuations were also witnessed in the percentage occurrence of stomachs with different degrees of fullness. It is evident that higher percentage of fullness of the stomach was recorded in pre-monsoon due to pre-spawning fattening process. Higher percentage of emptiness of the stomach was recorded in monsoon, due to starvation during breeding seasons. It is also observed that the percentage of stomach fullness was higher in summer than the percentage in winter in juvenile L. calcarifer..DOI: http://dx.doi.org/10.3126/on.v10i1.7772

OBJECTIVE: To explore perceptions of aging among Korean undergraduate nursing students. METHODS: The participants for the study were 102 undergraduate nursing students, selected from two universities in Korea. The questions were non-structured, open-ended in order for the students to make sufficiently complete statements regarding their experiences with aging. RESULTS: The collected materials were classified into 4 themes, 13 sub-themes and 30 meaning units. Four themes emerged: fullness, emptiness, transference, and desirability. Most nursing students perceived aging positively as fullness and desirability, which are influenced by Confucianism. CONCLUSION: In conclusion, Confucianism as a cultural context should be considered to develop strategies for promoting a positive perception of aging in Korea.

The goal of comparison of J. Brodsky’s and G. Sapgir’s ideas is to show the variety of the creative life search in the poetry of the late third of the XX century. The contribution of poetry to the XX century paradigm of uncertainty –from the relativistic physics to axiology – is to fill the emptiness. The existential and mental task is to poetically feel the transcendent deeper and bring it closer via «blending ethics with metaphysics». The contrast of the artistic systems is described as a controversy between the apolloniс and dionysian, mediumistic and voluntarist principles of creation. Brodsky’s neoclassicism is comparable to Sapgir’s discrete dynamics – both poets perceived the otherness via sharp perception of life in its dialogue with the emptiness. Poetry was seen as an adequate way to achieve transcendent knowledge; creative life was looking for the images convincing that one recognized the otherness in the form of the emptiness and for the means to transmit one’s perceptions about it. The dialogue with the emptiness is presented as a visionary intrusion into otherness and a search for resonance with it. Brodsky’s contemplation sees the transition as immersion into the multidimensionality; chrono-sensory perception unfolds metaphorically. Sapgir’s mystical propensity is sensual, it engages readers in the reflection through performances, spontaneous associations open the emptiness as the fullness. The authenticity of the cognition is felt by the poets in flesh, viscerally (anxiety, vertigo, exertion, pain).

La relation entre les peintures chinoise et occidentale apparait comme une rencontre entre l’eau et l’huile. Mélanger les deux étant impossible, comment, dès lors, un artiste entre deux cultures, peut-il faciliter leur dialogue et devenir un passeur ? Cette recherche tente d’associer la technique des matériaux occidentaux avec l’expression du pinceau et de l’encre liés au concept du plein et du vide afin d’explorer des oppositions complémentaires, en créant une réalité diluée dans un contraste harmonisé. La réflexion s’est concrétisée par des peintures en trois formats : la série, le rouleau et l’album, intitulées Musée en peinture. Formats qui permettent d’aborder aussi bien les questions de l’écoulement du temps, de la circulation du regard, de la dynamique spatiale, que celles de l’extension et de la suggestion. Ces peintures interrogent le phénomène du musée en portant un regard ironique, critique et empathique sur les spectateurs et leurs travers. Elles témoignent aussi de la conversation avec les maîtres anciens et d’un cheminement dans les musées. La réalisation de ce musée des musées consiste en un processus de transfert de la photographie vers la composition photographique, puis vers la peinture. Ce processus se rapproche de la structure cinématographique, à partir du montage filmique d’Eisenstein, et de la notion de continuité et de discontinuité de Raoul Ruiz. Avec la boîte de Poussin numérique, on joue à la fois le rôle de peintre, de metteur en scène et de documentariste. Exploré, le passé se mue en espace, en reconstituant le passage du monde réel au monde virtuel, du ça-a-été de Roland Barthes à la notion du ça n’a pas été
The relationship between Chinese and Western painting appears as a meeting of water and oil. Mixing the two seems impossible, so how can an artist create a dialogue between two cultures and media, effectively becoming a cultural conduit ? This research attempts to combine the techniques of Western materials with the expression of Chinese brush and ink, which is linked to the concept of fullness and tangible versus emptiness and abstract. From here, we explore the complementary opposition, create a “diluted reality” in a harmonized contrast. This reflection, entitled Museum in Painting, is represented in three different formats: the series, the scroll, and the album. These formats allow us to explore ideas of the flow of time, the circulation of the gaze, the spatial dynamics, as well as the topic of Extension and Suggestion. From the satirical, critical, and empathic point of views, we investigate the audience and their quirks, questioning the phenomenon of museum. These works exhibit my intellectual journey through the museum, and the conversation with the old masters. The realization of this museum of museums is a transfer process from photography to digital composition, and then to the painting. It takes the concepts of Eisenstein's film montage and Raoul Ruiz’s continuity and discontinuity to explore its relevance to the cinematographic composition and structure. With the “Digitized Box of Poussin”, we played the role of painter, director and documentary filmmaker to explore the idea of past events becoming a space to re-create a pathway from the real world to the virtual world, from Roland Barthes’ concept of “what happened” to the concept that is put forward that “it didn’t happen”

This project explores the idea of visual absence in relation to the notion of Chinese classical aesthetics of emptiness. The approaches is located in between representation and abstraction by combining the painting skills and expressions of Chinese Gong Bi [工笔] and Xie Yi [写意] with focuses on complementing visual clarity and obscurity. The aim of the research is to explore visual absence as a painting strategy in contemporary art practice, referring to the painting method of reduction, incompleteness and metaphor that extends the painting space and meaning through visual presence, thus unfurling an extended art form and creative strategy from Chinese classical aesthetics. The outcome is a series of paintings as an exploration in extending the Chinese painting aesthetics. This project is constituted of 80% practice-based work, accompanied by 20% exegesis in approximately 11,600 words as a complement.