SCIENARINTERFERENÞE

Creaþii nãscute la intersecþia ªTIINÞEI cu ARTA

EXPOZIÞIE

31 mai - 6 iunie 2010

BUCUREªTI

Institutul pentru Tehnicã de Calcul Universitatea Naþionalã de Arte

SCIENAR project has been funded with support from theEuropean Commission. This publication reflects the viewsonly of the author, and the Commission cannot be heldresponsible for any use which may be made of thisinformation contained therein.

Proiectul SCIENAR a fost susþinut cu sprijinul UniuniiEuropene. Publicaþia reflectã opiniile autorului ºiComisia nu poate fi trasã la rãspundere de conþinutulacesteia.

One day in the 1990s, while on his way to the RoyalInstitution in London, mathematician Ronnie Browncalled in to see an exhibition in Albemarle Street.

Inside, he found John Robinson's Symbolic Sculptures. Helooked, but could not believe his eyes when he saw howsuch sophisticated mathematical formulae were beingexpressed visually by a sculptor who did not have anybackground in mathematics, just an outstanding artisticintuition for representing abstract geometrical forms. It wasa fortunate meeting between science and art from whichboth would benefit. Ronnie introduced John Robinson'sworks to the British scientific community as part of hisMathematical Roadshow to UK universities. Several of thesculptures would later be sited at these universities. JohnRobinson became aware of the science behind his visionsand of the many possibilities that science offers forenriching the creative universe.

Science and Art. From antiquity to the present day bonds between

Mathematics and the Arts have been forged spanningtraditional topics, such as Euclidian geometry, the goldensection, perspective and symmetry, as well as more recentones including symmetry breaking, Riemannian geometry,relativity, chaos and fractals. These bonds, acting asreciprocal influences, sometimes evident, sometimessubliminal, are present in this exhibition hall where we haveaimed to gather testimonies to this relationship. It emergeseverywhere, from the Roman head sculpture with unknownauthor to Liviu Stoicoviciu's Geometric Growth, from JohnRobinson's Symbolic Sculptures to artistic representation ofmolecular structure of the antibody of Julian Voss-Andreae,from Brancusi's Endless Column odyssey, to the minimalistColumns of Peter Jacobi, from the morphic representationsof Jane McAdam Freud to Luminet's cosmological visions,from the incursions into the dream of Tristan and Alimi tothe space time photography of Lorenzi and Doble, fromchaos and fractal models of Pantano and Bilotta to theplaying with light and glass as Popovici does, from proto-historic forms and landart of Gheorghiu and Nash to thepsycho-sociological experiments of Ryu, and Dash and Dem.

Different styles, different works, different artists, allunited by the common ground of science in such a way thatosmotic influences between apparently distinct fields createsynergies that both unify and advance human civilisation inpursuit of a noble cause.

Exhibition curators:Gheorghe ªtefan Samoilã – ITC Dragoº Gheorghiu – UNA

Într-o zi, prin anii 90, în drumul sãu cãtre InstitutulRegal din Londra, matematicianul Ronie Brown aintrat într-o expoziþie pe strada Albemarle dinLondra. În expoziþie a gãsit Sculpturile Simbolice ale luiJohn Robinson. Privea, ºi nu îºi credea ochilor, vãzândcum formule matematice complicate fuseserã exprimatevizual de un sculptor care nu avea nicio pregãtirematematicã, ci numai o intuiþie artisticã extraordinarãîn a reprezenta forme geometrice abstracte. Era oîntâlnire fabuloasã între ºtiinþã ºi artã din care ambeledomenii au tras foloase. Ronie a prezentat lucrãrile luiJohn Robinson comunitãþilor ºtiinþifice din Angliaîntr-o expoziþie itinerantã prin universitãþile englezecare au reþinut multe din sculpturile sale. JohnRobinson a devenit în acelaºi timp conºtient demultiplele posibilitãþi pe care ºtiinþa le oferã pentruîmbogãþirea propriului univers creativ.ªtiinþã ºi artã.

Din antichitate pânã în zilele noastre, de lageometria euclidianã, secþiunea de aur, perspectivã,simetrie, apoi de la ruperea simetriei, geometrieriemannianã, relativitate, haos, fractali, au apãrutdintotdeauna conexiuni cu arta. Aceste conexiuni,acþionând ca interferenþe reciproce, câteodatã evidente,câteodatã subliminale, sunt prezente în aceastãexpoziþie unde am încercat sã adunãm mãrturii aleacestor interferenþe. Rãsar de oriunde, din bustulroman cu autor necunoscut, la creºterile geometrice alelui Stoicoviciu, de la Sculpturile simbolice ale luiRobinson la reprezentãrile artistice ale structuriimoleculare a imunoglobulinelor lui Voss-Andreae, dela odiseea ridicãrii Coloanei fãrã sfârºit a lui Brâncuºi lacoloanele minimaliste ale lui Jacobi, de la reprezentãrilemorfice ale lui McAdam Freud la viziunile cosmologiceale lui Luminet, de la incursiunile în vis ale lui Tristanºi Alimi, la fotografia spaþiu-timp a lui Doble ºiLorenzi, de la haos ºi modelele fractale ale lui Pantanoºi Bilotta la jocul cu lumini ºi sticlã al lui Popovici, dinprotoistorie ºi arta peisagisticã a lui Gheorghiu ºi Nashla experimentele artistice socio-psihologice ale lui Ryusau Dash ºi Dem.Stiluri diferite, lucrãri diferite, artiºti diferiþi, toþiuniþi prin numitorul comun al ºtiinþei în aºa fel încâtinterferenþele osmotice între tãrâmuri diferite creeazãsinergii care þin împreunã ºi la zi, cu un scop nobil,civilizaþia umanã.Curatori expoziþie:Gheorghe ªtefan Samoilã – ITC Dragoº Gheorghiu – UNA

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“Iwork at the boundaries where art andpsychoanalysis meet. Referencing Freud’s theoriesof condensation and displacement as described in

The Interpretation of Dreams my works make actual (visualand physical) the concepts therein. Engaging Duchampianappropriation and Baldessarian devices I employ mysculpture as props for my films and conceptualinstallations“. Jane McAdam Freud is a sculptor and multi-disciplinary artist educated at Central St. Martin’s and theRoyal College of Art in London. Recognition for her workbegan early with her first solo show at age 18. This wasfollowed with the prestigious acquisition by the BritishMuseum (1981) of a prize winning work she made whilestudying at the Central School of Art. She won the BritishArt Medal scholarship in Rome in 1986 going on to winnumerous commissions and awards including the ItalianState Mint Prize in 1991 and Freedom of the City of Londonin 1992.

McAdam Freud published ‘On the Edge’ 1996 and‘Relative Relations’ in 2007 which was nominated by TheFreud Museum for catalogue of the year. Recentpresentation venues include Oxford University (PlasterCasting Conference), Unam Art Symposium - Mexico City(2008) and La Pietra, Florence where she moderated agroup of papers at the 4th International Symposium ofPsychoanalysis and Art (2008). Debate venues include theGerman Psychoanalytic Society, Berlin (2007), and thePhiloctetes Centre for the Imagination, New York (Nov 08).Jane participated in the Einstein and Picasso open spaceforum organized by the British Council in Dortmund,Germany in March 09 and has since been elected as a boardmember of the Scienar European Science and Art Directive– online portal (Nov 09).

Her recent and upcoming shows include site specificvenues in Taipei, London and Los Angeles. Repetitions’ wasshown at the New York Psycho-analytic Institute (Mar-May09). Her seminar work – the film ‘Dead or Alive’ was mostrecently screened for the MediaTek Lecture Series at theLung Yingtai Foundation in Taipei (April 09), at theKosciuszko Foundation and National Arts Club in New YorkCity in September 09. The London Centre for Psychotherapyhosted a recent solo show and film screening (Nov - March2010) and in September 2010 the New Center forPsychoanalysis along with the Sundaram Tagore Gallery inLA, USA will be hosting a large retrospective exhibition ofJane’s work. Jane’s work can be found in international PublicCollections including the British Museum, Berlin StateMuseum, National Gallery of Greece, National GalleryArchives London and is on permanent display at the Victoriaand Albert Museum (Gilbert Bayes Sculpture Gallery).

1. McAdam Freud Plaster relief Image of virtual objectCombination of 1. and 2.

2. No. 3024 Freud’s CollectionEgyptian Bazalt Head

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„Lucrez în zonele unde arta ºi psihanaliza seîntâlnesc. Referindu-se la teoriile lui Freudasupra condensãrii ºi deplasãrii aºa cum aufost descrise în Interpretarea viselor, lucrãrile mele facactuale (vizual ºi fizic) conceptele prezentate acolo.Angajând apropriere Duchampianã ºi dispozitiveBaldessariene, folosesc sculptura mea ca recuzitãpentru filmele mele ºi pentru instalaþiile meleconceptuale”. Jane McAdam Freud este sculptor ºi artist multi-disciplinar educat în colegiul Central St. Martin ºiColegiul Regal de Artã din Londra. Recunoaºterea avenit devreme, odatã cu primul show solo la vârsta de18 ani. Acest show a fost urmat de o prestigioasãachiziþie fãcutã de British Museum în 1981 – o lucrarepremiatã pe care a fãcut-o în timpul studiilor la ªcoalaCentralã de Artã. A câºtigat o bursã din partea BritishArt Media la Roma în 1986, continuând sã câºtigenumeroase contracte ºi premii inclusiv Italian StateMint prize în 1991 ºi Freedom of the City of London în1992. McAdam Freud a publicat „On the edge” în 1996ºi „Relative Relations” în 2007, lucrare nominalizatã deMuzeul Freud drept catalogul anului. A þinut recenteprezentãri la Oxford University (Plaster CastingConference), Unam Art Symposium – MexicoCity(2008) ºi La Pietra – Florenþa unde a moderat un grupde articole la cel de-al 4-lea Simpozion de Psihanalizã ºiArtã. Întâlniri de dezbateri au avut loc la SocietateaGermanã de Psihanalizã din Berlin în 2007 ºi la Centrulpentru imaginaþie Filoctet din New York (noiembrie 2008).Jane a participat la forumul deschis EinsteinPicasso organizat de British Council în Dortmund,Germania, ºi în martie 2009 a fost aleasã ca membru al

board-ului pentru proiectul SCIENAR, ªtiinþã ºi Artãdesfãºurat în programul european Cultura 2007-2013.Show-urile sale recente au fost prezentate la Taipei,Londra ºi Los Angeles. Repetitions a fost prezentat laInstitutul Psihanalitic din New York din martie pânã înmai 2009. Lucrarea de seminar – filmul Dead or Alive afost recent proiectat pentru seria de lecturi MediaTek lafundaþia Lung Yintai în Taipei (aprilie 2009), lafundaþia Kosciuszko ºi Clubul National Arts din NewYork în septembrie 2009.Centrul londonez pentru psihoterapie a gãzduitun solo show recent ºi o proiecþie de film (Noiembrie2009 – Martie 2010). În septembrie 2010, Noul Centrupentru Psihoanalizã împreunã cu Galeria SundaramTagore din LA, USA, vor gãzdui o largã expoziþieretrospectivã a lucrãrilor lui Jane.Lucrãrile sale au fost achiziþionate în urma unorlicitaþii publice internaþionale de British Museum,Berlin State Museum, National Gallery of Greece,National Gallery Archives London ºi sunt expusepermanent în Victoria ºi Albert Museum (Gilbert BayesSculpture Gallery).

Jane McAdam Freud

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Angel of the West representing the structure of the human immune system’s key molecule, the antibody

Julian Voss-Andreaesculptor and physicist

Awave-particle duality runs through Julian Voss-Andreae’s life. He was a budding painter beforeopting for a graduate program in physics at the

University of Vienna in Austria. But before long, Voss-Andreae’s artistic nature reasserted itself. Since graduating2 years ago from the Pacific Northwest College of Art inPortland, Oregon, Voss-Andreae has focused on abstractsculptures of hemoglobin and other proteins. “My interest isreally nature,” he says. “One way to explore it is throughscience. Another is through intuitive sense and a search formetaphors.”

His latest sculpture, titled Quantum Man, will beunveiled next month in Moses Lake, Washington. The 2.5-meter sculpture is made of 115 thin steel slabs connectedand spaced apart by 1000 short steel rods.

Seen from the front, the figure looks dark and solid.But from the side the quantum walker nearly disappears, aslight shines through the spaces between the slabs. “It showsthat when you look at things from a different perspective,they can look extremely different,” says Anton Zeilinger, aphysicist at the University of Vienna and Voss-Andreae’sformer group leader. “That’s part of the quantum message.”

Julian Voss-Andreae 1517 SE Holly St, Portland, OR 97214, USAwww.JulianVossAndreae.cominfo@JulianVossAndreae.com

Odualitate undã-particulã marcheazã viaþa luiJulian Voss-Andreae. A debutat ca pictor dupãcare a optat pentru studiul fizicii laUniversitatea din Viena. Nu pentru multã vreme,fiindcã natura artisticã a lui Voss-Andreae ºi-a spuscuvântul. Dupã absolvirea a doi ani de studii de artã laPacific Northwest College of Art din Portland, Oregon,Voss-Andreae s-a orientat cãtre sculptura abstractã carereprezintã hemoglobina ºi alte proteine. „Interesul meueste natura adevãratã”, spune el. „O cale de explorareeste prin ºtiinþã. O alta este prin simþul intuiþiei ºi princãutarea metaforelor”. Ultima sa sculpturã, intitulatã Omul cuantic, va fidezvelitã luna viitoare în Moses Lake, Washington.Sculptura de 2,5 metri este realizatã din 115 foi subþiride oþel conectate ºi distanþate cu ajutorul a 1000 devergele subþiri de oþel. Vãzutã din faþã, figura aratãsolidã ºi întunecatã – Din lateralã însã, drumeþulcuantic aproape dispare, cãci lumina strãbate spaþiiledintre foi. „Aratã ca ºi cum ai privi lucrurile din altãperspectivã în care se vãd extrem de diferit”, spuneAnton Zeilinger, fizician la Universitatea din Viena,fostul lider al grupului din care fãcea parte Voss-Andreae, „Aceasta este parte din mesajul cuantic”.

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Born on 7 April 1945 in Detva, Slovakia. In 1964 hegraduated from Secondary artistic vocational schoolin Turnov. In 1972 graduated from the Academy of fine

arts and design in Bratislava. in 1793 he found anemployment at the Institute of Industrial Design, at thesame he was immersed in fine art. In 1976, after years ofexperiments, he created his first variable objects calledVariables - new term in Slovak creative art. He was sointerested in variables that he left his job in 1981. Then hestarted developing them more intensively.

In the 70s and 80s he kept creating embossedvariables, which consisted mostly of 2 to 3 perforated,colored, geometrical planes (eg. square, circle, triangle,hexagon), aligned consecutively on a bracing. There is abasic composition on each variable. The look of the objectcan be changed by means of changing the layers androtating. A composition can be changed up to 768 times.

In the 80s he generated an effort to exhibit his artthrough Union of Slovak fine art, they didn’t show aninterest, moreover, they didn’t even answer.

Nowadays, Drugda is being influenced by the programof international art organization called MADI (Mobility,Abstraction, Dimension, Invention) which he entered in2002. Also, he is a member of following organisations: TheClub of Concretist, Geometry, Slovak Art Group and theArtistic Colony of Detva. He applied the variable principleinto commercial sphere as well – design of lights, toys andjewels.

The author had been awarded by multiple prizes. Oneof them is the prize of Masaryk’s academy in Praguereflecting his quality as an artist. He exhibits in Slovakia andabroad. He participated at approx. 160 collective exhibitions(Brazil, Argentina, France, Italy etc.). He set up 20 individualexhibitions (Paris, Warsaw, Budapest etc.). The artist hasbeen a pedagogue at the Faculty of Architecture (SlovakTechnical University in Bratislava) since 1997.

Nãscut la 7 aprilie 1945 în Detva, Slovacia. În1964 a absolvit ºcoala secundarã de arte ºimeserii din Turnov. În 1972 a terminatAcademia de Arte din Bratislava ºi în 1973 s-a angajatla Institutul pentru Design Industrial unde a început sãcreeze. În 1976, dupã ani de experimente, a creat primaserie de obiecte variabile numite Variabile – un noutermen în arta creativã slovacã. Aceastã activitate l-aprins atât de mult încât a pãrãsit job-ul în 1981. Deatunci a început sã dezvolte aceste Variabile în modintensiv creând în anii 70-80 variabile embosate, formegeometrice în plan a cãror formã poate fi schimbatãprin modificarea straturilor din care sunt compuse ºiprin rotaþie de pânã la 768 de ori. În prezent Drugdaeste influenþat de programul organizaþiei internaþionaleMADI (Mobilitate, Abstracþie, Dimensiune ºi Invenþie)în care a intrat în 1992. Este membru al asociaþiilor:Clubul geometriei concretiste, Grupul de artã slovak ºiColonia artisticã din Detva.Autorul a primit multe premii, unul dintre celemai importante fiind cel decernat de AcademiaMasaryk din Praga. A expus în Slovacia ºi înstrãinãtate, participând la peste 160 de expoziþii (Paris,Varºovia, Budapesta etc.). Din 1997 artistul predã laFacultatea de Arhitecturã (Universitatea Tehnicã dinSlovacia).

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Marian Drugdasculptor–designer ArtD.

Triangle 07 Year: 2007, Dimensions: 40x40 cm,Material: plastic

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Jean-Pierre Luminet is an astrophysicist at the Paris-Meudon Observatory in France and a leading expert onblack holes, cosmology, and the new field of cosmic topology – the study of the overall shape of the universe.

He has published numerous articles in the most prestigiousjournals and reviews in these areas. He was awarded manyprizes for his work in pure science and in sciencecommunication. Indeed one of Luminet’s greatest effortshas been to make his research work understandable to thenon-scientific community. Luminet is also a prominentfigure in art and literature. He has produced popularscience books, historical novels, illustrated exhibitioncatalogues, TV documentaries, multimedia productions forchildren, and poetry. He is also an artist, engraver andsculptor and has collaborated with celebrated musicians.Luminet’s work has been translated into a wide variety oflanguages, including Chinese and Korean.

Jean-Pierre Luminet este astro-fizician laObservatorul Paris-Meudon din Franþa ºi un expertrecunoscut în gãuri negre, cosmologie ºi noul câmp al topologiei cosmice –studiul formei globale auniversului. A publicat numeroase articole în cele maiprestigioase jurnale ºi reviste din aceastã zonã acosmologiei. A câºtigat numeroase premii pentruactivitatea sa în ºtiinþã purã ºi în comunicare. Însãmarele efort al lui Luminet a fost acela de a face muncasa de cercetare inteligibilã ºi pentru comunitatea nonºtiinþificã. Luminet este un personaj proeminent al arteiºi literaturii. A produs cãrþi de popularizare a ºtiinþei,romane istorice, cataloage ilustrate pentru expoziþii,documentare TV, producþii multimedia pentru copii ºipoezie. Este, de asemenea, artist, gravor ºi sculptor ºi acolaborat cu muzicieni celebri. Operele lui Luminet aufost traduse în multe limbi, inclusiv chinezã ºi coreeanã.

Jean-Pierre Luminet astrofizician, scriitor ºi artist grafic

Big Bang (detail)

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Frédérick TRISTANWriter and Graphic Artist

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Frederik Tristan, the author of the novel Les Egarés(Goncourt Award 1983) created ink drawings for about60 years. An exhibition dedicated to this artist opened

in January 2008 at IMEC (l’Institut mémoires de l’éditioncontemporaine).

“My black inks on white try to surprise the trace ofinvisible vibrations and structures in the dimension of thevisible. Asceticism and epiphany of the sketch. Thesleepwalking line discovers an abstract, humble andsensitive form, both writing and bridge between interiorand stellar spaces. The being’s cavern lives in the greatdepths. Of the psyche as well as in universal abysses.Testimony of the eye at its tip: this side of or beyond theeye are here. There is no intellectual and sensory frontierbetween a body and the spatial and temporal stretch,between the interior and exterior of the living. The enigmaof thought offers the veracity of an imprint added to themystery of the All. Science and art come together in thisparadox.”

“I love drawing’s spontaneity. The brush lets meexpress other climates, other sensations, but I am a writereven when I am painting.”

“Representing something means confiscating,destroying it. That is why my drawings are abstract oroniric.”

Frederik Tristan – Born 1931 in Sedan (Ardenes)Frederik Tristan (his real name was Jean Paul Baron)

found his destiny as a writer publishing Orphée assassinéafter inheriting a textile factory from his father. Followingadvice from André Breton, and then Albert Camus and JeanPaulhan he persevered until he met success with hispublications: Dieu des mouches in 1959 at Grasset, thenNaissance d’un spectre (1969). He travelled regularly to theFar East from where he borrowed the oriental essence of hisliterature. Le Singe égal du ciel (1972) or La Cendre et la foudre(1982) are imbued by the Chinese tradition. In 1982, FrederikTristan received the Goncourt Award for literature for hisnovel Les Egarés published at Ballard.

He created the group Nouvelle Fiction in 1992 andpublished L’Enigme du Vatican (1995) and Stéphanie Phanistée(1997). In 2000, he received the Award (Grand Prix delittérature de la Société des Gens de Lettres) for his life’swork, which was then re-published in its entirety by Fayard.

Frederick Tristan, autorul romanului Rãtãciþii(premiul Goncourt în 1983), deseneazã în tuº decirca 60 de ani. O expoziþie dedicatã acestuiscriitor artist s-a deschis în ianuarie 2008 la IMEC(Institutul de Memorie al Editurilor Contemporane).„Tuºul meu aºternut pe hârtia albã încearcã sãsurprindã urma vibraþiilor invizibile ºi structurile îndimensiunea vizibilului. Ascetism ºi epifanie a schiþei.Linia somnambulã descoperã o formã abstractã, umilãºi senzitivã, atât scriiturã, cât ºi punte între spaþiileinterioare ºi cele stelare. Caverna fiinþei e cufundatã înabisuri. Abisurile psihicului, ca ºi cele ale Universului.Mãrturie a ochiului în chiar lumina lui: partea acestuiasau cea dincolo de el e aici. Nu existã frontierãintelectualã ºi senzorialã între un trup ºi strâmtoareaspaþialã ºi temporalã, între interiorul ºi exteriorulfiinþei. Enigmã a gândului, oferã veridicitate uneiversiuni adãugate misterului Tuturor. ªtiinþa ºi Artavin împreunã în acest paradox“.„Iubesc spontaneitatea desenului. Pensula îmipermite sã exprim alte climate, alte senzaþii, dar eu suntscriitor chiar ºi atunci când desenez“.„A reprezenta ceva înseamnã a-l acapara, a-ldistruge. Iatã de ce desenele mele sunt mai degrabãabstracte sau onirice“.Frederik Tristan – Nãscut în 1931 în Sedan(Ardenes)Frederik Tristan (pe adevãratul nume Jean PaulBaron) ºi-a gãsit calea în literaturã publicând Orfeuasasinat dupã ce preluase o întreprindere de textile dela tatãl sãu. Sfãtuit de André Breton, apoi de AlbertCamus ºi de Jean Paulhan, persevereazã ºi întâlneºtesuccesul publicând unul dupã altul romanele: Dieu desmouches în 1959 la Grasset, apoi Naissance d’un spectre(1969). Cãlãtoreºte regulat în Extremul Orient de undeîmprumutã parfumul oriental al literaturii sale. Le Singeégal du ciel (1972) sau La Cendre et la foudre (1982) suntimpregnate de tradiþie chinezã. În 1982, FrederikTristan primeºte premiul Goncourt pentru literaturãpentru romanul sãu Les Egarés publicat de edituraBalland.

Tristan creeazã grupul Nouvelle Fiction în 1992 ºipublicã L’Enigme du Vatican (1995) ºi Stéphanie Phanistée(1997). În 2000 primeºte cel mai mare premiu deliteraturã al Societãþii Oamenilor de Litere pentruîntreaga opera reeditatã de Fayard începând din 1997.

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Elisabeth ALIMI (1967)Photographer

Universe and Mystery

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The invisible universe of the artist resides inside thehallucinatory and ceaseless riddle that transfuses itswork. Slow and unspeakable, it seems to be sensible

and beyond time. The curious eye of the observer passesthrough with its own history in order to give him anexpression towards the infinity of its visions.

Here are eight works that mix images from invisibleuniverses, six in black and white exercising for the first timethe hand of the writer connected to the photographer’s eye.These works have seen the light due to the idea thatgerminated in an explosive manner inside the spirit ofFrederik Tristan seeing a fraction of one of his inks on thescreen of my camera.

Elisabeth Alimi Photographer-Artist Collaboration withOpale Agency worldwide distribution of writers andintellectuals pictures) - Portraits for monographs;

World Year of Physics, 2005: Exhibition in the Palace ofUNESCO, Paris, France; “Sur les traces d’Albert Einstein” (On the footsteps ofAlbert Einstein) - Publication, Editions Hermann, incollaboration with Jean-Michel Alimi;Kids in 9-3 Ten reports for a documentary movie series,for the television by the movie-director Anne Imbert; “Sculptures sur Prose” – French-English PoetryFestival, France and Australian collaboration with themagazine «La Traducti?re»);Exhibition «Printemps des Po?tes»: The breaking faceof poets on the theme “the smile” initiated by theartist Wanda Minéluac. In metro station Saint-Germaindes Prés – Paris;“Report Malraux et l’Asie” in the Guimet Museum for adocumentary movie with Anne Imbert;World Year of Astronomy 2009, Exhibition on the topicInvisible Univers (Palace of UNESCO-Paris)Métissages: initiated by the writer Frédérick Tristan(Prix Goncourt) a mix of his inks and my pictures.Art book: Incantil?ne: pictures inspired by the Jean-Dominique Rey’s poems (Poet and Art Critic);Exhibition Paris-Malraux for the association “AmitiésInternationales André Malraux”;Director of the exhibition Anne Imbert (fifty originalspictures and creations in confrontation with fifty archivespictures about the life and the vision of Paris of thefamous writer and the first minister of culture in France.

Universul invizibil al artistului sãlãºluieºte înenigma halucinantã ºi neîncetatã careimpregneazã opera sa. Latent ºi inexprimabil,acesta este de ordinul sensibilului ºi atemporalului.Ochiul curios al observatorului îl traverseazã la rândulsãu cu propria sa istorie pentru a-i da o nouã expresiepânã la infinitul viziunilor. Iatã opt lucrãri careamestecã imagini ale universurilor invizibile, ºase înalb ºi negru experimentând pentru prima datã legãturadintre mâna artistului ºi ochiul fotografului, acesteavãzând lumina zilei graþie ideii care a încolþit de omanierã fulgurantã în spiritul lui Tristan care avizualizat o fracþiune a unei lucrãri în tuº a domnieisale pe ecranul camerei mele digitale.

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Peter Jacobi

Column

Born 1935, Ploieºti, Romania. He studied sculpture atthe Romanian Academy of Arts from Bucharest. From1970 he lived in Germany. Between 1971-1998 he

taught at the University for Applied Arts from Pforzheim.Now he lives and works in Wumberg/Pforzheim, Germany.

“Sculptor, through formation and due to a longpractice, therefore a connoisseur of the material and of theform lacking the ambiguity, he is doubling permanently thehorizon of tri-dimensional with the dreaming from theimponderable universe of photography. In fact, his realpersonality is defined exactly at the cross point of theobject with the imaginary, of the firm space with its utopianprojection. Through this innocent and pure sculpture -therefore left close to the genuine state of the matter or,oppositely, formally distilled, Jacobi obtains geometric rigorsand literally mathematical rhythms.” (Pavel ªuºarã - Artcritic)

I work with modular systems which are somehow relatedto Constantin Brancusi’s “Endless Column”. He discovered thevertical stapling of a module, of an ornamental element foundin the porches and the portals of the houses of his native place.By the stroke of a genius, he created “The Endless Column”. Forthe American sculptor Robert Morris, it is the first monumentalminimalist sculpture of the 20th century. My “UntitledColumn” (1990-93) is a “dialogue” with Brancusi’s work whichtakes place at an appropriate distance. In my column, thevolume of the module created by Brancusi becomes an emptyspace, determined by four arches.

The column rises like a compressed lineament in itsenvironment; due to the permanent changes in the direction ofthe natural light, there is a continuous movement all over thecolumn, so that the symmetry of the sculpture is«deconstructed»

From his sixteen personal exhibitions, we mention:1981 – Detroit, Art Institute from de Arte Chicago,Museum of Contemporary Art, Philadelphia, MooreCollege of Art Gallery ºi Philadelphia College of ArtGallery Los Angeles, The Los Angeles County Museumof Art* (traveling exhibition);1982 – Aalborg, Nordjyllands Kunstmuseum*,Stockholm, Liljevalchs Konsthall*;1984 – Paris, Museum of Modern Art*;1993 – Bucureºti, ONDEA „Peter Jacobi, Sculptura ºiFotografie”, Galeria Artexpo, Sala Rondã 2002 –Muzeul Naþional de Artã al României, Peter JacobiRetrospective Exhibition.

He attended 19 group exhibitions.He has many works in public collections across the

world. One of the last work is the Holocaust Memorial inBucharest unveiled in 2009

Peter Jacobi – Nãscut în 1935 la Ploieºti, România.A studiat sculptura la Academia Românã de Artãdin Bucureºti. Din 1970 trãieºte în Germania.Între 1971-1998 a predat la Universitatea de Arteaplicate din Pforzeim. În prezent, trãieºte ºi lucreazã înWumberg/Pforzeim, Germania„Sculptor prin formaþie ºi printr-un îndelungatexerciþiu, adicã un cunoscãtor profund al materiei bruteºi al formei lipsite de ambiguitãþi, el îºi dubleazãpermanent orizontul tridimensionalului cu reveriaincontinentã din universul imponderabil al fotografiei.De fapt, personalitatea realã a lui Peter Jacobi sedefineºte exact doar la intersecþia obiectului cuficþiunea, a realului cu imaginarul, a spaþiului ferm cuproiecþia utopicã.… Prin aceastã sculpturã, ingenuã saupurã - adicã lãsatã aproape de starea genuinã a materieisau, dimpotrivã, distilatã formal, Peter Jacobi obþine …geometrii infailibile ºi ritmuri literalmentematematice”, Pavel ªuºarã – critic de artã.Eu lucrez cu sisteme modulare care într-un fel sunt

raportate la Coloana infinitului realizatã de ConstantinBrâncuºi. Acesta a descoperit suprapunerea verticalã amodulelor, elemente ornamentale descoperite în structuraporþilor, a stâlpilor de prispã ale caselor din zona natalã.Printr-o genialã inspiraþie a creat Coloana infinitului.Pentru sculptorul american Robert Morris, aceasta esteprima sculpturã minimalistã a secolului 20. Coloana meafãrã nume (1990-1993) este un “dialog” cu lucrarea luiBrâncuºi care are loc la o distanþã potrivitã. În coloana mea,volumul modulului creat de Brâncuºi devine un spaþiu gol,determinat de patru arce.

Coloana mea se ridicã precum un aliniamentcomprimat în mediul ce o înconjoarã. Datoritã modificãriipermanente a direcþiei luminii naturale, este o continuãmiºcare de-a întregul coloanei în aºa fel încât simetriasculpturii este «deconstruitã».

Din cele 16 expoziþii personale amintim câteva:1981 Detroit, Institutul de Arte Chicago, Muzeulde Artã Contemporanã, Philadelphia, MooreCollege of Art Gallery ºi Philadelphia College ofArt Gallery Los Angeles, The Los Angeles CountyMuseum of Art* (expoziþie itinerantã);1982 Aalborg, Nordjyllands Kunstmuseum*,Stockholm, Liljevalchs Konsthall*;1984 Paris, Muzeul de Artã Modernã*;1993 Bucureºti, ONDEA „Peter Jacobi, Sculpturã ºiFotografie”, Galeria Artexpo, Sala Rondã;2002 Muzeul Naþional de Artã al României,Expoziþie Retrospectivã Peter Jacobi.A participat la 19 expoziþii de grup.Are multe lucrãri prezente în colecþii publice pestetot în lume. Una din ultimele lucrãri este MemorialulHolocaustului, vernisat la Bucureºti în anul 2009.

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Rick DobleExperimental Photographer

Muzician playing the violinDigital photograph, primarily displayed as a virtual image on the Internet, size = 2560 x 1920 pixels.

Space-Time Digital PhotographyPhotographs recorded over a duration of time

“When you see a fish you don’t think of its scales,do you? You think of its speed, its floating,flashing body seen through the water... If I

made fins and eyes and scales, I would arrest its movement,give a pattern or shape of reality. I want just the flash of itsspirit.“ Constantin Brâncuºi, sculptor.

Why Space-Time?Each of these digital photographs was taken over a

number of seconds. The idea was to record a sense ofmotion along with the passage of time, thus the term„space-time photography“. This space-time idea draws onthe 100 year old concept of Albert Einstein who saw time asanother dimension and who saw space and time asconnected to each other. This idea also comes from theFuturist artists in Italy 100 years ago who wanted to depictthe continuity of movement over time.

The Elements of Space-TimePhotography

This photography involves three elements: a slowshutter speed (typically 1 - 20 seconds), subject movementsuch as the movement of a violin bow, camera movement inwhich the photographer can chose to move the cameraduring the exposure, and a combination of subject andcamera movement. The five photographs in this displaydemonstrate all of these possibilities. All photographs werecreated with photographic techniques and not withsoftware processing.

Rick Doble is the author of Experimental DigitalPhotography by Lark Books (Sterling Publishing, NewYork/London), 2010. He has a M.A. in Media from theUniversity Of North Carolina at Chapel Hill (US), 1974 andhas been a working and exhibiting photographer for over 40years. He is also the author of two other books on digitalphotography: The Everything Digital Photography Book(Adams Media Corporation, 2008) and Career BuildingThrough Digital Photography (Rosen Publishing Group,2007). Doble’s website concentrates on Experimental DigitalPhotography. The website is more than ten years old andcontains over 2000 images and about 30 essays oncontemporary art.

His Internet address is: www.rickdoble.net

Fotografie digitalã spaþiu-timpFotografii înregistrate într-o perioadã de timp„Când vezi un peºte nu te gândeºti la solziilui, nu-i aºa? Te gândeºti la viteza lui, laplutire, la trecerea lui ca un flash prin apã...Dacã i-aº fi fãcut aripioare ºi ochi ºi solzi, i-aº fi opritmiºcarea, i-aº fi dat o urmã sau o formã legatã derealitate. Dar eu nu vroiam decât sã redau ideea demiºcare care e ascunsã în el.“ Constantin Brâncuºi,sculptor.De ce spaþiu-timp?

Fiecare din aceste fotografii digitale au fost luatetimp de câteva secunde. Ideea a fost sã înregistrez oanumitã senzaþie a miºcãrii pe mãsurã ce timpul sescurge, de unde termenul de fotografie spaþiu-timp».Aceastã idee de spaþiu-timp derivã din conceptul vechide 100 de ani al lui Einstein care a vãzut timpul ca oaltã dimensiune ºi timpul conectat unul de altul.Aceastã idee vine de la artiºtii futuriºti italieni caredoreau sã descrie continuitatea miºcãrii în timp.Elementele fotografieispaþiu-timp

Acest gen de fotografie implicã trei elemente: ovitezã micã a obturatorului (timp de expunere mare: 1-20 secunde), subiectul miºcându-se precum arcuºulunei viori, miºcare a camerei controlate de fotograf ºi ocombinaþie de miºcãri ale camerei ºi personajuluifotografiat. Fotografiile expuse în expoziþie ilustreazãaceste posibilitãþi. Toate fotografiile au fost createfolosind tehnici fotografice ºi nu sunt rezultatul unorajustãri pe calculator.Rick Doble este autorul cãrþii Fotografie digitalãexperimentalã editatã la editura Lark Books (SterlingPublishing, New York/London), 2010. Deþine unMaster în Arte la Universitatea din North Carolina (US)ºi a lucrat ºi expus fotografie timp de peste 40 de ani.Este autor ºi al altor douã cãrþi de fotografie digitalã:Everything Digital Photography Book (Adams MediaCorporation, 2008) ºi Career Building Through DigitalPhotography (Rosen Publishing Group, 2007). Website-ul lui Doble se concentreazã pe fotografie digitalãexperimentalã. Web site-ul are o prezenþã mai veche dezece ani ºi conþine mai mult de 2000 de imagini ºiaproape 30 de eseuri asupra artei contemporane. Adresa de Internet este: www.rickdoble.net.

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The word “Photography” comes from two Greek words,Photos (light) and Graphos (writing, painting), so“drawing with the light”. Taking pictures needs some

devices, built following the laws of Pysics (Electromagnetism– Visible Light), human’s physiology and a particular processin Space and Time. According to Einstein the basic structureof our world is SpaceTime and things exist in a spacetimecontinuum, a world of four dimensions: height, width, depthand time. A generative process is usually referred to as“setting in motion”. Motion is the essence of Life. To be aliveis to move. Selecting particular initial conditions, adding afourth dimension and photographing motion by means ofrandomised generative processes can give rise to very expre-ssionistic results, some of which are real abstract “paintings”.

At the same time, examining the aims and ideas ofFuturist imagery, we notice that today’s digital photography andin particular “Painting with light” techniques can achieve manyof the goals of the Futurist artists, in particular the Futurists’concept of velocity and their attempts to capture a sense ofmovement in painting, sculpture and photography, depictinga world that is always in motion. For example, Bragaglia’s“Photodynamism” and “Algebra of Movement” could beexamined breaking his art into different phases and aspectssuch as camera movement, subject movement and combinedmovement. But this imagery of motion is again related toscientific aspects that were rising at the same time: Einstein’sconcept of space/time and the space/time continuum.

In 2009, on the 100th anniversary of the Futurist artmovement which started in Milano, together with RickDoble, a famous American photographer, the most famous“Light Painter”, we presented at Politecnico of Milano anexhibition about “The Future of Futurism”, in which imagesfrom Futurist artists, as well as from contemporary ones,were exhibited, comparing the results.

Marcella Giulia Lorenzi obtained her degree inMultimedia – Arts, Music and Performances at theUniversity of Calabria, where she also obtained a Ph.D in“Psychology of Programming and Artificial Intelligence”,with a specialization in Scientific Communication throughthe use of the Arts. She has expertise in Photography,Video, Theater, Cinema, Art and Digital Art under variousforms; her interests cover the broad sector of interactionsbetween Art and Science, a field in which she has realizedexhibits, installations, interactive videos and othermultimedia. She cultivates also interests on “VirtualHeritage” as well as applications of Digital Art in the field ofCultural Heritage in general. She develops these activities atthe University of Calabria. The results of her researcheshave been the subject of public lectures and presentationsat Universities and Conferences, both at the National and atthe International level, besides the presence at variousevents devoted to Scientific Communication in Italy andabroad. Her scientific production consists of about 40publications about Communication of Science, Didactics ofMathematics and the use of Art and New Technologies inthese fields (in specialized journals or proceedings), as wellas several posters and various CD-ROMs and DVD-ROMs ofProceedings and collections of artistic multimedia. She hasalso a substantial organizational experience in eventsreferring to the aforementioned fields of activity.

Painting with light

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Cuvântul „Fotografie” provine din douã cuvintegreceºti, Photos (Luminã) ºi Graphos (scriiturã,picturã), deci „a desena cu luminã”. Pentru afotografia este nevoie de dispozitive speciale, construitedupã legile fizicii (Electromagnetism, luminã vizibilã),fiziologia umanã ºi un proces particular în Spaþiu ºiTimp. Dupã Einstein, structura de bazã a lumii noastreeste Spaþiu-Timp ºi lucrurile existã în spaþiu-timp înmod continuu, o lume în patru dimensiuni: înãlþime,lãþime, adâncime ºi timp. Un proces generativ este înmod obiºnuit numit „punere în miºcare“. Miºcarea esteesenþa vieþii. A fi viu înseamnã sã te miºti. Selectândcondiþiile iniþiale particulare, adãugând a patra dimensiuneºi fotografiind miºcarea cu ajutorul unui procesgenerativ aleator se pot obþine efecte expresioniste,unele din ele adevãrate „picturi” abstracte.În acelaºi timp, examinând scopurile ºi ideilemiºcãrii futuriste, notãm faptul cã fotografia digitalã deazi ºi îndeosebi, tehnicile „Picturii cu luminã” pot sãatingã multe din scopurile artiºtilor futuriºti, înparticular, conceptele futuriºtilor legate de vitezã ºi detentativele acestora de a capta un sens de miºcare înpicturã, sculpturã ºi fotografie, descriind o lume careeste întotdeauna în miºcare. De exemplu,„fotodinamismul“ lui Bragaglia ºi „algebra miºcãrii“pot fi examinate descompunând arta sa în diferite fazeºi aspecte aºa cum sunt miºcarea camerei, miºcareasubiectului ºi miºcãri combinate.Dar aceastã imaginare a miºcãrii este din noulegatã de aspecte ºtiinþifice care au apãrut în acel timp:conceptul lui Einstein de spaþiu-timp ºi spaþiu-timpcontinuu.În 2009, la aniversarea a 100 de ani a miºcãriifuturiste care a început la Milano, împreunã cu Rick

Doble, un fotograf american cunoscut drept cel maifaimos „fotograf cu luminã”, am prezentat laPolitehnica din Milano o expoziþie despre „Viitorulfuturismului”, în care imagini ale artiºtilor futuriºti, caºi ale artiºtilor contemporani, au fost expuse,comparând rezultatele.Marcella Giulia Lorenzi a obþinut diploma înMultimedia – Arte, Muzicã ºi Spectacol la Universitateadin Calabria, unde a obþinut ºi titlul de doctor în„Psihologia programãrii ºi Inteligenþã artificialã”, cuspecializare în comunicare ºtiinþificã prin intermediulartelor. Artista are expertizã în fotografie, video, teatru,cinema, artã ºi artã digitalã în diferite forme; manifestãinteres în zone largi ale interacþiunii dintre Artã ºiªtiinþã, un domeniu în care a realizat expoziþii,instalaþii, video interactiv ºi alte expresii multimedia.Cultivã, de asemenea, interes în „Patrimoniu virtual”precum ºi în aplicaþii de artã digitalã în domeniulpatrimoniului cultural în general. Artista dezvoltãaceste activitãþi în Universitatea din Calabria.Rezultatul cercetãrilor sale a fost subiectul unorprezentãri la nivel naþional ºi internaþional, pe lângãprezenþa la diferite evenimente dedicate comunicãriiºtiinþifice în Italia ºi în strãinãtate. Producþia saºtiinþificã constã în aproape 40 de publicaþii desprecomunicare în ºtiinþã, didacticã ºi matematicã ºi înutilizarea artei ºi a noilor tehnologii în aceste domenii(în jurnale specializate ºi publicaþii), precum ºi îndiferite postere, CD-ROM-uri ºi DVD-ROM-uriconþinând publicaþii ºi colecþii de producþii artisticemultimedia. De asemenea, Marcella Giulia Lorenzideþine o experienþã valoroasã în organizarea de eveni-mente referitoare la domeniile menþionate anterior.

Marcella Giulia Lorenzi

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“The finest of all relationships is that which makesitself and those correlated with it be most unitary;and this is achieved by geometrical proportion in

the most complete way, due to its nature” Plato, Timaeus“Liviu Stoicoviciu’s progressive structures are in

continuous evolution. Pictorially visualized in their evenmore complex articulations, they make up a genuinerelational model of the Universe, one of many possibleones. Stoicoviciu is a well-informed constructor and a“homo faber”, endowed with an obsessive minuteness, whostarts from simple geometrical figures, takes them apart andamplifies them. By magnifying them, he gradually unveilsthe inexorable laws of their growth and concatenation, bothon a plane and by creating the illusion of solids, with thehelp of primary colors”, Gheorghe Vida (Art Critic).

Liviu Stoicoviciu was born on 6th of March 1942 inCluj, Romania. He graduated the Fine Arts Academy NicolaeGrigorescu from Bucharest -Painting Department- in 1967.Since 1968 he participates at national, local and thematicexhibitions organized in Bucharest and in other cities of thecountry. In 1970, he joins the Artist’s Union from Romania.

He had many personal and group exhibitionsorganized in Romania and abroad. We mention a few: 1980-Cãminul Artei, 1992-Simeza Gallery, 2004-Simeza Gallery,1973- Constructivism-Orizont Gallery, 1996-ExperimenExhibition at EXPO Bucharest, 1997-Three ipostasis of thepictural-Hanul cu Tei Gallery, 2004-Group exhibition atGalateca Gallery, 1990-Florenza-Galeria Spazio Tempo, 1991-Paris-Drouot Richelieu, The Contemporary Romanian Art,1999-Roma-Academia di Romania.. In 1998 he received theUnion of Plastic Artists Award and in 2007 he was invited tojoin the Painting camp in Beratzhausen, Germany.

The Pentagon, oil on canvas, 104x72 cm, 2003Pentagonul

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„Dintre legãturi, cea mai frumoasã este aceeacare se face pe sine ºi pe cele corelate cu easã fie cât mai unitarã; iar acest lucru îlrealizeazã complet, prin natura ei, proporþiageometricã“ (Platon, Timaios în Opere VII, pag. 144,trad. Cãtãlin Partenie)„Vizualizate pictural, structurile progresive, aflateîn devenire continuã ale lui Liviu Stoicoviciu,alcãtuiesc, în articulaþii din ce în ce mai complicate, unautentic model raþional al Universului, unul din celemulte posibile. Constructor ºi “homo faber“ savant,înzestrat cu o minuþie maniacalã, Stoicoviciu porneºtede la figuri geometrice simple, pe care le desface ºi leamplificã. Magnificându-le, le descoperã treptat legileimplacabile ale creºterii ºi înlãnþuirii lor, atât înplaneitate, cât ºi prin iluzionarea volumetriei, cuajutorul unor culori primare“, Gheorghe Vida – Catalogal expoziþiei Stoicoviciu, Bucureºti 2004.Liviu Stoicoviciu s-a nãscut în 6 martie 1942 laCluj ºi a absolvit Academia de Arte Frumoase Nicolae

Grigorescu din Bucureºti în 1967, secþia picturã.Din 1970 este membru al Uniunii Artiºtilor Plasticidin România.A avut multe expoziþii personale ºi de grup în þarãºi strãinãtate. Menþionãm câteva: 1980 – Cãminul Artei,1992 – Galeria Simeza, 2004 – Galeria Simeza, 1973 –Expoziþia „Constructivism“, Galeria Orizont, 1996 –Expoziþia „Experiment“ la EXPO Bucureºti, 1997 –„Trei ipostaze ale picturalului“, Galeria Hanul cu Tei,2004 – Expoziþie de grup la galeria Galateca, 1990 –Galeria Spazio Tempo, Florenþa, 1991 – TheContemporary Romanian Art, Drouot Richelieu, Paris,1999 – „Artã sacrã“, Academia di Romania, Roma. În1998 a primit premiul criticii din partea UniuniiArtiºtilor Plastici, iar în 2007 a fost invitat sã participela tabãra de picturã din Beratzhausen, Germania.

Liviu Stoicoviciu

John Robinson was educated at Rugby School, a verytraditional British boarding school. Following schoolJohn travelled to Australia, where he lived for fifteen

years farming sheep. On New Year’s Day 1969 John returnedfrom a scorching Australia to a snowy Britain with his wifeand three sons. The family moved into a house in the Devoncountryside with a barn that became John’s studio where hewould create his first clay figure - his son Tim playingmarbles. Many other sculptures of children followed. By themid 1970s all the sculptures were being cast in bronze forsale in Harrods’ Fine Arts Gallery in London. At around thistime John’s inspiration took a new course as he began towork on his Symbolic Sculptures. However, Harrods couldnot see the commercial potential of these new abstractsculptures, so John opened his own gallery the FreelandGallery to promote his work. Through the gallery John methis future patrons Robert A. Hefner III, Damon de Laszlo andEdition Limitée who supported the Symbolic Sculptures bydonating pieces to universities and research centres.Another visitor to the gallery was the mathematician Prof.Ronnie Brown who was so taken by John’s sculptures thathe requested that they might be included in hisMathematics Road Show that was about to take place at theUniversity of Leeds. Thus began the Exhibitions of theSymbolic Sculptures throughout 1990 and 1991, atuniversities including Oxford, Cambridge, Wales, Liverpool,Barcelona and Zaragoza. In 1999, Ronnie Brown introducedJohn to the physicist Nicholas Mee who collaborated withJohn for two years to produce this series of computergenerated animations of the Symbolic Sculptures. Due tohim, John Robinson’s works are present in our exhibition.

After a lifetime of interest in art, archaeology andanthropology, Robinson co-founded the BradshawFoundation. This foundation was formed in 1992 following anexpedition to the Kimberley region of north-westernAustralia to examine a distributed set of rock art called theBradshaws. The Bradshaw Foundation’s first publication‘Bradshaws - Rock Paintings of North-Western Australia’ wasedited by Robinson in 1993. Robinson introduced thegenetic research of Professor Stephen Oppenheimer ofOxford University, in order to give rock art ananthropological context. John Robinson died in March 2007because of lung cancer after a life full of achievements. His1982 work, Immortality speaks about “Passing the torch oflight”, a mission that he certainly fulfilled.

John Robinson s-a format ca intern la Rugby School,o ºcoalã britanicã tradiþionalã. Dupã absolvirea ºcolii,s-a mutat în Australia unde timp de 15 ani a fost fermier ocupat cu creºterea oilor. În ziua de 1 ianuarie1969 John s-a întors din Australia cea fierbinte în Angliaacoperitã de zãpadã însoþit de soþie ºi trei bãieþi. Familias-a mutat într-o casã din zona ruralã Devon cu un grajdcare a devenit primul sãu atelier unde John a creatprimele sale figurine din lut: Fiul sãu Tim jucând un jocde bile. Au urmat multe sculpturi figurative de copii.Prin anii ‘70, toate sculpturile sale se vindeau în Galeriade Artã a magazinului Harrod’s. Cam în aceeaºiperioadã de timp inspiraþia lui Robinson s-a schimbatîn mod esenþial atunci când a început sã lucreze laSculpturile sale simbolice. Fiindcã Harrods nu vedeapotenþialul comercial al acestor sculpturi, John a fostnevoit sã îºi deschidã propria sa galerie Freeland. Aiciel ºi-a întâlnit viitorii sãi patroni, Robert A. Hefner III,Damon de Laszlo ºi Edition Limitée, care i-au susþinutsculptura sa simbolicã donând lucrãri universitãþilor ºicentrelor de cercetare. Un alt vizitator al galeriei a fostmatematicianul Ronnie Brown care a fost atât de captivatde lucrãrile sale încât a cerut sã fie incluse în turul sãumatematic care urma sã fie prezentat la Universitateadin Leeds. Aºa a început turul sculpturilor sale sim-bolice în 1990 ºi 1991 prin universitãþi precum Oxford,Cambridge, Wales, Liverpool, Barcelona ºi Zaragoza. În1999, Ronnie Brown i l-a prezentat pe Nick Mee,fizician format la Cambridge cu care a colaborat timpde doi ani pentru a realiza prezentãri animate în 3D alesculpturilor simbolice. Datoritã lui Nick Mee, partenerapreciat în proiectul SCIENAR, lucrãrile lui JohnRobinson sunt prezente în expoziþia noastrã.Dupã o viaþã dedicatã Artei, Arheologiei ºiAntropologiei, Robinson a înfiinþat fundaþia Bradshaw.Aceastã fundaþie a fost formatã în 1992 în urma uneiexpediþii în regiunea Kimberley din nord estulAustraliei în scopul studiului unui set de piese de artãrupestrã distribuitã; numitã Bradshaw. Prima publicaþiea fundaþiei – „Pictura rupestrã din nord vestul Australiei”– a fost publicatã de Robinson în 1993. Tot el a introduscercetarea geneticã a profesorului StephenOppenheimer de la Universitatea din Oxford cu scopulde a oferi artei rupestre un context antropologic.John Robinson a murit în martie 2007 în urmaunui cancer de plãmâni dupã o viaþã plinã de realizãri.Lucrarea sa din 1982, intitulatã Imortalitate vorbeºtedespre „trecerea torþei”, o misiune pe care cu siguranþãa îndeplinit-o.

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John Robinson (1935-2007) with four of his Symbolic Sculptures

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“Man-machine interaction” and “real-timegesture control” are the keywordscharacterising the activity of Leonello

Tarabella inside the cART laboratory (Istituto di Scienza eTecnologie dell’Informazione, Pisa) – Applied Research,Education, Production. Infrared beams and video capturedimage processing technologies have been taken intoconsideration in order to design and carry out originalgesture interfaces for remote sensing (i.e. withoutmechanical and/or electrical links) the gesture of theperformer’s hands. Many interactive multimedia operashave been realized and presented in various importantevents at national and international levels. The “Siderisvox”project aimed at investigating the internal acousticcharacteristics of the Pisa Baptistery in order to composeand execute a special concert.

Leonello Tarabella earned his degree in ComputerScience at the University of Pisa and started his work oncomputer music under the direction of Mr. Pietro Grossi,the pionier of computer music in Italy. As a researcher, hecoordinates the activities of the cART Lab (Computer ArtLaboratory) of ISTI/CNR, Research Area of C.N.R. in Pisaand yearly teaches a computer music course at theComputer Science Dept. of Pisa University. His researchmainly concerns the design of languagues for algorithmiccomposition and original gestural man/machine interfacesfor interactive computer music/graphics performaces. As amusician he composes and performs his own computermusic with the systems realized the performed in Madrid,The Netherlands, Shanghai, Thessaloniki, New York, LaHabana, Barcelona, Copenhagen etc., and on the Italiannational TV networks.

„Interacþiunea Om-maºinã” ºi „controlulgesturilor în timp real” sunt cuvintele cheie cecaracterizeazã activitatea lui Leonello Tarabellaîn cadrul laboratorului cART din Institutul Italian detehnologie a Informaþiei din Pisa – Cercetare Aplicatã,Educaþie, Producþie. Spoturi infraroºii ºi tehnologii deprelucrare a imaginilor video capturate au fost luate înconsiderare pentru proiectarea ºi realizarea interfeþei desesizare de la distanþã a gesturilor (fãrã legãturimecanice sau electrice) exprimate de mâinileinterpretului. Multe opere multimedia interactive aufost realizate ºi prezentate în evenimente importante lanivel naþional ºi internaþional. Proiectul „Siderisvox” aurmãrit sã investigheze caracteristicile acustice interneale Baptisteriului din Pisa în vederea compunerii ºiinterpretãrii acolo a unui concert special.Leonello Tarabella este absolvent de ªtiinþacalculatoarelor la Universitatea din Pisa ºi a început sãlucreze cu muzicã pe calculator sub coordonarea luiPietro Grossi, pionier al muzicii computerizate în Italia.Ca cercetãtor, el coordoneazã activitãþile laboratoruluicART (computer art laboratory) din ISTI/CNR, Zonade cercetare a CNR din Pisa ºi în fiecare an susþine uncurs de muzicã pe calculator la Universitatea din Pisa.Cercetarea sa priveºte proiectarea limbajelor pentrucrearea algoritmilor de compoziþie ºi a interfeþelorgesturale originale om / maºinã pentru solo-urile saleinteractive cu graficã pe calculator. Ca muzician, elcompune ºi interpreteazã propria sa muzicã. Cu acestesisteme a susþinut concerte la Madrid, în Olanda,Shanghai, Thessaloniki, New York, Havana, Barcelona,Copenhaga etc. ºi la principalele televiziuni italiene.

Leonello Tarabella Collisions, Live Concerto

Shape and Music from ChaosEleonora Bilotta and Pietro Pantano, dealing with

nonlinear dynamical systems, developed a series of codesand software applications that allowed them an alternativereading of chaos and complexity, through new languages,especially music, sound and graphic representations. Theyhave even designed and made jewelry from Chua’sAttractors. Their art project lets you see things that werenot there before. The discovery of nearly one thousand ofattractors for Chua’s circuit and its generalizations, thedisplay of multidimensional space for these chaotic systems,the search for patterns and the dynamics of morphogenesishas inspired their artistic creations.The result is amazinggraphics and sound . It involves computer simulations,modelling but in the same time it requires talent andsensibility to create paintings and musical composition. Theoutput is not only a demonstration of practical artificialintelligence application but also a creative act that will becertainly apreciated by the public of the exhibition.

Eleonora Bilotta is professor of Cognitive Psychologyat the Department of Linguistics, Arts and HumanitiesFaculty, University of Calabria, Italy. Professor Bilotta studiesNonlinear Dynamical Systems such as Chua’s attractors andCellular Automata for modelling artificial and biologicalbehavior. In collaboration with Professor Pantano, shecreated different translation codes, embodied into softwareapplications, to study these systems through sound, musicand Computer Graphics. She has created many paintingsand musical compositions inspired by these systems.

Professor Bilotta is coordinator of a doctoral course onComplexity Science and Technologies in the PhD SchoolArchimedes, University of Calabria, Italy.

Pietro Pantano is professor of Mathematical Physics atthe Department of Mathematics, Engineering Faculty,University of Calabria, Italy. His research interests includeNonlinear Phenomena and Complex Systems, Human-Computer Interaction, Communication and NewTechnologies. In collaboration with Professor Bilotta,he has developed many software for the translation ofnonlinear dynamic systems such as Chua’s Attractors inCellular Automata and sounds, music and images.Currently Professor Pantano heads the EvolutionarySystems Group (ESG).

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A man in a trap, 2009, Acrylic on canvas, 80X120cm. Artist’s estate. Eleonora Bilotta.

Formã ºi muzicã din haos –Eleonora Bilotta ºi PietroPantano

Eleonora Bilotta ºi Pietro Pantano, studiindsistemele dinamice nelineare, au dezvoltat serii deprograme ºi aplicaþii software care le-au permis ointerpretare alternativã a haosului ºi complexitãþii prinlimbaje noi, cum sunt cel al muzicii, sunetelor ºi alreprezentãrilor grafice. Ei au ºi proiectat bijuteriipornind de la atractorii Chua. Proiectele lor artistice îþipermit sã vezi lucruri care nu au mai existat.Descoperirea a circa o mie de atractori pentru circuitulChua ºi generalizãrile lui, afiºarea spaþiuluimultidimensional al acestor sisteme haotice, cãutareapaternurilor ºi a dinamicii morfogenezei au inspiratcreaþia lor artisticã. Rezultatul este o graficã uimitoareºi sunet. Operaþia aceasta implicã simulãri pecalculator, modelãri, dar, în acelaºi timp, necesitã talentºi sensibilitate pentru a crea picturã ºi compoziþiemuzicalã. Produsul obþinut este nu numai odemonstraþie a unei aplicaþii practice de inteligenþãartificialã, dar ºi rezultanta unui act creativ care va fi cusiguranþã apreciat de publicul expoziþiei.Eleonora Bilotta este profesoarã de psihologiecognitivã la Departamentul Facultãþii de Lingvisticã,Arte ºi Umanisticã a Universitãþii din Calabria, Italia.Profesor Bilotta studiazã Sistemele dinamice nelineareaºa cum sunt atractorii lui Chua ºi automatele celulare

pentru modelarea comportamentului artificial ºibiologic. În colaborare cu profesorul Pantano, ea a creatdiferite translãri de cod, cuprinse în aplicaþii software,pentru a studia aceste sisteme prin sunet, muzicã ºigraficã pe calculator. Eleonora Bilotta a creat multepicturi ºi compoziþii muzicale inspirate de acestesisteme. Profesorul Bilotta este coordonatorul unui cursdoctoral asupra Complexitãþii ªtiinþifice ºi Tehnologicela ªcoala Doctoralã Arhimede din Universitatea dinCalabria, Italia.Pietro Pantano este profesor de matematicã fizicãla departamentul de Matematici al Facultãþii deinginerie din Universitatea din Calabria, Italia.Cercetãrile sale sunt orientate cãtre fenomeneleneliniare ºi sistemele complexe, interacþiunea om-calculator, noi comunicaþii ºi tehnologii. În colaborarecu profesor Bilotta, el a dezvoltat multe programesoftware pentru translarea sistemelor dinamicenelineare aºa cum sunt atractorii lui Chua înautomatele celulare ºi sunete, muzicã ºi imagini. Înmomentul de faþã profesorul Pantano coordoneazãEvolutionary System Group (EVS).

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Eleonora Bilotta Pietro Pantano

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The megalithic art comprises chevrons and a singlespiral, located on the upper section of a chamberupright within the Neolithic passage grave of

Barclodiad y Gawres. This monument is located on anexposed peninsula on the western side of the island andwas excavated between 1952 and 1953 by seasonedarchaeologists Terrence Powell and Glyn Daniel. It is one ofthree highly decorated passage grave monuments inEngland and Wales that date to the Late Neolithic (c. 3,000cal. BC) and the megalithic art from this site is regarded asan outstanding example.

The site, comprising a circular mound with passageand chamber has six of its chamber uprights decorated witha series of finely pecked with geometric art, includingconcentric circles, chevrons, cupmarks, lozenges, serpentinemotifs and spirals which are carved on strategically placeduprights within the inner passage and chamber areas. Thegeometry and grammar of the art possibly represents thelandscape outside, brought within; simply designed andconstructed by the mindset of a Neolithic artist.

George Nash is a part-time lecturer and visiting fellowat the Department of Archaeology and Anthropology,University of Bristol, and associate professor at the SpiruHaret University, Bucharest, Romania, and senior researcherat the Museum of Prehistoric Art (Quaternary andPrehistory Geosciences Centre), Maçao, Portugal. Georgehas been a professional archaeologist for the past 20 yearsand has undertaken extensive fieldwork on prehistoric rock-artand mobility art in Denmark, Indonesia, Norway Spain and

Sweden. Between 1994 and 1997 he directed excavations atthe La Hougue Bie passage grave on Jersey, one of Europe’slargest Neolithic monuments and recently he has directedexcavations at Westminster Hall, London. He has alsowritten and edited many books on prehistoric art andmonumentality including Status, Exchange and Mobility:Mesolithic Portable Art of Southern Scandinavia (1998),Signifying Place and Space: World Perspectives of Rock-artand Landscape (2000), and European Landscapes of Rock-art(2001), The Figured Landscapes of Rock-art: Looking atPictures and Place, edited with Christopher Chippindale(2004), The Architecture of Death (2006), Art as Metaphoredited with Aron Mazel and Clive Waddington (2007) andthe Archaeology of People and Territoriality (2009). Georgeis currently involved in four major rock-artrecording andinterpretation projects in Penang, north-east Malaysia, theValcamonica in northern Italy, looking at Iron Age housecarvings, in Wales, he is co-director of the Anglesey Rock-artProject (ARAP) and is about to coordinate and direct a rock-artlandscape project in Staffordshire, Central England. He hasalso written and presenting five programmes on Europeanrock-art and contemporary graffiti for BBC Radio 4. Georgeis currently working on two projects; a landscape assessmentwithin the eastern sector of Rhossili Down, South Wales andrepresentative rock-art in the Channel Islands. In 2010 hewill be directing an excavation of a gallery grave in DalanceyPark, north of St Peter Port, Guernsey.

Curvilinear and geometric carvings on Stone 16 within Barclodid y Gawres, Anglesey, North Wales (image rotated 90 CCWreflecting the outside landscape)

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Arta megaliticã cuprinde trese ºi o singurãspiralã, localizate în partea de sus a unei cameresituate în interiorul unui mormânt de trecereneolitic din Barclodiad y Gawres, Wales. Acestmonument este situat într-o peninsulã expusã în parteade vest a insulelor britanice ºi a fost excavat în 1952-1953 de cãtre arheologii Terence Powell ºi Glyn Daniel.Acesta este unul din cele trei morminte de trecereintens decorate din Anglia ºi din Walles care dateazãdin neoliticul târziu (cca. 3000 î.Hr.), iar arta neoliticãdin acest sit este consideratã de o exemplaritateexcepþionalã.Situl, cuprinzând un dâmb circular cu trecere ºicamerã, are ºase din camerele sale decorate în partea desus cu motive geometrice fin sculptate în perete,incluzând cercuri concentrice, trese, urme de cupã,romburi, motive în serpentinã ºi spirale care suntscrijelite în locuri strategice în partea superioarã apasajului de trecere ºi a camerelor. Geometria ºigramatica artei reprezintã cel mai probabil peisajulexterior, “adus” înãuntru; pur ºi simplu proiectat ºirealizat de imaginaþia artistului neolitic.George Nash este profesor invitat laDepartamentul de Arheologie ºi Antropologie alUniversitãþii din Bristol, profesor asociat alUniversitãþii Spiru Haret din Bucureºti, precum ºicercetãtor senior la Muzeul de Artã preistoricã dinMaçao, Portugalia. În ultimii 20 de ani, George a fostarheolog ºi a desfãºurat o activitate arheologicã de

investigaþii pe teren în domeniul artei preistorice pepereþii de stâncã din Danemarca, Suedia, Norvegia,Spania ºi Indonezia. Între 1994 ºi 1997 a fãcut excavaþiiîn mormântul La Hougue Bie din Jersey, unul dinmonumentele neolitice cele mai mari din Europa ºirecent a efectuat excavaþii la catedrala Westminster dinLondra. A editat ºi scris numeroase cãrþi despre artapreistoricã, inclusiv pe temele Stare, Schimb ºiMobilitate: Arta mezoliticã portabilã din sudulScandinaviei (1998), Signifying Place and Space: WorldPerspectives of Rock-art and Landscape (2000), ºiArchaeology of People and Territoriality (2009). Georgeeste în prezent implicat în patru proiecte majore deînregistrare ºi interpretare a artei pe stânci în Penang,Malaezia de Nord-Est, Valcamonica în Italia de Nord,privire asupra clãdirii caselor în Epoca Fierului, înWales, este co-director în proiectul Anglesey Rock-art ºiva coordona ºi direcþiona un proiect de peisaj cu artãpe stâncã în Staffordshire, Middle England. Deasemenea, George Nash a scris ºi a prezentat cinciprograme despre arta europeanã pe stânci ºi despregraffiti-ul contemporan la BBC Radio 4. Acum Georgeeste implicat în douã proiecte: o aranjare de peisaj însectorul de est al Rossili Down, South Wales ºi artãreprezentativã pe stâncã în Channel Islands. În 2010 vacoordona excavarea unui mormânt-galerie în DelanceyPark, la nord de portul St. Peter, Guernsey.

George Nash

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The painting represents the false entrance of BelasKnap Long Barrow, Gloucestershire, England, swathedin moonlight.This is not a physical entrance, but a

spirit doorway to realms of the ancestors. The work formspart of a three year archaeography project, themes of whichinclude death and burial; rock art and lighting; acoustic andsensory archaeology. By spending time in the landscape,visiting at night as well as by day, the artist follows theconversation between land and barrow, documenting thechanging moods and seasons, interacting with spirit ofplace, thus creating a deep map of the past in the present.

Liz Poraj-Wilczynska is an English artist andarchaeographer. She trained as an archaeological illustratorproducing finds illustrations and reconstruction drawingsfor professional archaeological publications. Her mobileexhibition for the Crickley Hill Trust was a finalist for theHepworth Heritage Award 1988. Over recent years she hasbroadened the scope of her work overlaying archaeologywith photography, painting, sculpture and socialperspective.

Past and present exhibitions include:Forest Landscapes at Martin’s Gallery CheltenhamEngland;Green Man/English Folk Art at Winds of ChangeGallery Gloucestershire;The Archaeography of Belas Knap at Cheltenham ArtGallery and Museum Gloucestershire, England.

Her current work in collaboration with archaeologistsand anthropologists in England and Poland focuses ondeath, monument and forest civilizations.

Belas Knap Portal, Oil on canvas 60’’x40’’

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Pictura reprezintã intrarea falsã de la Belas KnapLong Barrow, Gloucestershire, England, scãldatãîn lumina lunii. Aceasta nu este o intrare fizicã,ci o poartã cãtre þinuturile strãmoºilor. Lucrareareprezintã o parte dintr-un proiect arheologic de treiani de zile, teme care includ moartea ºi îngroparea, artãrock ºi iluminare, arheologie acusticã ºi senzorialã.Petrecând timp în peisaj, vizitându-l zi ºi noapte,artistul urmãreºte conversaþia între pãmânt ºi gorgan,documentând schimbãrile de dispoziþie ºi deanotimpuri, interacþionând cu spiritul locului, în acestfel creând o hartã profundã a trecutului în prezent. Liz Poraj-Wilczynska este artist englez ºiarheograf. Ea a cãpãtat experienþã ca ilustratorarheologic producând ilustraþii al descoperirilorarheologice precum ºi desene de reconstrucþie pentrupublicaþii profesionale de arheologie. Expoziþia saitinerantã pentru Crickley Hill Trust a fostnominalizatã pentru premiul Hepworth Heritage înanul 1988. Recent, ea ºi-a îmbogãþit scopul muncii sale,

completând arheologia cu fotografie, picturã, sculpturãºi perspectivã socialã.O listã cu expoziþii trecute ºi prezente include: Forest Landscapes la Martin’s Gallery CheltenhamEngland;Green Man/English Folk Art la Winds of ChangeGallery Gloucestershire;The Archaeography of Belas Knap la CheltenhamArt Gallery and Museum Gloucestershire,England. În prezent munca sa, în colaborare cu arheologi ºiantropologi din Anglia, se concentreazã pe moarte,monumente ºi civilizaþia pãdurilor.

Liz Poraj-Wilczynska

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Artchaeology

Artchaeology is a variant of experimental archaeologywhich uses art as an allegoric instrument forevocation, in order to sensitize the archaeologist to

reinterpret material culture after its previousphenomenological experimentation.

One advantage of applying art is its potential to referto vague concepts that cannot be fully encapsulated byscience, like space, landscape, ritual or ceremony. In mywork, the reconstruction of the architectural objectsinvolves primarily a mixed approach consisting ofarchaeological, architectural and ethnographic studies. Thereconstruction of geomorphs, like an ancient river forexample, is the result of an evocative experiment, realisedusing installations and land-art works.

Another aspect of my approach is the sensorialexperiment of the resulting work. To evoke a landscape orthe large prehistoric man-made works, I try to experimentwith the ritual acts of passage by analysing my owncorporeal sensations during the stages of separation,liminality and incorporation.

I am aware that using the artchaeological approach Icreate an artificial product which is analogous, but not similar,to the past reality, however, as in a theatre play, the resultingart product can create a strong evocation of this reality.

Dragoº Gheorghiu (b.1953)

Education:BA Architecture; BA & MA Industrial Design; PhDHistorical Anthropology;Present academic position:Professor of cultural anthropology and habitat,Department of Design, National University of Arts inBucharest; Associate Professor, Instituto Terra eMemoria, IPT, Maçao, Portugal;

Present affiliations:UISPP (member of the Bureau of the 14thCommission/ Neolithic); EAA; ECERS; Paul MellonFellow, Centre of Advanced Studies in the Visual Arts,National Gallery of Art, Washington, D.C.;Recent editorial activity:Antiquity, UK; Semiotics Encyclopaedia Online,University of Toronto; Journal of ExperimentalPyrotechnologies; Time and Mind, Journal ofArchaeology and Consciousness, Berg Publishers, UK.Edited books for British Archaeological Reports,Archaeopress, Oxford;Material, Virtual and Temporal Compositions: On theRelationship between Objects; Fire in Archaeology; Chalcolithic and Early Bronze AgeHydrostrategies; Ceramic Studies, Papers on the socialand cultural significance of ceramics in Europe andEurasia from Prehistoric to historic times; Fire as aninstrument. The Archaeology of pyrotechnologies.Edited books for Archaeolingua, Budapest: (withGeorge Nash) Fire in archaeology. Fire as materialCulture; The Archaeology of People and Territoriality.Edited books for Cambridge Scholars Publishing Ltd.,Newcastle upon Tyne:Early Farmers, Late Foragers and Ceramic Traditions.On the Emergence of Pottery in Europe; Place as MaterialCulture. Objects, Geographies and the Substance ofTime; Archaeology Experiment Spirituality?

Books publishedCultural anthropological studies; The Archaeology ofDwelling. Theory and Experiment; An Archaeology of Art. Pravin Chekoori a study; Arheo-tehnologii ale ceramicii. Abordãri teoretice ºi experi-mentale; Artchaeology. A Sensorial Approach to the Past.

Articles on experimental archaeology:http://www.publicarchaeology.eu/biblio/author/GHEORGHIU

A study of weathering. A replica of a wattle and daub Chalcolithic house, Vadastra village. Photo in 2008.Un studiu asupra dezagregãrii fãcut asupra unei replici a unei case Chalcolitice din lut în satul Vãdastra, România.Foto din 2008.

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ArtheologieArtheologia este o variantã de arheologieexperimentalã care foloseºte arta dreptinstrument alegoric pentru evocare, în sensulsensibilizãrii arheologilor pentru a reinterpreta culturamaterialã dupã experimentul fenomenologic precedent.Un avantaj al aplicãrii artei rezultã dinpotenþialului acesteia de a aborda concepte vagi carenu pot fi tratate de ºtiinþã, aºa cum sunt spaþiul,peisajul, ritualul sau ceremonia. În lucrarea mea, dacãreconstrucþia obiectelor arhitecturale implicã primar oabordare mixtã constând din studii arheologice,arhitecturale ºi etnografice, reconstrucþia geomorfilor,ca, de exemplu, aceea a unui râu a cãrui albie nu maiexistã, este rezultatul unui experiment evocativ, realizatfolosind instalaþii ºi lucrãri de artã peisagisticã.Un alt pas în abordarea mea este experimentulsenzorial al obiectului rezultat. Pentru a evoca un peisajsau lucrãri mari fãcute de omul preistoric încerc sãexperimentez acþiunile rituale de trecere, prin analizapropriilor senzaþii corporale în timpul stagiilor deseparare, liminalitate ºi încorporare.Sunt conºtient cã folosind abordarea artheologicã,pot crea un produs artificial care este analog, dar nusimilar, cu realitatea trecutului, totuºi, ca într-o piesã deteatru, produsul artistic rezultat poate crea o evocareputernicã a acestei realitãþi. Dragoº Gheorghiu (nãscut în 1953)Educaþie:Absolvent de arhitecturã, absolvent ºi Master înDesign industrial, doctor în Antropologie istoricã;Poziþia academicã prezentã:Profesor de antropologie culturalã ºi habitat,Departamentul de Design, Universitatea Naþionalãde Artã din Bucureºti; Profesor Asociat, InstitutoTerra e Memoria, IPT, Maçao, Portugalia;

Afiliaþii actuale:UISPP (membru al Biroului celei de a 14-aComisii/ Neolithic); EAA; ECERS; Paul MellonFellow, Centre of Advanced Studies in the VisualArts, National Gallery of Art, Washington, D.C.;Activitate editorialã recentã:Antiquity, Marea Britanie; SemioticsEncyclopaedia Online, Universitatea Toronto;Journal of Experimental Pyrotechnologies; Timeand Mind, Journal of Archaeology andConsciousness, Berg Publishers, Marea Britanie.Cãrþi editate pentru British ArchaeologicalReports, Archaeopress, Oxford:Material, Virtual and Temporal Compositions: Onthe Relationship between Objects; Fire in Archaeology; Chalcolithic and Early BronzeAge Hydrostrategies; Ceramic Studies, Papers onthe Social and Cultural Significance of Ceramics inEurope and Eurasia from Prehistoric to HistoricTimes; Fire as an Instrument. The Archaeology ofPyrotechnologies.Cãrþi editate pentru Archaeolingua, Budapest:(împreunã cu George Nash) Fire in Archaeology.Fire as Material Culture; The Archaeology ofPeople and Territoriality. Cãrþi editate pentru Cambridge ScholarsPublishing Ltd., Newcastle upon Tyne:Early Farmers, Late Foragers and Ceramic Traditions.On the Emergence of Pottery in Europe; Place asMaterial Culture. Objects, Geographies and the Sub-stance of Time; Archaeology Experiment Spirituality?Cãrþi publicate:Cultural anthropological studies; The Archaeologyof Dwelling. Theory and Experiment. An Archaeology of Art. Pravin Chekoori a study;Arheotehnologii ale ceramicii. Abordãri teoreticeºi experimentale; Artchaeology. A SensorialApproach to the Past.

http://www.publicarchaeology.eu/biblio/author/GHEORGHIU

Dragoº Gheorghiu

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Asuite of paintings based on ideas born over the manyyears of study & thinking about Matila Ghyka’s greatbook The Geometry of Art & Life. Pre 2003

Floyd Anthony Alsbach

“Virtuosity and Passion uniquely combined in paintingsthat actually change over time.”

“The truth is… we can know no lasting peace withoutdeep beauty, and we can know no more profound beautythan inward peace. Not being a peaceful man by nature,upbringing, or predilection, I seek, and occasionally find,elements of that ever elusive peace through love of: myfaith, family, nature, learning, and work.

…I love this strange ancient unreasonable, unrealisticlanguage”

“The ancient roots of of all art, all language, are deepwithin us seeking only sustenance. Hiding in the dark caveswhere intelect is twined with emotion in wisdom’s braid,calm, sure, passionate, lasting beauty lies waiting. Potentialartists all, we often choose to ignore that still small voicecalling us to rise above self, choosing the long twilight ofwill, convenience, fame, nihilism, instead. The commonroads traveled. Once in a while someone chooses no path,to walk off alone through the woods, listening only to thequiet voice. Though most are lost, a few are eventuallyfound. Then marvels of the human spirit are finallyrevealed. F. A. Alsbach is among the rare few who havewalked those heights alone”, Asher Lev Cohen.

Artist and Teacher, F. A. Alsbach has been a memberof the co-op art gallery Ward-Nasse in the Soho district ofNYC since 1987, McCaughan & Burr in St. Louis since 2005, Amember of Christians In the Visual Arts (CIVA), theStuckists (a London based art movement. Best of MissouriHands, and was co-founder of Synthesis in 1988. The Artists’painting style has evolved through the modern, post-modern, and current era while three fundamental themeshave remained the same;

1. The timeless spiritual vitality of Christianity; 2. The edge of co-operative interaction between the

environment and agriculture;3. The strength of family ties.

Alsbach currently teaches art and art history atMissouri Valley College in Marshall Missouri.

Disced Field at Dawn, 34x21, 10-03 oil

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Osuitã de picturi bazate pe ideile nãscute înurma multor ani de studii ºi gânduri de peurma lecturii marii cãrþi a românului MatilaGhyka, „Geometria artei ºi a Vieþii”Floyd Anthony Alsbach

„Virtuozitate ºi pasiune combinate în picturi carese schimbã cu timpul”„Adevãrul este… cã nu cunoaºtem liniºtea fãrãfrumuseþe profundã, ºi cã nu putem cunoaºtefrumuseþe mai profundã fãrã pace interioarã. Nefiindîmpãcat prin propria naturã, educaþie, sau predilecþie,caut ºi eventual gãsesc, elemente ale acelei liniºtiinsesizabile prin dragoste îndreptatã cãtre: credinþamea, familie, naturã, învãþare ºi muncã. …Iubesc aceststraniu vechi limbaj, nerezonabil ºi nerealist.“„Rãdãcinile vechi ale oricãrei arte, toate limbajelesunt adânc în noi cãutând doar susþinere. Ascunsã înpeºteri adânci, unde intelectul este îngemãnat cu emoþiaîntr-o împletire înþeleaptã, calmã, sigurã, pasionatã, fru-museþea veºnicã aºteaptã întinsã. Artiºti potenþiali, noitoþi deseori ajungem sã ignorãm acea voce joasã, liniºtitã,alegând în loc lungul amurg al voinþei, convenienþei,faimei, nihilismului. Parcursul drumului comun. Câteodatãcineva nu ia drumul acela, ci merge pe alãturi ascultândnumai de vocea-i slabã. Cu toate cã mulþi se rãtãcesc,puþini gãsesc calea. Atunci minuni ale spiritului uman suntrevelate. F. A. Alsbach este printre puþinii care au umblatprin aceste înãlþimi de unul singur”, Asher Lev Cohen.

Artist ºi profesor, F.A. Alsbach a fost membru algaleriei de artã Ward-Nasse din districtul Soho dinNew York încã din 1987, McCaughan & Burr în St.Louis din 2005, membru al grupului Christians in theVisual Arts (CIVA), al grupului Stuck din Londra ºi afost cofondator al miºcãrii Synthesis în 1988. Stilulartistului a evoluat trecând prin modernism, post-modernism ºi perioada curentã, pãstrând înpermanenþã trei teme fundamentale:1. Vitalitatea atemporalã a creºtinismului;2. Limita de interacþiune cooperativã între mediu ºiagriculturã;3. Puterea legãturilor de familie.

Alsbach predã arta ºi istoria artei la Colegiul dinMissouri Valley în Marshall Missouri.

Floyd Anthony AlsbachSelf Portrait in Honor of Rembrands 400th Anniversary 16x24, encaustic & oil on panel

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Parting on Z is real-time virtual puppetry that respondsto puppeteer’s voice, walking balance, and fanmovements, integrated with traditional Korean oral

storytelling known as Pansori. This live performanceexplores Korean cultural psyche called “Han” via distancebetween avatar and user—symbolic lovers facing each other,continuously exchanging dialogues of love and farewell.

Semi Ryu received BFA from Korean NationalUniversity of Arts and MFA from Carnegie MellonUniversity. Currently, she is working as an associateprofessor at Department of Kinetic Imaging, VirginiaCommonwealth University, USA. Her works started fromexperimental 3D animations, with the subject ofinteractivity in Korean traditional theatre and oral traditionof storytelling. Her animations have been widely presentedin more than 15 countries, winning numerous awards,including “The Best Young Animated Film Award” at 11thInternational Festival of Animated Film, Stuttgart, Germany.”

Her interest about interactivity has been continued toher critical view of interactive media and virtual interactivepuppet performance, presented internationally in

Vancouver, Zurich, Amsterdam, Milan, Beijing, Montreal,Madrid and more. Her talks and papers have beenfrequently invited from international conferences andpublications. One of her papers “Ritualizing InteractiveMedia” was mentioned as exceptional quality in Leonardoreview (MIT press), and published in Roy Ascott’s Journal“Technoetic Arts”. Her virtual puppetry explores aparadoxical relationship in layers of mixed reality:user/avatar, traditional/digital media, etc. One of virtualpuppetry, “Experimental Virtual Wayang” combined Virtualand traditional shadow puppetry together, performed byGusti Sudarta, a shadow puppet master from Bali. Recentvirtual puppetry “Parting on Z” was incorporated withKorean traditional oral storytelling at Chelsea ArtMuseum, NYC.

Virtual puppet from “Parting on Z” performance, Chelsea Art Museum, NYC, 2009

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Parting on Z este un spectacol în timp real cu opãpuºã care rãspunde la vocea pãpuºarului, lamersul balansat al acestuia, la miºcãrile evan-taiului, spectacol integrat cu povestea oralã tradiþionalãcoreeanã numitã Pansori. Acest spectacol cu spectatoriexploreazã psihoza culturalã coreeanã numitã „han”prin relaþia paradoxalã între pãpuºa virtualã ºi pãpuºarvia distanþa dintre avatar ºi utilizator-îndrãgostiþisimbolici privindu-se unul cu altul, angajaþi într-undialog continuu despre dragoste ºi despãrþire.Semi Ryu a primit titlul de BFA (Bachelor of FineArts) din partea Universitãþii Naþionale de Arte dinCoreea ºi titlul de MFA (Master of Fine Arts) alUniversitãþii Carnegie Mellon din USA. În prezentlucreazã ca profesor asociat la Departamentul deImagini kinetice al Universitãþii Commonwealth dinVirginia. Lucrãrile sale de început au fost în domeniulanimaþiei 3D, având drept scop interactivitatea înteatrul coreean tradiþional ºi tradiþia oralã a istorisiriipoveºtilor. Animaþiile sale au fost prezentate în maimult de 15 þãri, câºtigând numeroase premii, inclusiv

„The Best Young Animated Film Award” la cel de-al11-lea festival Internaþional al Filmului animat de laStuttgart, Germania.Preocuparea sa legatã de interactivitate a fostcontinuatã de vederile sale critice asupra interactivitãþiiºi asupra spectacolelor cu pãpuºi, cu interactivitatevirtualã, prezentate internaþional la Vancouver, Zurich,Amsterdam, Milano, Beijing, Montreal, Madrid ºi înalte locuri. Conferinþele ºi articolele sale au fostselectate pentru prezentare în conferinþe internaþionaleºi publicaþii. Unul din articole „Ritualizing InteractiveMedia” a fost menþionat drept excepþional de cãtrerecenzorii Leonardo de la MIT press ºi publicat înrevista lui Roz Ascott „Technoetic Arts”. Spectacolulvirtual de pãpuºi al lui Semi exploreazã o relaþieparadoxalã în straturi de realitate mixtã:utilizator/avatar, media tradiþionalã/digitalã etc. Unuldintre spectacolele virtuale cu pãpuºi, „ExperimentalVirtual Wayang” combinã spectacolul de pãpuºitradiþional cu umbre cu cel virtual, realizat de GustiSudarta, un maestru pãpuºar din Bali.

Semi Ryu

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The ‘Space Shuttle Challenger’ disaster occurred onJanuary 28th 1986, when 73 seconds into the launch afireball caused the Challenger Space Shuttle to

disintegrate over the Atlantic Ocean, leading to the tragicdeaths of its seven-crew members. Captured live by CNN,the resulting image: “The eerie beauty of the orange fireballand billowing white trails against the blue” (The New YorkTimes, January 29th 1986), became charred into the nation’scollective consciousness, as it was played and replayed bythe media. We intend to re-enact this infamous explosion asa public firework display. The performance will be held by onthe banks of the Thames river in collaboration with theStephen Lawrence Gallery (The University of Greenwich,London) in the summer of 2011, by creating a bespokerocket that emulates the now symbolic formation of thefireball, smoke and debris.

This event is intended as a direct critique on the‘spectacularization’ of catastrophe and our relationship tomass mediated disaster; evoking a sense of detachment andspectatorship, with viewers as the passive consumers andthe Challenger Disaster an entertaining, consumablespectacle. Moreover, by re-enacting the disaster, twenty-five years later, we intend to question the legitimacy ofwhat it has come to represent; the popular interpretation,and to what extent collective memory of the disaster hasbeen manipulated for political gain.

Working with a pyrotechnics and special effectstechnician, the process would consist of prototyping andtesting the rocket and conducting a series of trials andexperiments, until an accurate visual representation of theexplosion is achieved. These experiments will be filmed,

culminating in the documentation of the public display andthe crowd’s reaction to the simulated explosion.

The documentation will be exhibited alongsideartifacts from the test trials and public spectacle initially atMOCA London and then at the Lanchester Gallery,Coventry. We will also produce a publication that willinclude a range of essays intended to generate discoursearound the impact of the Challenger Disaster and itscultural significance.

Demitrios and Dash have been working incollaboration since they graduated from the Royal Collegeof Art in 2008. From remote controlled roller skates whichplace the artists fate in the hands of the audience, to amachine that proffers soft scoop ice cream depending onthe perceived happiness of the user, to a workshop teachingprimary school children political spin and the art ofsuccessful persuasion, our work aims to de-condition,exposing the potency of existing socio-political systems tomanufacture, control and dictate our behavior by publiclystaging social experiments and interventions in whichobjects serve as the catalyst. They currently teach atCoventry University and their work is exhibitedinternationally, most recently in Istanbul, Tokyo, Linz,Zurich, Zagreb, Gijon and London.

The Challenger Disaster Re-visited, a project for the Museum of Contemporary Art, London

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Dezastrul navetei spaþiale Challenger a avut locîn 28 ianuarie 1986, când, la 73 de secundedupã lansare, o minge de foc a fãcut ca navetaspaþialã sã se dezintegreze deasupra Oceanului Atlanticºi sã provoace moartea celor 7 membri ai echipajului.Filmatã live de CNN, imaginea rezultatã: „Frumuseþeastranie a mingii de foc oranj ºi urmele albe atârnând pefondul albastru” (The New York Times, January 29th1986) a rãmas ancoratã în conºtiinþa colectivã a naþiuniiºi a fost transmisã ºi retrasmisã de media.Intenþionãm sã reluãm aceastã infamã explozie caun spectacol public de artificii. Spectacolul va avea locpe þãrmul Tamisei în colaborare cu galeria StephenLawrence (Universitatea din Greenwich Londra) învara anului 2011, creând o rachetã fãcutã pe comandãcare emuleazã formarea simbolicã a mingii de foc, afumului ºi a resturilor cãzând.Acest eveniment se vrea o criticã directã la„spectacularizarea” cu orice preþ a catastrofei, precumºi a relaþiei noastre cu dezastrul mediatizat. Se evocã oanumitã atitudine de detaºare ºi participare neutrã despectator a participanþilor în calitate de consumatoripasivi ºi a dezastrului Challenger vãzut ca un spectacolantrenant ºi de consum. În plus, recreând dezastrul, 25de ani mai târziu, intenþionãm sã chestionãmlegitimitatea a ceea ce ajunge sã reprezinte:interpretarea popularã ºi mãsura în care memoriacolectivã a dezastrului a fost manipulatã pentruinterese politice.Cu ajutorul pirotehnicienilor ºi al tehnicienilor deefecte speciale, procesul constã în elaborarea

prototipului ºi testarea rachetei, precum ºi desfãºurareaunei serii de încercãri ºi experimente, pânã ce se obþineo reprezentare precisã a exploziei. Aceste experimentevor fi filmate culminând cu redarea publicului ºi areacþiilor mulþimii la explozii simulate.Documentaþia va fi expusã iniþial împreunã cuceea ce rezultã în urma încercãrilor de test la MOCA-Londra ºi pe urmã la Galeria Lanchester din Coventry.Vom produce de asemenea o publicaþie care va includeo serie de eseuri cu scopul de a genera discuþii asupraimpactului dezastrului Challenger ºi semnificaþiaculturalã a acestuia.Demitrios ºi Dash au lucrat împreunã de laabsolvirea Colegiului Regal de Artã în 2008. Începândcu patinele pe role controlate de la distanþã careplaseazã soarta artistului în mâna publicului, la maºinacare oferã linguriþe moi de îngheþatã în funcþie defericirea detectatã a utilizatorului, la un atelier careînvaþã copiii din ºcolile primare manevra politicã ºi artaconvingerii cu succes a interlocutorului, prinorganizarea unor manifestãri publice, munca noastrãurmãreºte sã propunã experimente ºi intervenþii în careobiectul constituie un declanºator de reacþii, care sãarate cât de mult potenþa sistemelor socio-economicepot sã fabrice, sã controleze ºi sã dictezecomportamentul nostru. Demetrios ºi Dash predau în mod curent laUniversitatea Coventry, iar lucrãrile lor sunt expuseinternaþional. Cele mai recente expuneri au fost laIstanbul, Tokyo, Linz, Zurich, Zagreb, Gijon ºi Londra.

Dash MacDonald and Demitrios Kargotis

Opsis in Greek means appearance, sight or view. InAntiquity, the deeper meditations on the nature oflight and appearance belonged to the discipline of

Metaphysics, a field of esoteric knowledge accessible onlyto the initiated ones. The transmitted testimonies that havecome down to us are relatively few and obscure, but theyunveil fascinating dimensions of the thinking of the oldones preceding the modern scientific analysis.

Leucippus and Democritus (5th century BC), thenEpicurus (342 - 270 BC), considered that there arecontinuous emanations from the body, called eidola, imagesthat can be compared with wax mould imprints. Theybelieved that the sense of sight was the result of these thinsurfaces, simulacrums of things, penetrating the eyes fromoutside.

In the 1st century AD, writing about the “secretteaching of Democritus”, Plutarch added that theseemanations or effigies not only have the resemblance andforms of bodies, but they also transmit the appearance ofmovement as well as desires of souls that enter ourselves asliving images…. Unlike these philosophers, Empedocles (490- 435 B.C.) compared the eye’s structure to that of a lanternproducing projections of an internal fire, like a stick thattouches the space that forms the images.

When conferring geometrical rigor onto themetaphysical pre-classical speculations, Euclid (325 - 265 BC)chose as a principle of his optical studies the modelproposed by Empedocles. Light coming out from the eyesbecomes visible light rays and the ensemble of the raysform the visual cone which forms the basis for the scienceof perspective (called in Antiquity skenografia). As part ofEuclidian geometry, Euclid’s study of optics survived overthe centuries, despite the idea that light was projected fromwithin the eye being contested. Beginning in the 9thcentury, Al Hazen, in his study of optics, observed rigorouslythat “physicists do not have a scientifically based hypothesisconcerning the notion of light rays.”

About the miracle of image formation, Avicenna wrotein the 10th century, quoting Aristotle, that “if a mirror couldhave a soul, it would see the image created in itself” and in1733, Berkeley, defining the visual language as the universallanguage of Nature, emphasized that, while the geometrictheories about rays belong to the field of geometry, sight isa faculty of the soul.

In the 11th century the poet Salomon Ibn Gabirol(Avicembron) wrote that the eye is the soul’s window:

“The air is full of pyramids of rectangular lines, raysthat come from every luminous body. If we could reducefigures, colors, every part of the Universe to a point, what amiraculous point it would be.”

The art of the glass, between visual arts, is the exercisefield of the comprehended form, through its transparency,beyond its spatial constituency, as a luminous phenomenon.Involved in the optics problem, the transparency artisanapproaches the definition itself of the field of Visual Arts.Besides the complex game of transforming light inside thesubstance, the glass projects in the n-dimensional spacespecific to contemporary artistic manifestation, thefascination of the theoretical representation and thevalorization of the field’s traditional components, beyondthe useful exercise of articulating the plastic language, anact of culture.

Dan Popovici was born in Bacãu, România, in 1951.After graduating from the High School of Fine Arts ”N.Tonitza” in Bucharest between 1965 - 69, he studied Glass inthe Institute of Fine Arts ”N. Grigorescu” in Bucharestbetween 1970 - 75. Next, until 1978 he worked in the GlassFactory of Tg. Jiu as glass-designer, as well as performingartistic experiments with the glass. In this period heparticipated in the International Exibition „Coburger Glass-preis” (Germany `76) and his works have been selected bythe Corning Museum of Glass in the catalogues „New Glass”in 1977 and 1978.

Since 1979 Dan Popovici has taught at the NationalUniversity of Arts – Bucharest. He is has been a member ofthe Romanian Artists’ Association since 1982. The artist hasexhibited his work in a solo show and participated in severalNational Exhibitions and Symposiums and manyInternational Exibitions: Coburg, ”Glass Kunst” Kassel,Munich, Erfurt – Germany, ”The International Exhibition ofGlass”, Kanazawa – Japan, Novi Sad – Yugoslavia, Lucerne,Zurich – Switzerland, Montreal – Canada, “Seres ’09, FirstInternational Ceramic & Glass Exhibition”, Eskiºehir – Turkey.

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Signs in Glass 15x20x20 cmSemne în sticlã 15x20x20 cm

Opsis în limba greacã înseamnã vedere, iarmeditaþia mai adâncã asupra naturii vãzului ºia luminii aparþinea în antichitate metafizicii,domeniu al cunoºtinþelor esoterice, accesibil doariniþiaþilor. Mãrturiile transmise, relativ puþine ºi obscure,dezvãluie dimensiuni fascinante ale gândirii celor vechiîn perioada premegãtoare structurãrii ºtiinþifice. Leucip ºi Democrit (sec. V î.Hr.), apoi Epicur (342-270), considerau cã din corpuri se desprind neîntreruptemanaþii, numite eidola, imagini ce pot fi comparate cuamprentele modelate din cearã. Vederea s-ar datoraacestor suprafeþe subþiri, simulacre ale lucrurilor, cepãtrund în ochi venind din exterior.În sec.I d.Hr., scriind despre „învãþãtura tãinuitã alui Democrit”, Plutarh adãuga cã aceste emanaþii-efigiinu numai cã au asemãnãrile ºi formele corpurilor, citransmit ºi aparenþele miºcãrilor ºi dorinþele sufletuluiºi intrã în noi ca imagini vii... Spre deosebire de aceºtia,Empedocle (490-435) compara structura ochiului cu ceaa unei lanterne, proiecþiile unui foc interior fiind celecare, precum un baston ce pipãie spaþiul, ar permiteformarea imaginilor. Conferind speculaþiilor metafizice preclasicerigoarea geometricã, Euclid (325-265 î.Hr.) a ales caprincipiu al tratatelor sale de opticã modelul propus deEmpedocle. Lumina ieºind din ochi devine razãvizualã, iar ansamblul razelor formeazã conul vizualcare stã la baza reprezentãrilor ºtiinþei perspectivei(numitã în antichitate skenografia). Parte a geometrieieuclidiene, optica acesteia a dãinuit peste secole, deºiideea luminii proiectate din interiorul ochiului a fostcontestatã. Încã din secolul al X-lea Al Hazen, întratatul sãu de opticã, observa cu deosebitã rigoare cã„fizicienii nu au ipoteze fundamentate ºtiinþific asupranoþiunii de razã.” Despre miracolul formãrii imaginilor Avicennascria în secolul X, citându-l pe Aristotel, cã „dacãoglinda ar avea suflet, ea ar vedea imaginea produsãasupra sa”, iar în 1733 Berkley, definind limbajul vizualca limbaj universal al naturii, sublinia cã, în timp ceteoriile geometrice ale razelor aparþin domeniuluigeometriei, vederea este facultate a sufletului.Din aceastã perspectivã, reprezentãrile antichitãþiinu ºi-au pierdut în timp forþa sugestivã.

În secolul al XI-lea poetul Salomon Ibn Gabirol(Avicembron), perpetuând tradiþia simulacrelor-eidola,asemãna formele instalate în suflet cu formele luminiitraversând aerul, iar Leonardo da Vinci oferã în caietelesale o frumoasã imagine a spaþiului optic, în care ochiuleste fereastra sufletului: „Aerul este plin de piramidede linii drepte radiind din toate punctele corpurilorluminoase. Figurile, culorile, toate pãrþile universuluisã poatã fi reduse la un punct: ce punct miraculos!”Arta Sticlei, între artele vizuale, este domeniul deexerciþiu al formei înþelese, prin dimensiunile transpa-renþei, dincolo de alcãtuirea spaþialã, ca fenomen luminos.Implicându-se în problematica opticii, artizanultransparenþei abordeazã chiar domeniul de definiþie alArtelor Vizuale. Pe lângã jocul complex al transfomãrilorluminii în interiorul substanþei, sticla proiecteazã înspaþiul “n”-dimensional specific manifestãrii artisticecontemporane ºi fascinaþia exercitatã de zestreareprezentãrilor teoretice, iar valorizarea tradiþiilordomeniului constituie, dincolo de un exerciþiu utilarticulãrii limbajului plastic, un fapt de culturã.Dan Popovici s-a nãscut la Bacãu, pe 21 mai 1951.Dupã absolvirea Liceului de Artã „N. Tonitza” dinBucureºtii în 1969, a studiat sticla la Institutul de ArtePlasice „N. Grigorescu” – Bucureºti între ’70 – ’75.Apoi, pânã în anul 1978 a lucrat la fabrica de sticlã dinTg. Jiu ca proiectant al formelor industriale,experimentând valorificarea artisticã a materialului. Înaceastã perioadã a participat la expoziþia internaþionalã„Coburger Glass-preis” – Germania ’76, iar lucrãrilesale au fost selecþionate de cãtre The Corning Museumof Glass USA în cataloagele „New Glass” din ’77 ºi ’78. Din 1979 Dan Popovici predã disciplinele artisticeºi tehnologice ale sticlei în cadrul UniversitãþiiNaþionale de Arte Bucureºti. Este membru al UniuniiArtiºtilor Plastici din 1982, a organizat o expoziþiepersonalã în ’86 ºi a participat frecvent la expoziþii ºisimpozioane naþionale, precum ºi la numeroasemanifestãri internaþionale ale artei sticlei: Coburg,”Glass Kunst” – Kassel, Munchen, Erfurt – Germania,”The International Exhibition of Glass”, Kanazawa –Japonia, Novi Sad – Yugoslavia, Lucerna, Zurich –Elveþia, Montreal – Canada, “Seres 2009, I-st Interna-tional Ceramic & Glass Exhibition”, Eskiºehir – Turcia.

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Dan Popovici

The affinity of ceramics for geometrical forms has beenpresent from the earliest times, as expressedespecially through the pattern’s character and

decorations. Simple geometrical forms like: circle, rhombus,square, triangle, waves or spirals are found in the commonuniversal language of the ceramic decoration that began inthe Neolithic Age, continued through the Middle Ages andpersist even in our contemporary art.

The harmony and inner beauty of these geometricalforms has always provided an inspiring motif in Art. Eitherfor rational reasons or because of a simple affinity towardsgeometric forms, both yesterday’s and today’s artists haveimportant components of their works that are inspired bythis abstract area of the Arts. Irrespective of their age, or bytheir affiliation to one artistic tendency or to another,ceramic works inspired by geometry have continued toappear since the moment that ceramics defined itself as anartistic creation.

Born 1966, Cluj NapocaGraduated the National University of Art from Cluj

Napoca in 1994 as a ceramist.Exhibitions:1994 - The Collective Exhibition in Galeria Podul,Bucureºti;1994 - Salonul Municipal de Arte Decorative, GaleriileArt-Expo, Bucureºti;1995 - Salonul Municipal de Picturã, Galeriile Art-Expo,Bucureºti;

2000 - Exhibition „Ceramica”, Muzeul de ArtãCotroceni, Bucureºti;2001 - Exhibition „Oul”, Galeria Apolo, Bucureºti;2001 - Salonul de Artã, sala Dalles, Bucureºti;2002 - Salonul de Artã, sala Dalles, Bucureºti;2005 - Exhibition „Recipient”, Galeria Simeza,Bucureºti.

Other activities:1996 – Documenting Grant Madrid;2002 – Camp „Vãdastra 200 – Renaºterea tradiþiei”;2005 – Participation to Simpozion ºi Conferinþã despreceramica în învãþãmântul de artã, organized by the ArtAcademy from Sofia, Bulgaria, Ceramics Department;2007 – Participation in the event „Spaþiu, apã ºi foc” –building an oven for experiments with fire wood,inside the Museal Complex of Mogoºoaia;2009 – Doctoral Thesis on „Medieval Ceramics inRomania’s territory during the 16th and 17th century inÞara Româneascã”;Presently she teaches Ceramics, Glass and Metal Art atthe University of Arts in Bucharest.

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Works belonging to the Ensemble Social Identity, 1994Lucrãri din ansamblul „Identitate socialã“, realizate în 1994

Din cele mai vechi timpuri a existat o afinitate aceramicii pentru forme geometrice exprimatã înspecial prin caracterul ornamentelor ºi aldecoraþiei. Formele geometrice simple: cerc, romb,pãtrat, triunghi, meandrele sau spirala, se regãsesc într-un limbaj comun, universal al decorului ceramicîncepând din neolitic, continuând în evul mediu ºichiar în arta modernã contemporanã.Armonia ºi frumuseþea în sine a formelor geome-trice au generat mereu un motiv de inspiraþie în artã.Fie din motive raþionale, programatice dedicate studiuluiformelor abstracte, fie prin simplã afinitate vizavi degeometrie, artiºti de ieri ºi de azi au contribuit cu creaþiiimportante din acest domeniu abstract al artei. Nuconteazã vârsta nici apartenenþa la o tendinþã artisticãsau alta, pur ºi simplu lucrãri de ceramicã inspirate dedomeniul geometriei au apãrut constant în artaceramicã, aproape din momentul în care s-a definitdomeniul de creaþie artisticã în ceramicã.Nãscutã în 1966, Cluj-NapocaStudii: Absolventã a Universitãþii Naþionale deArte din Bucureºti, promoþia 1994, specializarea ceramicã.Participãri expoziþionale:1994 – Expoziþie de grup, Galeria Podul, Bucureºti;1994 – Salonul Municipal de Arte Decorative,Galeriile Art-Expo, Bucureºti;1995 – Salonul Municipal de Picturã, Galeriile Art-Expo, Bucureºti;

2000 – Expoziþia „Ceramica”, Muzeul de ArtãCotroceni, Bucureºti;2001 – Expoziþia „Oul”, Galeria Apolo, Bucureºti:2001 – Salonul de Artã, sala Dalles, Bucureºti;2002 – Salonul de Artã, sala Dalles, Bucureºti;2005 – Expoziþia „Recipient”, Galeria Simeza,Bucureºti;Alte activitãþi:1996 – Bursã de documentare Madrid;2002 – Tabãra „Vãdastra 200 – Renaºtereatradiþiei”;2005 – Participare la manifestarea Simpozion ºiConferinþã despre ceramicã în învãþãmântul deartã, organizatã de Academia de Arte din Sofia,Bulgaria, departamentul de ceramicã;2007 – Participare la acþiunea „Spaþiu, apã ºi foc” –cu construirea unui cuptor pentru experimente cuardere cu lemne, care a avut loc la ComplexulMuzeal Naþional Mogoºoaia;2009 – Susþinerea tezei de doctorat cu titlul„Ceramica medievalã de pe teritoriul României însecolele XVI ºi XVII. Þara Româneascã”.Cadru didactic la Universitatea de Arte dinBucureºti din 1994, în prezent lector la CatedraCeramicã-Sticlã-Metal.

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Liana Svinþiu

The Endless Column is “like an eternal song whichbrings us to the infinite of a beyond” (Hulten et al,Brancusi 1986, p. 230). Here, the genius of Brancusi

and his artistic vision have created the first symbolicsculpture ever done, being an integral part of hisrevolutionary approach to modern sculpture. Yet, few knowthat this splendid Brancusi monument has a structuraldesign based on engineering calculations. The author is theengineer Stefan Georgescu Gorjan who also recorded aphotographic reportage of this 1938 adventure. Exceptionalimage documents of that odyssey are presented here bySorana Gorjan, daughter of Georgescu Gorjan, herself anaudacious researcher of Brancusi’s legacy.

Sorana Georgescu-Gorjan Born 1939, in Petroºani (Hunedoara County). She is

editor, translator and author of papers and books relating toConstantin Brâncuºi. Her family had close ties to the artist,by her grandfather (Ion Georgescu-Gorjan) and father(ªtefan Georgescu-Gorjan), the author of the technicalproject the Endless Column of Târgu-Jiu.

Coloana infinitului realizatã de Brâncuºi la TârguJiu, România, este precum “un cântec etern carene duce cãtre infinitul de dincolo (Hulten et al,Brancusi 1986, p. 230). Aici, geniul lui Brâncuºi ºiviziunea sa artisticã au creat prima sculpturã simbolicãdin lume fãcând parte integrantã din abordarearevoluþionarã a sculpturii moderne pe care Brâncuºi aavut-o. Totuºi, puþini cunosc faptul cã acest monumentsplendid al lui Brâncuºi are o proiectare structuralãbazatã pe calcule inginereºti de rezistenþã. Autorul esteinginerul Gorjan care a fãcut ºi un reportaj fotografic alacestei „aventuri” de la sfârºitul anilor 30. Excepþionaleledocumente fotografice sunt prezentate aici de SoranaGorjan, fiica lui ªtefan Georgescu Gorjan, ea însãºi uncercetãtor asiduu al moºtenirii Brâncuºi. Sorana Georgescu-GorjanNãscutã în 1939 la Petroºani (Hunedoara).Redactoare, traducãtoare ºi autoare de articole ºi cãrþireferitoare la Constantin Brâncuºi, de care familia sa afost strâns legatã prin bunicul (Ion Georgescu-Gorjan)ºi tatãl ei (ªtefan Georgescu-Gorjan), autorul proiec-tului tehnic al Coloanei infinitului de la Târgu-Jiu.

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Sorana GorjanBuilding up Brancusi’s Endless Column, a multimediaaproach done by Sorana Gorjan with ITC technical support

Endless Column, Constantin BrâncuºiBrass coated cast iron modules on a vertical steel spine,2935x90x90 cm, 1938Coloana infinitului, Târgu Jiu, România - Module tur-nate din fontã, alãmite, suprapuse pe un stâlp vertical.

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Lemniscus

This perfectly balanced form is the result of innertensions which tend to be in equilibrium. Twobalanced poles, two possibilities of the same element

creates a form that reminds of Minkovski’s surfaces andtheir tender slenderness. On his way to becoming a trueartist, Ion Cojocaru is himself in continuous search ofequilibrium and silence, as a possible answer addressed toour aggressive surounding reality..Aceastã formã perfect echilibratã este rezultatultensiunilor interioare care tind cãtre echilibru.Doi poli balansaþi, douã posibilitãþi de a exista aaceluiaºi element creeazã o formã care aminteºte desuprafeþele Minkovski cu tandra lor supleþe. Pe drumuldevenirii sale ca artist, Ion Cojocaru se aflã el însuºiîntr-o continuã cãutare a echilibrului ºi liniºtii ca unposibil rãspuns adresat realitãþii agresive ce neînconjoarã.

Cell Growth

Astructural representation of cell division, using theirregular pentagon as a symbol for direction, forceand multiplication. The shape bursts from the initial

triangular prism and bends, allowing the continuous addingof new cells to find their place among the structure.Oreprezentare structuralã a diviziunii celulare,folosind pentagonul neregulat ca un simbolpentru direcþie, forþã ºi multiplicare. Formaizbucneºte din prisma triunghiularã iniþialã, îndoindu-se, pentru a facilita adãugarea continuã de noi celule,acestea gãsindu-ºi locul în structurã.

Lemniscus, ceramics

Ion Cojocaru

Cell Growth / Creºterea CelularãRadu Damian

The Hourglass

The imaginary evolution in time of a tridimensionalstructure starting from a singular emergentelement – The equilateral triangle.Lucrarea imagineazã evoluþia în timp a uneistructuri tridimensionale pornind de la unelement singular emergent, triunghiul echilateral.

Bionic, reverse

The inspiration source is bionics but also is taken fromthe real of natural forms, the plastic approachstressing the link with the Arts (Ceramics), Bionic

and Nature.Sursele de inspiraþie ale lucrãrii provin dindomeniul bionicii, dar ºi din domeniul formelornaturale, demersul plastic evidenþiind legãturadintre artã (ceramicã), bionicã ºi naturã.

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The Hourglass / Clepsidra (Gresie, lemn, gutã)Maria Cristina Beatrice Gheorghe

Bionic, reverse / Bionic, revers; gresie arsã; 15x15cm-35x40cm; 2010Oana Maria Stoica

Emilian David analyses the artistic implications of theinterconnection between space–light–substance. Underthe sign of „Kaleidoscope”, he proposes to catch the plastic

expressiveness of glass together with the valorisation of thedowry of significances associated to the material properties.

Ene Sãndel applies in the field of Glass art the antiquetechnique of stone engraving, retaking with acontemporary perspective the theme of Imprint-Sign.

Magda Marinescu had as research theme the ratiobetween crystalline structure and vitreous structure. Theingenuous application of fusion techniques led tosuggestive combinations between geometry and fluidity.

Iulia Dumitrescu approaches the balance between geo-metric and bionic through a carefully chosen dosage of materialmucilage. In his works the expressive tension between rigidityand inflow is stressed by different steps of glass opacity.

Mona Agavriloaie proposes an incursion into thesubstance nucleus, where steps of crystallization are suggested.Emilian David analizeazã implicaþiile artistice alerelaþiei spaþiu-luminã-substanþã. Sub semnul„caleidoscopului”, titlul lucrãrii de dizertaþie, elpropune surprinderea ipostazelor plastic-expresive alesticlei, precum ºi valorizarea zestrei de semnificaþiiasociate proprietãþilor materialului. Ene Sãndel aplicã în domeniul artei sticlei tehnicaanticã a gravãrii pietrelor, reluând din perspectivãcontemporanã tematica amprentei-semn. Magda Marinescu ºi-a propus ca temã de cercetareraportul între structurile cristaline ºi starea vitroasã.

Aplicarea ingenioasã a tehnicilor fuziunii a conduscãtre îmbinãri sugestive ale geometriei cu fluiditatea. Iulia Dumitru susþine raportul între geometric ºibiomorfic prin dozarea diferitelor trepte ale vâscozitãþiimaterialului.În lucrãrile sale tensiunea expresivã întrerigiditate ºi curgere este subliniatã prin trepte aletransluciditãþii sticlei.Mona Agavriloaie propune o incursiune (mijlocitãde transparenþã) în „miezul” sunstanþei, unde suntsugerate etape ale cristalizãrii.

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Kaleidoscope / CaleidoscopEmilian David

Imprints / AmprenteEne Sãndel

Fluid State / Stare fluidãIulia Dumitru

Decrystallization / DecristalizareMona Agavriloaie

Wavy Space / Spaþiu ondulatMagda Marinescu

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Miruna Modîlcã Belgun Traian Munteanu

Liviana Popa Ioana Sanda Popa

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The organizers express their thanks to those whobrought their substantial contribution making thisevent possible, especially to Professor Dr. Mauro

Francaviglia, Italy, Professor Dr. Ruxandra Demetrescu,rector of UNA, Professor dr. Dragoº Gheorghiu UNA, and toevery artists who generously offered their works to beexhibited here understanding that Science and Artevolution can be stimulating for both fields.Organizatorii exprimã mulþumirile lor celor careau adus o contribuþie substanþialã pentru caacest eveniment sã fie posibil, în mod specialdomnului profesor Mauro Francaviglia, Italia, doamneiprofesor doctor Ruxandra Demetrescu, rector UNA,profesorului dr. Dragoº Gheorghiu, UNA, precum ºituturor artiºtilor care au oferit cu generozitate lucrãrilelor pentru a fi prezentate în expoziþie înþelegând cãevoluþia ªtiinþei ºi Artei poate fi stimulativã pentruambele domenii.

Publisher & Exhibition’s OrganizerOrganizator expoziþie

PartnerPartener

SponsorsSponsori

Institute for ComputersInstitutul pentru Tehnicã de Calcul

National University of Art BucharestUniversitatea Naþionalã de Arte Bucureºti

Editor & SCIENAR Project Coordinator from ITC: Gheorghe ªtefan SamoilãGeneral Manager ITC: Liviu JalbãMarketing Manager ITC: Monica MuscãLayout: Radu DamianDTP: Adrian Ionescu