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Algorithm, Image, Art examines the history, processes, and ideas behind visual culture. Machine learning algorithms now have a pervasive influence on the aesthetics and meaning of images. But while novel in some respects, these recent developments are connected to much earlier, even analog, geometrical, optical, and procedural methods. This book looks at how the production of images in terms of algorithmic instructions has shaped images and art, as well as the values used to assess them. It draws connections between the algorithmic forms of visual media we are familiar with today and the precursors from which they evolved.

The proverbial "red thread" that runs through Goethe's oeuvre comprises his personal relationships-with men and boys. They provide the impetus and energy, the fabric and pattern for each and every one of his major works. His writing entails a continuous process of re-iterating, re-living, re-evaluating, re-contextualising his personal experiences, thereby eternalising it-and with it, himself. Goethe is the monument of a universal force he chiselled into words.

The twelve chapters of Another Artworld: Pursuing New Organisational Modes embody a critical analysis of artistic creation and its public in the contemporary art world while exploring ways to overcome the de facto dictum of entrepreneurship in the global art markets. These essays, written by scholars with a variety of specializations in the artworld, question existing governance principles and decision-making models in the visual arts. They also question the humanist thesis that artistic labor is a non-utilitarian human activity, the opposite of work, in service only of self-fulfillment and personal, expressive needs (i.e., art for art's sake). The anomalous social manipulation of the Covid-19 pandemic revealed that both in neoliberal capitalist countries and on their geopolitical periphery, art has become the elite priviledge of materially secure individuals rather than the common heritage and birthright of all citizens.

Contemporary art today is a result of series of revolutionary changes, conceived and created by artists who strongly believed in power of art. Entrance of text into the field of painting is one of those changes. This book is the result of extensive research of textual practices in the visual arts of the 20th Century which starts from the idea that painting became too weak in the postwar scene filled with advertising and communication boom. The Belgian artist Marcel Broodthaers and the Yugoslavian artist Dimitrije Bäi¿evi¿ Mangelos,, devoted their lives to building subtle but meaningful art practices that are poetic and philosophical, based on text - verses and words. Their art is difficult to decipher but it became a call for new generations to follow their path so Broothaers and Mangelos stand today in front of us as important postwar European "artist's artists."

What Edmund Burke identifies as the sublime in human experience, the arts, and science has been“overthrown” by a new cult-like religion of Scientism. As a secular religion, this new cult structures itselfon the old framework of the Christian religion, in particularly Roman Catholicism, which it attempts todisplace. While it does indeed depend upon the discoveries and advances of science to evangelize itsmessage, it relies chiefly on belief, manipulation, and coercion as much as did its predecessor, but withentertainment and consumerism rather than great art and holy ritual as its expression. It is supported bya lesser cult: The Cult of Mediocrity, represented by the creators of entertainment content, theeducation system, government, and the financial industry. Its basis is largely commercial, as its financeneeds are infinite. However, to create the right environment for its infinite expansion, it must workclosely with government and the banking system in various effective ways to achieve its end: which isthe creation of the Apex Consumer, the super-consumer helplessly indebted while equally helplesslyaddicted to the mediocre and toxic distractions the amnion offers in place of the Sublime. The collectiveresult is the “amnion,” matrix, or technosphere. It is a de facto false world that strives to be “more real”than reality to the consumer. Consequently, the mass of consumers have already begun to eschew the“real” world of cause and effect, human relations and action, and nature and the sublime. Instead, theyhave elected to adopt the amnion’s doctrine that everything good comes “in the future” – includingmedical immortality -- if they can only keep up with the monthly payments on the debt they have takenon, fatally, through the instrument of the promissory note. The exegesis of this work relies on what itdefines as the “world-historic” culture of the collective voices of those who valued the sublime above allelse. These voices include the literary work of European and American Romantic authors, French andGerman philosophers, artists, scientists, mathematicians, logicians, and, to a significant degree, thephilosophical and semiotic work of American philosopher, logician, mathematician, and scientist CharlesS. Peirce.

Emotional Permaculture is a philosophy of relation focused on the sense of Being With. At once poetic, narrative, and conceptual, Emotional Permaculture blends the realms of art, philosophy, and psychology in order to shed light on the general dynamics of relation - that which influences perception, communication, and action - in the private sphere, as well as the shared world. Loosely based upon the conceptual framework of Permaculture as articulated by ecologists Mollison and Holmgren, Emotional Permaculture acts as a lens through which to view the relational landscape, shifting the perception of personal ecology to reveal all interactions as imbedded within the active meditation of a shared world. Cultivating relationships that create energy, rather than drain it, opens pathways for sustainable collective evolution, as well as profound personal development. This labor of love is a humbling but rewarding endeavor, a living beating heart of truth. For while this is a metaphor of a garden, it is also one that is alive and growing, evidence of both the trials and beauties that come to pass in the garden of relation.

Queerness has always been the Arab world’s secret pleasure growing in privacy and secrecy as institutionalized heterosexism has marginalized it and made it forbidden to exist.Yet it still grows forcing a wave of consciousness-raising within Arab culture.Queer Arab Martyr explores the violence, secrets and fetishes unique to the Arab world unveiling the intersectionality of identity and body politics, religion and ethnicity. The book collects short emotional ethnographies to describe the sexualities, body politics, and of course, the sex of queer sexual minorities in the Arab world. The book also accompanies these short stories with beautiful illustrations by the author himself.Access to queer representation and language through global online networks and dating apps has created a new wave of urbanized Arab queers that are negotiating their visibility and sexual orientation with the older, more conventional Arab generation, exasperating an already abysmal generational gap.

The First Thermodynamic Law states that energy neither goes out of being nor comes into being. Consciousness is not dependent on the existence of matter, space, or time, although it interacts with these variables. As a fundamental force, dark energy would retain its form regardless of space or time. Inspired by Knud Ejler Løgstrup's approach of looking at the whole of nature, cosmophenomenology integrates cosmology and quantum physics to examine the hard problem of consciousness, the problem in quantum physics of why a wave changes to a particle, the alterity and harmony of consciousness as dark energy, and the necessary relation quantum physics has to multiple worlds-topics phenomenology alone is inadequate to examine. The Orchestrated Objective Reduction Theory of Roger Penrose and Stuart Hameroff holds that consciousness continues in a quantum state after death. This theory is compared to Leibniz's Monadology and Deleuzian multiplicity, and Blanchot's neuter. The view of death as a liminal state is discussed.

This treatise offers a novel and comprehensive approach to re-reading Heinrich von Kleist's works, with an in-depth focus on the eight dramas. It unravels his texts' overt textual fabric and isolates and de-codifies the covert thematic strands of which they are shown to be systematically composed. It demonstrates that these individual textual strands express and embody their author's main political and personal life pursuits and that his works function as his vehicles and mechanisms for the active pursuit of his agendas, thereby establishing them as being not only auto-biographical but indeed eminently auto-, as well as hetero-, poÏetical. This treatise demonstrates that it is always possible in principle, and usually in practice, to eliminate those ambivalences, dissonances and incommensurabilities that apparently mar Kleist's texts and that have long preoccupied and puzzled the Kleist-Forschung, showing them to comprise mere textual surface phenomena brought about by his intricate interweaving, within a single textual fabric, of multiple heterogenous thematic threads. In rigorously unravelling these threads and thus decrypting the texts, this book demystifies Kleist and confirms him to have been among that exceedingly rare breed of writers of whom he himself once wrote that they master both metaphor and formula in equal measure.

Conversations and Uncertainty contains ten essays. The book is inspired by a life changing conversation with John Berger. Each essay was provoked by a conversation with an artist, writer or thinker including: John Berger, author of Ways of Seeing; William Kentridge, winner of the 2010 Kyoto Prize; Louise Bourgeois, 1981 Fellow of the American Academy of Arts and Sciences; Nicholas Carone, founding faculty member of the New York Studio School and Paul Salopek, two-time Pulitzer Prize Winner. The conversations provoke questions about uncertainty, violence, communication, drawing, the unmeasurable, childhood, magic, theory, checking, newness and the Anthropocene.Conversations are observed along with the thoughts, images, memories, drawings and objects that surround them. In conversations with John Berger, drawings and texts are sent through the post. Sometimes, a conversation is as brief as a scent that surprises us and then disappears before it can be recognized. Sometimes, the author observes conversations that are continuous and deliberate and interwoven into daily life. In each case the observations are based on lived moments. They are without proof, record or measure. They gather into a steady, strong swell and then recede into an imperceptible hum. They mimic each other, each time returning slightly altered.These essays are written in the spirit of giving ideas, images and relationships space to be unknown. Certainty is demanded of us, in our every day life, with such relentless vigor that we respond continuously with packages of certainty. In conversing, reading, writing, thinking and making art, we have a choice. We can allow ourselves to bask in the deliriously disorienting and gorgeous confusion of this mysterious world.

"Science is interesting precisely because it relates to me. It is a human function just as much as breathing is: it is an existential interest. And an entirely objective science would be uninteresting, inhuman. The search for scientific objectivity is revealing itself in its continual advancement not as a search for "purity", but as pernicious madness. The present essay demands that we give up the ideal of objectivity in favour of other intersubjective scientific methods." ---- "De te fabula narratur". Thus starts this paranaturalist treatise by Vilém Flusser. Author of the seminal Towards a Philosophy of Photography (1984) and "Ins Universum der Technischen Bilder" (1985), Flusser introduces us here to an infernal creature from the oceanic abysses, our long lost relative, who slowly emerges, not from the oceans, but from our own depths to gaze spitefully into our eyes and reflect back at us our own existence. ---- Originally published only in German in 1987, this version has been edited and translated by Rodrigo Maltez Novaes, Ph.D. candidate at the European Graduate School, Saas-Fee, under the supervision of Prof. Dr. Siegfried Zielinski, from the original, unpublished and extended Brazilian-Portuguese version of the manuscript recently found at the Vilém Flusser Archive at the Universität der Kunst, Berlin. This edition is also accompanied by a selection of previously unpublished excerpts from Flusser's correspondence with Milton Vargas and Dora Ferreira da Silva, with whom he discussed the development of the present text.

"What a rewarding read! This unique blending of philosophy, poetry and personal experience, combined with an impressive scholarship, has enlightened me beyond my expectations. I especially liked the constructive attitude which turns the ugly past into something which contains future - a dialectics of hope. Like many educated people I had a certain knowledge of the issues at hand but this work has convinced me that we need to know so much more about it. We must finally recognize how strongly this past still influences the present worldview and our actions. "'Talking Cheddo' established forcefully the key role of language and the power of (forgotten) words ..." Prof.Dr.W.Schirmacher Program Director, Media & Communications Division European Graduate School EGS Manga Clem Marshall conducts ongoing research into the intersection of language, culture and race. From inside the circle of his ancestral Cheddo (Freethinking) tradition in the Senegambian region of West Africa, he lectures on Afrikan art, language, culture and race. He was named 'Teacher of the Year' for his work in Sociology at York University, Toronto; taught Community Arts at Ryerson University; pioneered the series Learning to Love Africa Through her Art for the Art Gallery of Ontario and was a lecturer in the prize-winning Ontario Science Centre program, 'A Question of Truth'.