We provide results allowing to state, by the simple inspection of suitable classes of posets , that the corresponding intermediate propositional logics are maximal among the ones which satisfy the disjunction property. Starting from these results, we directly exhibit, without using the axiom of choice, the Kripke frames semantics of 2No maximal intermediate propositional logics with the disjunction property. This improves previous evaluations, giving rise to the same conclusion but made with an essential use of the axiom of choice, of (...) the cardinality of the set of the maximal intermediate propositional logics with the disjunction property. (shrink)

Drawing on a series of exhibitions curated and installed at the Canadian Centre for Architecture in Montréal throughout the 1990s and the early millennium, this essay analyzes how architecture and its representation in museological exhibitions have innovated forms of communication and display practices, transcending the traditions established by the fine arts paradigm since the late eighteenth century. The author argues that in addition to providing a heightened recognition of the narrative and performative potential of the exhibitionary setting, the (...) discourses and tensions specific to architecture and architectural practice have led to a rethinking of the communicative potential of the exhibition environment. Principles inherent to architecture—spatiality, materiality, and the experiential—are fruitful when considering the possibilities of exhibition design to elucidate multiple levels of meaning, and these principles have led to architecture’s coming-of-age in the museological environment in ways that are specific to re aedificatoria—the art of building itself. (shrink)

Reconfigurations of the Exhibition Space – Case Study: Cristi Rusu Exhibition at the Plan B Gallery. In this paper I focus on a case study concerning the Cristi Rusu exhibition, The Only Thing I Am Sure about in This Life Lies above My Head, from the Plan B Gallery in Berlin (March 6 – April 11 2020). By integrating some interventions specific to land art in the gallery space (and, therefore, transforming it), Cristi Rusu manages to transgress the conventional limits (...) imposed by the idea of a white cube gallery neutral space. The art gallery’s space functions as a medium for developing artistic discourse as the project tries to detach from the tradition and ideologies already incorporated in a certain place and time, in search for the sublime. (shrink)

This paper discusses exhibition installation as an aesthetic medium. Drawing on Germano Celant’s writing on installation, we advance an interpretation of artists’ engagement with installation resulting in room-size works in the first half of the 20th century, as part of the evolution of exhibition installation towards the convergence of art and design. The paper also address the problem of intermediality as discussed by Juliane Rebentisch, and its implications for installation and attempts to tests Rosalind Krauss’s reconception of the medium against (...) Rebentisch’s criticism, while analyzing Krauss’s disapproval of installation art, including the room-size works of the avant-garde. (shrink)

A natural language argument may be valid in at least two nonequivalent senses: it may be interpretationally or representationally valid (Etchemendy in The concept of logical consequence. Harvard University Press, Cambridge, 1990). Interpretational and representational validity can both be formally exhibited by classical first-order logic. However, as these two notions of informal validity differ extensionally and first-order logic fixes one determinate extension for the notion of formal validity (or consequence), some arguments must be formalized by unrelated nonequivalent formalizations in order (...) to formally account for their interpretational or representational validity, respectively. As a consequence, arguments must be formalized subject to different criteria of adequate formalization depending on which variant of informal validity is to be revealed. This paper develops different criteria that formalizations of an argument have to satisfy in order to exhibit the latter’s interpretational or representational validity. (shrink)

In museum settings, caregivers support children's learning as they explore and interact with exhibits. Museums have developed exhibit design and facilitation strategies for promoting families' exploration and inquiry, but these strategies have rarely been contrasted. The goal of the current study was to investigate how prompts offered through staff facilitation vs. labels printed on exhibit components affected how family groups explored a circuit blocks exhibit, particularly whether children set and worked toward their own goals, and how caregivers were involved in (...) children's play. We compared whether children, their caregivers, or both set goals as they played together, and the actions they each took to connect the circuits. We found little difference in how families set goals between the two conditions, but did find significant differences in caregivers' actions, with caregivers in the facilitation condition making fewer actions to connect circuits while using the exhibit, compared to caregivers in the exhibit labels condition. The findings suggest that facilitated and written prompts shape the quality of caregiver-child interactions in distinct ways. (shrink)

Recent years have brought enormous growth in the number of women-only art exhibitions. These exhibitions are accompanied by discussions that concentrate on curatorial feminist activism. In this text, I propose a different perspective by taking into consideration all exhibitions where the participants were determined by social category and which were organized in one country during one year. This perspective not only allows us to remark on and analyse activities that otherwise remain unnoticed but also encourages us to (...) extend our understanding of politics behind women-only initiatives. These exhibitions are generally intended to increase the capital of women artists, and to shift forces within the art and social fields in favour of women. However, as my analysis demonstrates, the organizers of different exhibitions occupy different places both in the art field and in the social field, and it is their position that determines, to a large extent, what changes they envision, what objectives they – in consequence – have and how they formulate their politics. This text also offers a reflection on whether the objectives behind organizing women-only shows has been constant or if they are a result of the current situation of women. (shrink)

This is the first day of our confinement here in Paris, which soon will feel a bit like house arrest. So, to help cheer you up, in these times of doom and gloom, I have decided to bring the museum to you in the form of a virtual exhibition thrice weekly. I have picked 25 photos from a work in progress I started years ago. The photos are portraits of visitors or guards in museums. It's candid photography, capturing life on (...) the run, a moment in time. I hope you will find many other ways to - Résidence numérique - Brigitte Cavanagh. (shrink)

The term "viewing stones" is primarily associated with two traditions of stone appreciation: Chinese Gongshi and Japanese suiseki. Today, viewing-stone associations around the world take inspiration from these traditions and are creating new ways of displaying stones. Petraphiles, whether ancient or contemporary, are often drawn to express their appreciation of favored stones in writing.The Petraphiles represented in this virtual exhibition are diverse in their expressions of geo-affection. They are, by turns, both scholarly and poetic. In each entry there is a (...) sense of discovery. Thomas Elias finds his Liaoshan Green Stone talking to him about the vicissitudes of life. Kemin Hu's research on a... (shrink)

Discussions of installation art often develop out of an analysis of its similarities and differences to other art forms. Doing so helps to ground it into critical engagement we are well familiar with. In this paper I take a different approach. I look at installation art in relation to a cognate practice not ordinarily understood as art-making: that of exhibition-making. We will see that this comparison is illuminating since installation art and exhibitions have two kinds of meaning-bearing properties in (...) common: display and site-responsiveness. I will explore this shared ground, and make some remarks on how this helps illuminate the deep relationship between installation art and exhibition-making. (shrink)

This research was undertaken to explore audience members learning ethics from two national museum exhibitions: The Return of Sherlock Holmes (RSH) and Human Body Exploration (HBE) in Taiwan. Based on literature review of ethics for museums, there are four dimensions related to exhibition ethics: environment, marketing, education, and services. Therefore, the purpose of this research was to examine the relationships within the dimensions of environment, marketing, education, and services of exhibition ethics and to understand the differences in exhibition ethics (...) between RSH and HBE. The total number of valid questionnaires was 191 for RSH and 152 for HBE. The research method analysis of variance was applied to examine whether there were significant differences between individual's basic data and four different dimensions of exhibition ethics in museums. As survey data revealed, exhibition ethics had significant relationships with four dimensions (serviceability, education, environment, and marketing) and significant differences to the demographic variable, such as age. We suggest that exhibition agents should emphasize exhibition contents more than relative commodities, thereby possibly attracting audiences to visit the museum exhibitions. In addition, the exhibitions that were related to sensible issues should be divided into different levels regulated in terms of audience age and the degree to which parents, teachers, or narrators at the museum could negatively influence a younger visitor's perception of an exhibition and thereby museums. Finally, during busy periods, the museums should control visitor numbers to maintain visiting quality. Therefore, the museums should be able to create added value to attract more audience members to visit the exhibition. (shrink)

The history of Australian art has been punctuated with survey exhibitions in London from the late 19th century to the present, just as our artists were drawn to Europe both to study and for the possibilities of wider recognition. This review article focuses on the post-war years from 1950 to 1965, a high point of Australian cultural expatriatism focused on London – now viewed as a significant episode in the history of Australian art. The two most influential figures supporting (...) key Australian artists were Kenneth Clark (promoting the work of Sidney Nolan and Russell Drysdale) and Bryan Robertson, director of the avant-gardist Whitechapel Gallery. Robertson was responsible for organizing the most significant of these exhibitions of Australian art: Australian Painting Today in 1961, focusing on the work of a younger generation of artists that included Charles Blackman, John Olsen, Fred Williams and Brett Whiteley. Australian’s most significant art historian, Bernard Smith, who had also sought to bring about comparable exhibitions, but without success, challenged the orientation and the cultural framing by Robertson and the young Australian art critic Robert Hughes in the catalogue of this key exhibition. (shrink)

The organization of the mobile atomic exhibition, Mostra Atomica, designed by the United States Information Service to travel through Italy in 1954–55, had to meet technical, scientific, artistic, and political challenges. The head of the group in charge of the exhibition was architect Peter G. Harnden whose pedigree in the intelligence and training in architecture were an ideal match for leading the unit dedicated to exhibitions. The political sensitivity of the Mostra Atomica also required the intervention of the Italian (...) Ministry of the Interior to guarantee safe mobility and secure shows. In every major town, American and British diplomats attended the local opening ceremony, while the very symbol of science diplomacy was Enrico Fermi, whose recorded message praised international cooperation. All in all, the USIS campaign promoting peaceful applications of nuclear physics was successful in reaching and involving Italian society. Visual and spatial aesthetics were particularly relevant: the geometrical design of the exposition rooms conveyed a strong sense of modernity that contrasted with the artistic heritage of Italian cities. The present article is based on archival files, newspaper reports, and photographs that document who was responsible for planning, setting up, and reporting this Cold War propaganda event. (shrink)

Kant’s admission of a “gap” in the philosophical system of criticism, which his unpublished project of the “Transition from the Metaphysical Foundations of Natural Science to Physics” would have been meant to fill, has been the object of controversy among scholars. This article reconsiders the problem by connecting the manuscripts with the operation of “exhibition” of concepts, which already had a systematic role in the 1780s, concluding that the new project was intended to provide not a reform, but a necessary (...) complement of previous works. In the final section Kant’s new awareness of this problem in the 1790s is connected to the contemporary reception of criticism. This context provides more evidence supporting the main argument of the article about the inner development of Kant’s thought. (shrink)

Does artificial intelligence (AI) exhibit consciousness or self? While this question is hotly debated, here we take a slightly different stance by focusing on those features that make possible both, namely a basic or fundamental subjectivity. Learning from humans and their brain, we first ask what we mean by subjectivity. Subjectivity is manifest in the perspectiveness and mineness of our experience which, ontologically, can be traced to a point of view. Adopting a non-reductive neurophilosophical strategy, we assume that the point (...) of view exhibits two layers, a most basic neuroecological and higher order mental layer. The neuroecological layer of the point of view is mediated by the timescales of world and brain, as further evidenced by empirical data on our sense of self. Are there corresponding timescales shared with the world in AI and is there a point of view with perspectiveness and mineness? Discussing current neuroscientific evidence, we deny that current AI exhibits a point of view, let alone perspectiveness and mineness. We therefore conclude that, as per current state, AI does not exhibit a basic or fundamental subjectivity and henceforth no consciousness or self is possible in models such as ChatGPT and similar technologies. (shrink)

The publication presents for the first time the B. Baradin’s theses to A. Dorzhiev’s lecture that was supposed to be delivered at the international Buddhist exhibition in Leningrad in 1927. A. Dorzhiev was a famous Buryat lama who received the academic title of Geshe (the highest philosophical academic degree in the Gelug tradition of Tibetan Buddhism) upon completion of his philosophical education in the monasteries of Mongolia and Tibet. After 1918, he was involved in organizational issues of the Buddhist Sangha (...) in Russia. B. Baradin was an academic scientist and public figure, a professor at St. Petersburg University, and the author of studies on the history and teachings of Tibetan Buddhism. After the revolution of 1917, he began working in Buryatia in various administrative positions, focusing on the organization of the scientific and cultural life of the Republic. Their main idea is that the modern world consists of the two equal parts - East and West, unification of which is possible and even necessary for the further development of humanity. The system-forming teaching of the East is Buddhism; and the lecture hold on those aspects of Buddhist philosophy that could be compared with the teachings of the West. Four points are highlighted: 1) Buddhism is comparable to Darwin’s theory in that both consider humans in the context of all living beings in an evolutionary manner; 2) Buddhism, like science, accepts the determinism principle; 3) the Buddhist concept of shunya is similar to the relativistic principles of physics; and 4) the system of Buddhist psychotechniques is similar to the theory of reflexology. B. Baradin concludes that Indo-Buddhist culture and European culture are complementary and their rapprochement will bring us closer to a truly universal culture. The theses mentioned here are, apparently, the first systematic exposition of the views of neo-Buddhists-renewalists on the points of convergence between Buddhist and Western cultures. (shrink)

This book contains the proceedings from Weaponising Speculation, a two-day conference and exhibition that took place in Dublin in March 2013. Weaponising Speculation was organised by D.U.S.T. (Dublin Unit for Speculative Thought) and aimed to be an exploration of the various expressions of DIY theory operative in the elsewheres, the shafts and tunnels of the para-academy. The topics covered all come under the welcoming embrace of speculation, spanning a broad range: from art, philosophy, nature, fiction, and computation to spiders, culinary (...) cosmology, and Oscar the Grouch. The book itself aims to be more than just a collection of essays and catalogue of artworks, but also a documentation of the event as a whole"--Publisher website, August 19, 2020. (shrink)

This early essay by Georg Simmel, first published in 1890, reflects on some sociological features of the phenomenon of the art exhibition in European culture at the end of the nineteenth century. The text presents Simmel's judgement at this time – in some respects negative, in other respects positive – of the consequences of the juxtaposition of multiple visual objects within definite temporary institutional spaces for future artistic production, organisation and reception. Particularly notable in the text are some themes that (...) look forward both to Simmel's own better-known essay of 1902, ‘The Metropolis and Mental Life’, and to Walter Benjamin's famous study of 1936, ‘The Work of Art in the Age of Mechanical Reproduction’. (shrink)

This article mainly outlines and explores the art exhibitions held between China and the Soviet Union during the founding of the People's Republic of China. The author examines in detail such aspects of the topic as mutual exchanges of art exhibitions between China and the Soviet Union since the founding of the People's Republic of China. Particular attention is paid to the political background against which the evolution in Chinese art took place, as well as the legacy of (...) Soviet realist art in China in the political context and the interaction of art with politics and state-building. The author emphasizes the positive influence of art exhibitions held by the Soviet Union in China on Chinese art education and the creativity of artists. The main conclusions of this study are that the various exhibitions of Soviet art held in China provided an effective opportunity for Chinese artists to study Soviet realist oil paintings. The emergence of Soviet realism in China also served as an important reference point for the development of Chinese oil painting in the 1950s. The novelty of the study lies in the fact that the author not only analyzed the process of the acceptance and dissemination of Soviet realist art in China, but also examined the beginning and end of artistic exchange between China and the Soviet Union in conjunction with the country's social environment and the political leadership of its leaders. (shrink)

The size of animal exhibits has important effects on their lives and welfare. However, most references to exhibit size only consider floor space and height dimensions, without considering the space afforded by usable features within the exhibit. In this paper, we develop two possible methods for measuring the usable space of zoo exhibits and apply these to a sample exhibit. Having a metric for usable space in place will provide a better reflection of the quality of different exhibits, and enhance (...) comparisons between exhibits. (shrink)

This article explores issues involved in representing Buddhism in museums, drawing on the author’s experience of curating the Buddhism display at the World Museum Liverpool. It is concerned with processes of de-contextualization and re-contextualization, focussing on whether sacred images become divested of their religious functions once they enter a museum or if, instead, the gallery can be considered an alternative arena for contemplation. The article begins by reviewing the literature on museums and the sacred. It discusses the lack of concern (...) historically for religion in museums, noting how sacred objects have tended to be ‘secularized’ in exhibitionary contexts. It then examines the Buddhism display at the World Museum Liverpool, part of the permanent World Cultures gallery which opened in 2005, with its reconstructions of a shrine, an altar and a protective chapel — this is a museological environment which deliberately evokes the atmosphere of a temple. (shrink)

ArgumentIn the 1920s and 1930s, the growing importance of habitat dioramas at the American Museum of Natural History forced staff members to reconsider what counted as scientific practice and knowledge. Exhibit-makers pressed for more scientific authority, citing their extensive and direct observations of nature in the field. The museum's curators, concerned about their own eroding status, dismissed this bid for authority, declaring that older traditions of lay observation were no longer legitimate. By the 1940s, changes inside and outside the museum (...) had destroyed any lingering notions that what exhibit-makers garnered from observing raw materials constituted scientific knowledge. (shrink)

According to Husserl’s so-called Exhibition Principle, the propositions “x exists” and “The exhibition of x’s existence is possible” are equivalent. The overall aim of this paper is to debate EP. First, I raise the question whether EP can properly be said to be a principle. Second, I give a general formulation of EP. Third, I examine specific formulations of EP, namely those regarding eidetic and individual objects. Fourth, I identify the readings of EP I hold to be exegetically plausible, that (...) is the transcendental reading, the metaphysical reading, and the hybrid reading. Fifth, I present Husserl’s refutation of Berkeleyan idealism developed in 1902/03 lectures, and I argue that under certain assumptions, both esse est percipi and the metaphysical EP engender an infinite regress. In this regard, I claim there are two options for avoiding such a regress: either to commit oneself to reflexive exhibition of the ego’s actuality or to deny the universality of EP. I show that Husserl has a good argument for rejecting the first option, and I conclude that if the Husserlian idealist chooses the second option while affirming the ego’s actuality, he turns out to be as “dogmatic” as the realist. (shrink)

This research project and exhibit, delves into the complex relationship between public exhibition, urban spaces, and socio-political norms in shaping urban thresholds within the two American and European metropolitan cities of Houston and Amsterdam. This study also investigates the transformative power of new media and emerging technologies in the production, circulation, and consumption of design, offering fresh perspectives on the influence of these technologies on urban design studies and digitally augmented physical spaces. By merging interdisciplinary research areas, including Design Computation (...) and Fabrication, Urban Communities, and Spatial Justice, this project provides an immersive exploration into the co-production of liminal spaces, focusing on the participation of diverse publics and the dynamics of inclusion, exclusion, and recognition in two cities of Houston and Amsterdam. The main emphasis of this paper is on the critical urban studies and the role of emerging technologies in advancing the theoretical and methodological frameworks of the presented immersive installation project. (shrink)