Void

Form, space and voids are the basic elements used in architectural design process. In this paper, the concept of void is addressed in relation to the architectural form. Voids in architectural form are classified into two main headings by examining a great number of examples in terms of the effects created on the form: cognitive and functional. Cognitive voids are related to perception and are used to create various visual effects. As the heading indicates, functional voids are created to meet certain needs and desires. We further classified cognitive voids under three sub-headings as conceptual, perceptual/visual, and sculptural/ monumental. Functional voids were also divided into six sub-headings; entrance, corner, balcony/ terrace, gallery/atrium/courtyard, surface, transi-tion/circulation. Our discussion is focussed on perceptual/visual voids, which is classified under the cognitive voids. Perceptual/visual voids can be explained with two sub-concepts: transparency and permeabil...

The word space comes from the Latin word spatium meaning an interval of time.  Its concept deals with interdisciplinary definitions from philosophy to science, from geometry to architecture etc. However, its various theories emerged and developed through the history of the ancient philosophy and science which raised a series of questions on the existence of void. That is why our first goal will be to discern what  the differences and similarities between the definitions of space and void are by studying the evolution of their concepts in philosophy and science. Thanks to this preliminary work, we will analyze the cinematic transcription of this dualistic duo space / void to find how their definitions can be understood in the framework of cinema. At the end of the day, we hope to identify the crossroads, but also the breaking points between their philosophical, scientific and cinematic notions. More generally, we aim at finding out how these many implications of space and void concepts can result in deepening and modifying their meaning in cinema.

Finire dentro un vortice e farsene risucchiare, ci sembra una disgrazia, come inciampare su un sasso o ricevere una tegola in testa. Invece è un evento molto quotidiano, non facciamo che incontrare vortici, anche noi siamo vortici. Il vortice allaccia momentaneamente l'uno all'altro flussi che fino a quel momento si ignoravano. Dentro un vortice i flussi si rincorrono, si stringono, si sciolgono. La teoria della complessità ha scoperto nel vortice uno dei comportamenti fondamentali della materia fisica ma il vortice è una struttura energetica che riconosciamo anche nella società e nella vita dello spirito. Per studiare l'articolazione vorticosa dell'esperienza diventa utile ripercorrere con un nuovo sguardo alcune tappe filosofiche, letterarie e artistiche: il binomio volumen-rivoluzione di Sade, la sensazione in Merleau-Ponty, la visione mescalinica di Henri Michaux, gli ideogrammi poetici di Ezra Pound, il cinema zenoniano dei fratelli Safdie. Una corrente fatta di mulinelli attraversa i corpi e le idee, le azioni e le esitazioni, gli slanci e le ricadute, è capace di formare e distruggere mondi, stringere e sciogliere i nodi di cui è fatta l'esperienza, ogni esperienza.

A l'instar des développements techniques et conceptuels, l'art contemporain incite une révolution des perceptions et des rapports au « sens » de l'art ; ce dernier encore relégué à l'artefact visible. Seulement, l'art ne consiste pas à reproduire ou à créer des formes, mais à « capturer des forces » ; ce principe étant commun à tous les arts. L'art est un vide, à la fois plein et vide. Étendu, invisible, capté, perceptible, par qui le veut bien.

Sergei Prozorov’s two-volume magnum opus, Void Universalism, is one of those works that appear on the intellectual firmament with the distinctive purpose not simply to cause a stir, but rather to trigger a revolution in the way we approach and theorise world politics. The fact that Prozorov’s project has not yet generated the debate that it deserves is revealing not only of the nature of disciplinary hierarchies, even within critical circles, but also of the philosophical poverty (with some exceptions, of course) that characterises meta-theoretical debates in the field. Void Universalism bears the potential to change all this and set us on an ambitious track to address urgent issues surrounding the interpretation of pluralism in a global era. Indeed, its expressed goal is to challenge us to reconceptualize world politics from the perspective of an ontology of the void that its author synthesises from the writings of Giorgio Agamben, Jean-Luc Nancy, Jacques Rancièreand, above all, Alain Badiou, who casts his shadow over the entire project.

Good condition and size of the insulator are important to ensure the excellent electric field and current density performance because of aging and degradation HVDC cable problem. At present, the existing insulator which is XLPE insulator that had been used does not meet the capabilities criteria of HVDC cable due to the problem in terms of the condition of the insulator which is the presence of a void in the insulator. A research had been made with Quickfield Software to calculate the electric field and current density in the XLPE insulator of HVDC cable. A void is created in the XLPE insulator by using Quickfield Software by varying diameter of void and distance of void from conductor. XLPE insulator is taken as main research object. The results show that largest diameter of void and nearest distance of void from conductor distorts highest electric field and lowest current density. Therefore, it is important to study both electric field and current density to ensure good capabilities and safety of HVDC cable.

There has been an increasing need to explain the geometric representation of the Pyramid of Cheops in Egypt. Some divergent approaches have been attempted, which need further exploration. The aim of this research paper is to unfold the mysteries behind one of the most notable notions of our universe, as it lies hidden in the dark configuration of space, the void. The space which incubates patterns depicted in the form of a pyramid can also nurse buried void. The approach used in this investigation is based on mathematical illustrations, which led to conclude that void versus matter is a constant strain for balance, and has been ever since the first formation of the apex of a pyramid. The main findings of this paper are that the manifest states, as shown in the schematic diagrams depicting the shape of the pyramid of Cheops, are in the form of balance between void and matter. The key conclusion is that there is a link between the graphical representation of the distributed building blocks in any horizontal layer of the pyramid of Cheops, and the general depiction of its form and angle derived from a geometric balance in the arrangement of its building blocks.

Özet: İlk çağlardan beri sanatın dönem dönem sorgulandığı ve bu sorgulamaların neticesinde gelişen zihin yapısının sanatta yeni pencereler açtığı günümüzde, seramik sanatı; geleneksel, endüstriyel ve sanat seramiği olarak üç temel alana ayrılmaktadır. Malzemesinin karakteristik özelliklerinden ötürü boşlukla şekillenen, iç boşluğa sahip olan ve plastik sanatların tüm ögelerini bünyesinde içeren bir sanat dalı olarak seramik sanatı, işlevsel ya da sanat seramiği olarak çok çeşitli biçim ve kavramsal içeriklerle  karşımıza çıkmaktadır. Sanatçılar eserlerini, çamurun boşlukla iletişime geçtiği  şekillenebilme özelliğinin geniş ifade alanlarından yararlanarak oluşturmaktadırlar.
Bu çalışmada; çeşitli sanatçılardan seramiğin iç boşluğundaki iş görme yetisinin dışlanarak biçimin yeni görsel plastik bir anlam edindiği yani çanak, çömlek, testi, kupa ve vazo gibi kap biçimlerinin heykelsi bir görünüme dönüşerek, sanat seramiği olarak sınıflandırılan eserler incelenmiştir. Bununla birlikte, boşluğun  sadece nesnenin dış yüzeyini çevreleyen bir eleman olarak değil, kütlelerin parçalanmasıyla plastik bir öge olarak da kullanıldığı heykel çalışmaları ele  alınmıştır. Tezde çalışmaları analiz edilen sanatçılar arasında, Peter Voulkos (Amerika), Alev Ebuzziya Siesbye (Paris), Piet Stockmans (Belçika), Bodil Manz (Danimarka), Wayne Higby (Amerika), Linnea Rut Bryk (İsveç), Hsu Yunghsu (Tayvan), Canan Dağdelen (Viyana), Eva Hild (İsveç) ve Merete Rasmussen (Londra) yer almaktadır. Araştırmada, sanat seramiğinin biçimden biçime farklılıklar gösterişini örnekler üzerinden irdeleyerek, boşluğun nasıl bir şekle dönüştüğü ve kurgulandığı konusunda çözümlemeler yapılmaya çalışılmıştır.

Abstract: The art of ceramic is divided into three basic fields as traditional, industrial and art ceramic today, where the mental structure of art has opened new windows in art as a result of periodic inquiries and search for new expressions since ancient times. Ceramic art, classified as functional and art ceramic, mainly comes up with a  wide variety of forms and conceptual contents as a branch of art that is shaped with a void due to characteristic feature of its material encapsulating an interior space as well as embracing all the elements of plastic arts. The artists emerge by taking advantage of the wide range of expressions of the feature where clay enables communication through void.
This study aims to examine several works created by various artists in which the form acquires a new visual plastic meaning - excluding the ability to work in the inner space of ceramic - that is, vessel forms such as pottery, jugs, mugs and vases transformed into a sculptural appearance as well as the works classified as art  ceramic are analyzed. Beside examining space as a outer surface encircling the object of element, it is also studied as a plastic element that is used by breakdown of masses in sculptural works. Among the artists’ works discussed and analyzed in the thesis are Peter Voulkos (America), Alev Ebuzziya Siesbye (Paris), Piet Stockmans  (Belgium), Bodil Manz (Denmark), Wayne Higby (America), Linnea Rut Bryk (Sweden), Hsu Yunghsu (Taiwan), Canan Dağdelen (Vienna), Eva Hild (Sweden) and Merete Rasmussen (London). This research essentially endeavors to analyze how space is transformed into a form by examining the process through diverse examples that unveil differences from form to form in art ceramic.

Master Thesis , 2010
Name and Surname : Tülay ŞAMLIOĞLU
Advisor : Prof.Dr.Nilgun KULOGLU
Area : Architecture
Key Words: Form, Space, Void, Architectural Form and Void

SUMMARY

Discovering the Void Concept in Architectural Form

The major aim of the thesis is to research the resultant effects on the architectural form. In the study, classified according to form, a system that created void in the scope of the thesis, the similarities, differences have been revealed. Examined the effects of "void" concept, in terms of form and space, as well as designers interpret the concept over time, it
also discusses the change in time. The effects of void on the form, at the same time these effects examined on the tables of the various samples, according to contribution on the interior space, external space and urban space . Firstly, the concept of space and void analysis according to diffirent perspectives. In these study, the best example of the reflected void concept were examined and analyzed. 100 sample were elected in 500 examined sample and these sample were analysed according to determined concepts. As a result of the obtained information the effects of void on the form were classified and visualized as the table. This void classification formed at the conceptual level and functional level.
In the first chapter are defined scope of the study and theoretical information as form-space-void concept. Then in the second and third chapter are formed studies and analysis. In the fourth chapter, findings and examine from findings obtained. In the fifth chapter is results and recommendations. Finally in the sixth chapter are formed references.

/Summary The theory of creation of cosmos and its continual motion put forward by the author has been scrutinized through a comprehensive search in the literature in hope of finding parallels or analogies in form of experimental verification and other theoretical-mathematical accounts that would corroborate the theory. According to this theory, it is proposed that the cosmos was created from implosion of an omnipotent singular point of infinite conscious energy through a mechanism involving a stretching, spinning nozzle-like apparatus, discharging matter and antimatter, while giving birth to the marvel of space-time. It is suggested that time and space are different aspects of the same phenomenon that can only exist mutually, and that the concept of space-time can best be characterized or measured through definition of a single parameter referred to as 'frequency.' Furthermore, it is explicated that frequency is the product of the operation of cosmos at large, which is ROTATING CONSTANTLY ABOUT

"ABSTRACT:
    This study assumes the subject's pursuit of meaning is generally incapacitating and should be suspended. It aims to demonstrate how such a suspension is theoretically accomplished by utilizing Lacan's formulae of sexuation integrated with his work in discourse theory and topology.
    Part I places this study into context by examining scholarship from the established fields of hermeneutics, phenomenology, (post)structuralism, aesthetic theory and psychoanalysis in order to extract out their respective theory of meaning. These theories reveal that an historical struggle with meaning has been underway since the Reformation and reaches near crisis proportions in the 20th century. On the one hand this crisis is mollified by the rise of Heideggerian-Gadamerian hermeneutical phenomenology which questions traditional epistemological approaches to the text using a new ontological conceptualization of meaning and a conscious rejection of methodology. On the other hand this crisis is exacerbated when the ubiquitous nature of meaning is itself challenged by (post)structuralism's discovery of the signifier which inscribes a limit to meaning, and by the domains of sense and nonsense newly opened up by aesthetic theory. These historical developments culminate in the field of psychoanalysis which most consequentially delimits a cause of meaning said to be closely linked to the core of subjectivity.
    Part II extends these findings by rigorously constructing out of the Lacanian sexuated formulae a decidedly non-hermeneutical phenomenological approach useful in demonstrating the sexual nature of meaning. Explicated in their static state by way of an account of their original derivation from the Aristotelian logical square, it is argued that these four formulae are relevant to basic concerns of textual theory inclusive of the hermeneutical circle of meaning. These formulae are then set into motion by integrating them with Lacan's four discourses to demonstrate the breakdown of meaning. Finally, the cuts and sutures of two-dimensional space that is topology as set down in L'étourdit are performed to confirm how the very field of meaning is ultimately suspended from a nonsensical singular point known in Lacanian psychoanalysis as objet a. The contention is that by occupying this point the subject frees himself from the debilitating grip of meaning."

La excavación es una forma de construcción diferente que da lugar a espacios de una libertad total. Pensemos en modelar sin inconvenientes el volumen que deseamos para una estancia a partir de una masa resistente y continua.
Si existe un espacio absoluto, éste seguro que parte de esta "otra" forma de arquitectura poseedora de un potencial de creación que el hombre pocas veces se ha planteado utilizar.
Esta investigación intenta desentrañar cuáles son sus características para que nos ayuden a iluminar obras conocidas que nos resultan herméticas o simplemente nos causan extrañeza, obras cuya ideación desde la construcción tectónica o aditiva nos parece difícil.
Trata diez conocidas arquitecturas de todos los tiempos, desde la ermita de San Baudelio al museo para la Fundación Solomon R. Guggenheim, cuyo estudio deja al descubierto distintas estrategias en el proyecto arquitectónico: el hallazgo súbito, la transposición directa, el método progresivo pausado y seguro, la identificación iconológica, la materialización del capricho o la obsesión, la lucha con los requerimientos ajenos a la idea o la utilización de la últimas tecnologías.

Adiyen's Quantitative Astrology gives a generic tour of this ancient field of study. Please read attached preview of this book. Those interested in purchasing the book please send your request by e-mail to the Author given on the Copyright page. Enjoy. This book is available for purchase at the following link:
https://www.morebooks.shop/store/gb/book/adiyen-s-quantitative-astrology/isbn/978-620-0-48113-9

God in de leegte
De leegte als theotopie.

Uitgedaagd door het denken over God die door Friedrich Nietzsche dood is verklaard, onderzoek ik hoe een aantal filosofen, theologen en dichters hierop reageren en wat hun standpunt is in deze. God wordt in twee verkenningen tegen het licht gehouden. Kan de leegte, het ‘niets’ ook een topos zijn voor God?
In een eerste verkenning vul ik die vraag in vanuit de Joodse exegese aan de hand van Marc-Alain Ouaknin. In de tweede verkenning komen o.a. Emmanuel Levinas, Jean-Luc Marion, Eberhard Jüngel, Martin Heidegger, Meister Eckhart en Edmond Jabès aan het woord. Een extra dimensie krijgt deze vraag vanuit het Boeddhisme en Zen-Boeddhisme, verwoord door Byung-Chul Han en Manshi Kiyozawa, die over de leegte en het niets schrijven. Ook de zenmeester Dōgen passeert de revue. De leegte in en van het zelf en in en van de wereld vormen de tussenstap om van de ene verkenning naar de andere verkenning van God in de leegte over te gaan. Een epiloog met als kern: sneeuw, bergen en hemel, vormt de afsluiting van dit essay dat door veel gedichten wordt gedragen en geïllustreerd.

The issue of space offers a fertile starting point for exploring and deepening a power of film so far neglected by classical theory. Following the books of Gilles Deleuze (L’image-mouvement et L’image-temps), it seems that one of the major current tasks of film aesthetics could be to think an “image-espace cinema”: a cinema that would make the space not just a background, a pattern or an actant, but at the same time, an important existential issue and a critical material of its own plastic composition. This requires developing new theoretical tools, that would less depend on the pictorial or theatrical categories, as on the “grammar” specific to the classical narrative and editing, and more closely linked to the basic powers — cineplastic and rhythmic — of moving pictures. This new paradigm entails that filmic space has no permanent substance: it is never given as a stable object, a fixed form. On the contrary, space is the subject of constant shaping, circulating through the images of the film.

This dissertation proposes a reconstitution of the elementary aspects and of the processes of the atomist chemistry of Leucippus and Democritus from the testimony of Aristotle in his treatise On generation and corruption (GC), which contains the earliest and largest testimonies regarding ancient Greek atomism. An initial difficulty lies in establishing the degree of reliability of the Aristotelian testimony, for this author cannot be considered as a historian of philosophy in strict sense. On the contrary, Aristotle has his own objectives, which, in the case of GC, involve advancing his own chemical theory and stand against contemporary theories that do not include atomism. Once the necessary qualifications and reservations regarding the intentions and biases of the Aristotelian testimony are made, especially in relation to the origins of the atomic theory, this dissertation proceeds to an exam of other aspects revealed by Aristotle’s testimony, which allow the assembly of a fairly complex framework about the atomist chemistry, from its elementary aspects to the how these aspects articulate themselves to form compounds and raise their sensible characteristics.

The phenomenon of 'void' pertinent to dimensional consciousness is discussed. It is explicated that there exists domains outside the dimensional space where there is total absence of matter-antimatter, which are referred to as the 'void,' herein. Accordingly, within such provinces there is immediate consciousness communication without any impediment from space-time and/or matter-antimatter constitution. Furthermore, it is elucidated herein that there exists certain 'micro tubules' or 'wormholes' within each time-space continuum that act as 'time gates' or 'star gates' through which immediate consciousness communication can take place across time and space, but would require focused attention, and thus, expenditure of a rather significant amount of conscious energies. It is reported herein that recently Russian scientists have found that our DNA can cause disturbing patterns in the vacuum, thus producing magnetized 'wormholes.' These 'wormholes' may be considered as microscopic equivalents of the so-called Einstein-Rosen bridges that are usually found in the vicinity of black holes left by stars after going supernova. These are 'tunnel' connections between entirely different areas in the universe through which information can be transmitted outside the space-time continuum. These tiny wormholes are usually highly unstable, and only persist for a small fraction of a second. Under certain conditions stable wormholes can organize themselves and form distinctive vacuum domains resembling self-radiant balls of considerable energy, transforming gravity into electricity. Frequently observed in Russia, these vacuum domains are often mistakably perceived as UFOs sliding across the sky with high velocities that can be guided by thought, emitting waves of low frequency like our brains. Traditionally, spiritual teachers create such visible balls or columns of light in deep meditation or during energy work that appear as clouds when photographed. These are now believed to be associated with the interaction of gravity and anti-gravity forces. The hyper communication that occurs via stable wormholes with energies that originate from outside of our time and space continuum, were perceived to be due to appearance of 'angels' until recently, but now have found scientific validation. It is clarified that the phenomenon of gravity anomalies often seen on earth also originate from the formation of very same vacuum domains. Russian scientists now conclude that DNA attracts bits of information from these domains of void and vacuum, and transmits them on to our consciousness that form the basis for our intuitive deductions and inspiration. During such incidences, a human being often generates inexplicable electromagnetic fields within its vicinity that are known to render electronic devices inoperable until the generated electromagnetic field is slowly dissipated. Finally, it is expounded that remote viewing, remote healing, self-healing, remote sensing, premonition, clairvoyance, and telepathy, are all examples of phenomena that occur as a result of hyper communication through such 'voids' or vacuums.

This article examines the ways that the “Koolhasian Void” interrelates with the “Parisian Void”. Out of the multiplicity of characters which can be derived by this ostensibly obscure relation, this analysis focuses on the void as a cross-temporal tool for spatial innovation, a shared device by different authors of a common “modern” program. Based on this examination, some brief “confronting juxtapositions” of historical projects in Paris ( Le Bon Marché-1887,Exposition Universelle-1867, Le Plan Voisin-1925) and OMA’s projects for the  same city (Très Grande Biblothèque-1989, La Villette-1982, Mission Grand Ax-1991) will be established. By constructing this dialectic method, the article intends to explain the pragmatic but also deeper reasons of OMA’s “failure”: 30 years (1982-2012) of well-known but unbuilt projects in Paris.

Space is so vast that reaching any star system from Earth will not be attainable in a reasonable amount of time. Even with unconventional continuous propulsion systems such as the Alcubierre Drive or EmDrive, the duration of deep space travel will be intolerable. This paper examines these drive systems, the nature of space-time post “Big Bang” which interferes with rapid transit between stars, then proposes a novel strategy using a natural but previously unknown property of the universe to move at faster-than-light velocities. Making formal contact with higher-dimensional beings would assist with this FTL gambit.

AUFZEICHNUNG, DARSTELLUNG UND ZURSCHAUSTELLUNG Bilder von der Realität sind immer auch Bilder in der Realität. Sie sind in besonderer Weise an der Realität beteiligt und in der Realität wirksam. Die Frage des Schauens und des Bildes ist eine Frage des Ortes und der Anordnung und eine Frage von Sphären, die sich unterscheiden lassen. Das Bild und das Dargestellte finden an unterschiedlichen Orten statt, das Bild ist in der Umgebung des Betrachtenden, das Dargestellte ist im Bild. Ein Bild anzuschauen bringt eine andere Zuschauerschaft hervor als etwas Dargestelltes anzuschauen. Aber bevor etwas als Dargestelltes angeschaut werden kann, muss es Darstellung werden. Wie wird Welt Bild, wie wird Welt Anschauung? Und wie wird Welt Darstellung, wie wird Darstellung möglich?-das sind Fragen nach den Voraussetzung, unter denen über-haupt erst Welt angeschaut werden kann und unter denen erst Aufzeichnun-gen-mit Kameras, aber auch in Beschreibungen und Notizen-verwandelt werden kann. Um Fragen nach einigen solcher Voraussetzungen soll es im Folgenden gehen. Wie auf der Karikatur Chacun à son goût von Ottmar Starke zu sehen ist, kann im Grunde jede Situation aus der Realität zu einem Bild von der Realität werden, wenn zwischen Blickendem und Angeblicktem ein Wand-schirm, ein Sichtschutz ist-und wenn es ein Schauinteresse gibt, über den Sichtschutz hinweg oder hindurch zu schauen. In der Karikatur weiß der je-weils Angeschaute nichts davon, dass ihm oder ihr zugeschaut wird.

We report a low-temperature process for covalent bonding of thermal SiO2 to plasma-enhanced chemical vapor deposited (PECVD) SiO2 for Si-compound semiconductor integration. A record-thin interfacial oxide layer of 60 nm demonstrates sufficient capability for gas byproduct diffusion and absorption, leading to a high surface energy of 2.65 J/m2 after a 2-h 300°C anneal. O2 plasma treatment and surface chemistry optimization in dilute hydrofluoric (HF) solution and NH4OH vapor efficiently suppress the small-size interfacial void density down to 2 voids/cm2, dramatically increasing the wafer-bonded device yield. Bonding-induced strain, as determined by x-ray diffraction measurements, is negligible. The demonstration of a 50 mm InP epitaxial layer transferred to a silicon-on-insulator (SOI) substrate shows the promise of the method for wafer-scale applications.

In 2013, Adiyen published a White Paper on a Generic Theory of Existence introducing the Concept of an Omnipresent, Omniscient and Omnipotent Void Field (VF) as the basis of existence. In 2015, my first book, Substance Meaning and Consciousness, expanded on this theme and provided further insight into the application of VFT to real life situations. In 2016, my e-book, Mind, Destiny and Resilience explored the nature of the mind and how it is impacted by gravity. Linking Gravity to Void Spin and using the analogy of the Earth as an Agitator (a Vedic Concept) we asserted Gravity as a Vortex Force or VF. Providing a firm basis for Astrology or influence of Gravity on Human Life. Now, after considerable brainstorming I have tried to provide Generic Explanations for known Physical Phenomena from a VFT viewpoint. Void Processes such as Void Expansion and Void Contraction are explained in terms of application to combustion of fossil fuel and production of energy. Further applications of VE and VC to everyday physical phenomena are included.

This book challenges received notions of ontology in political theory and international relations by offering a psychoanalytically informed critique of depoliticisation in prominent liberal, post-liberal, dialogic and agonistic approaches to pluralism in world politics. Paipais locates the temptation of depoliticisation in their labouring under the fundamental fantasy of various guises of foundationalism (in the form of either political anthropology or ontology as ‘in the last instance’ ground) or, conversely, anti-foundationalism (the denial of all grounds, yet still operating within a foundationalist imaginary). He argues, instead, for a formal political ontology of the void (against historicism) shot through an ‘incarnate’ messianic nihilism (against ethicism and teleological forms of politics). In so doing, the author offers critical readings of the messianic nihilism of Benjamin, Agamben, Taubes and Žižek by problematising the antinomian tendencies in their respective political theologies. The book argues for a version of Žižek’s Badiouian politics of militancy supplemented by a proper participatory understanding of St Paul’s messianic meontology and incarnational Christology as a means to reconceptualise the nexus between subjectivity, universality and political action in world politics. It will be of interest to students and scholars of International Relations theory, political theory, critical social theory and political theology.

Neste capítulo de Simulações de Deus, John Lilly tece considerações muitíssimo interessantes sobre a consciência como sendo espaço -  o que nos ajudaria a entender a onipresença e onisciência de Deus. Faz relações muito pertinentes entre esse Deus-Espaço-Vazio o que me fez pensar na relação que isto pode ter com a teoria do campo zero.

This paper reflects on the key ideas in my multimedia art installation, The Blue Kid: For That Which is Not There (2015). The work investigates personal and collective memories and identities concentrated in objects and narratives. One of the concepts I talk about is a Narrative Container, Narrative Object, and Sculptural Narrative. In the adapted format of a film script, the two characters navigate the tension between strips of biographical and fictive narratives, authentic and invented effigies. The investigation about the Blue Kid points to the interim space between the dislocated memory and its surrogate.