Following his 1924 break with the Paris avant-garde, Francis Picabia (1879-1953) decamped to the French Riviera and soon began work on his radically new Transparency paintings. This series, which occupied Picabia from approximately 1928 to 1933, drew on classical imagery of biblical and mythological subjects, layering disparate human forms and natural motifs in sensuous compositions remarkable for their ambiguous pictorial space and sinuous lines. The Transparencies' resistance to narrative or allegory--notwithstanding their apparent clarity of reference--parallels the paintings' evasion of formal interpretation in spite of their classical beauty; both of these characteristics have made Picabia's Transparencies one of his most inscrutable and misunderstood bodies of work. To avoid treating the Transparencies as a non sequitur or as a conservative abandonment of earlier modernist goals, it is important to understand the sources of the concepts underpinning these works but originating in Picabia's earlier Cubist and Dada periods. Dimensionality, appropriation, figuration, and a rigorous commitment to individualism are all themes from Picabia's acclaimed work in the 1910s and early 1920s that continue into the Transparencies. Particularly relevant are the multivalent interpretations of the spatial fourth dimension--scientific, philosophical, and occult--that Picabia had first encountered in the context of Cubism and the Stieglitz Circle and, later, in his friend Marcel Duchamp's optical experiments. In the Transparencies Picabia's layered outlines both deny linear perspective and suggest projections of interior worlds. In 1936, Picabia affirmed his interest in the fourth dimension, referring specifically to the Transparencies' superimposition at the time he signed Charles Sirató's "Manifeste Dimensioniste." Picabia's visual synthesis of decades of avant-garde concerns in the Transparencies appealed to the American expatriate writer Gertrude Stein, who became one of Picabia's closest friends and confidantes in the early 1930s after she saw his recent paintings. Stein's commentary on Picabia's work and their friendship in "The Autobiography of Alice B. Toklas" and "Everybody's Autobiography" reveals the painter's impact on Stein at a turning point in her career, but also elucidates their shared search for new verbal and visual expressions of the human figure and higher dimensionality. / text

Traditionally, squaring the circle has been about bringing the incommensurable work of the gods within the realm of the commensurate by using infinite cosmic principles to regulate the finite world. The American architect Claude Bragdon (1866-1946) squared the circle using his Theosophic architectural theory that was based on a neo-Pythagorean emphasis on Number, which he believed to have contained the secret of the universe. America at the turn of the 20th century was interested in Eastern spirituality at the beginning of an age of scientific relativity when the world and universe were being questioned due to new scientific discoveries based on higher-dimensional mathematical speculations that challenged relationships between humankind and the cosmos. Paralleling this scientific search was the Western conquest of the world on earth, which brought back speculations about the Near and Far East, including translations of their ancient scriptures and encyclopedias of their architecture. The fourth dimension was an imaginary mathematical (re)creation of great interest to Bragdon and common to scientific relativity and Eastern spirituality; two cultural constructs that altered the perception of time and space to affect the American imagination and architectural production. Within this context, Squaring the Circle investigates the relationship of theory to practice by considering Bragdon's architecture as the material manifestation of his Theosophic architectural theory. / Ph. D.

Podemos dizer que as Catedrais Góticas, verdadeiras bíblias de pedra, são signos medievais que podem ser lidos já como o resultado da intercomunicação entre matemática-ciência-arte, uma vez que tais edificações surgiram de projeções arquitetônicas, da utilização de uma dada geometria assim como da execução de determinados conjuntos escultóricos. Podemos ainda ressaltar que essa intercomunicação se intensifica durante todo o Renascimento, exemplo máximo da união entre esses três campos do conhecimento. No Renascimento, a geometria dominante e a Euclidiana; os artistas enfrentavam as questões espaciais a partir de um ponto de vista fixo. A historia se transforma quando alguns matemáticos por volta de 1800 começam a pensar na possibilidade de outra geometria que não a de Euclides. Surge, então, um tipo de geometria que ficaria conhecida como geometria não-Euclidiana, uma geometria para ser utilizada em espaços curvos. As implicações dessa nova Geometria foram tão abrangentes que influiu na elaboração da Teoria da Relatividade, de Einstein. Um novo tipo de intercomunicação entre matemática-ciência-arte, que ajudou a resolver questões ligadas a quadrimensionalidade. Enfim, trata-se de uma intercomunicação que influenciou na produção de artistas como Picasso, Duchamp e Dali. / We can say that the Gothic Cathedral, veritable Bibles of stone, are medieval sign that can be read as a result of the intercommunication among mathematicsscience- art, since that one buildings appear from an architectonic projection, from the utilization of a given geometry just as from the execution of a group of sculpture. We can salient that this intercommunication intensifies during Renaissance, example maximum of the union among those three fields of knowledge. Into the Renaissance, the geometry dominant is the Euclidean, the artists faced the special questions from one fixed viewpoint. The story becomes different when some mathematicians around 1800 begin thinking on the possibility of another geometry that doesn\'t that of Euclids. Appears, then, a kind of geometry that would be known as non-Euclidean Geometry: a geometry to be used in curved space. The implications of that new Geometry was so in-depth that influenced the elaboration of Einsteins Relativity Theory. Therefore a new kind of intercommunication among mathematics-science-art, which it helped to resolve questions linked together to the fourth dimension. An intercommunication that influenced the production of artists like Picasso, Duchamp and Dali.

Θέμα της παρούσας εργασίας είναι η πρόσληψη του οίκου των Ατρείδων σε δύο νεότερα έργα της νεοελληνικής λογοτεχνίας και συγκεκριμένα στην Τέταρτη Διάσταση του Γιάννη Ρίτσου και στον Κήπο των πριγκίπων του Νίκου Μπακόλα. Ερευνάται ο τρόπος με τον οποίο οι δύο λογοτέχνες προσέλαβαν το μύθο. Δίνονται συγκριτικά στοιχεία σχετικά με την επιλογή του χώρου, του χρόνου και των ηρωικών προσώπων. Πιο αναλυτική μελέτη γίνεται στον τρόπο που ανασημασιοδοτούνται ο Αγαμέμνων, ο Ορέστης και η Κλυταιμνήστρα. Τέλος, διεξάγονται συμπεράσματα σχετικά με τις σχέσεις των μελών της οικογένειας στά δύο έργα. / -

Podemos dizer que as Catedrais Góticas, verdadeiras bíblias de pedra, são signos medievais que podem ser lidos já como o resultado da intercomunicação entre matemática-ciência-arte, uma vez que tais edificações surgiram de projeções arquitetônicas, da utilização de uma dada geometria assim como da execução de determinados conjuntos escultóricos. Podemos ainda ressaltar que essa intercomunicação se intensifica durante todo o Renascimento, exemplo máximo da união entre esses três campos do conhecimento. No Renascimento, a geometria dominante e a Euclidiana; os artistas enfrentavam as questões espaciais a partir de um ponto de vista fixo. A historia se transforma quando alguns matemáticos por volta de 1800 começam a pensar na possibilidade de outra geometria que não a de Euclides. Surge, então, um tipo de geometria que ficaria conhecida como geometria não-Euclidiana, uma geometria para ser utilizada em espaços curvos. As implicações dessa nova Geometria foram tão abrangentes que influiu na elaboração da Teoria da Relatividade, de Einstein. Um novo tipo de intercomunicação entre matemática-ciência-arte, que ajudou a resolver questões ligadas a quadrimensionalidade. Enfim, trata-se de uma intercomunicação que influenciou na produção de artistas como Picasso, Duchamp e Dali. / We can say that the Gothic Cathedral, veritable Bibles of stone, are medieval sign that can be read as a result of the intercommunication among mathematicsscience- art, since that one buildings appear from an architectonic projection, from the utilization of a given geometry just as from the execution of a group of sculpture. We can salient that this intercommunication intensifies during Renaissance, example maximum of the union among those three fields of knowledge. Into the Renaissance, the geometry dominant is the Euclidean, the artists faced the special questions from one fixed viewpoint. The story becomes different when some mathematicians around 1800 begin thinking on the possibility of another geometry that doesn\'t that of Euclids. Appears, then, a kind of geometry that would be known as non-Euclidean Geometry: a geometry to be used in curved space. The implications of that new Geometry was so in-depth that influenced the elaboration of Einsteins Relativity Theory. Therefore a new kind of intercommunication among mathematics-science-art, which it helped to resolve questions linked together to the fourth dimension. An intercommunication that influenced the production of artists like Picasso, Duchamp and Dali.

Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.