Acknowledgemens Preface Chapter 1 - Fellini, Painting On Film Chapter 2 - Giulietta degli spiriti... more Acknowledgemens Preface Chapter 1 - Fellini, Painting On Film Chapter 2 - Giulietta degli spiriti: Symbolist virgins meet Decadent femmes-fatales in Art Nouveau interiors * Symbolist strands embedded in Giulietta's childhood scenes * Suzy's domain: Symbolist femmes fatales roaming art nouveau interiors * The Master's Bedroom and the Jungian Shadow Chapter 3 - Toby Dammit: Rembrandt meets Velazquez on Screen * The hanging carcass - Rembrandt to Fellini via Soutine and Bacon * The bambina diavolo, or "Velazquez on film" * Fellini, Picasso, and Las Meninas after Velazquez * Severed head and white ball: Fellini's Jungian universe The severed head: Symbolist intertexts * Toby Dammit: the creative artist as mystical initiate Chapter 4 - Fellini-Satyricon: Bruegel meets Klimt in the sewers of imperial Rome * Fellini's (re)presentation of Romanita * Fellini's "Byzantium" Picasso's Minotaur meets Encolpio in Fabrizio Clerici's labyrinths Chapter 5 - Fellini's Casanova: Casanova meets De Chirico on Bocklin's Isle of the Dead * Casanova, Fellini's version of the Golem * Through the half-drawn curtain: Casanova, De Chirico and The Enigma of the Oracle * The Isoletta di San Bartolo, or Isle of the Dead * A bridge over the Thames: Fellini's Casanova meets Whistler's Nocturnes Conclusion - "A new hypothesis of the truth": Painting as vehicle of the Real in Fellini's films, 1960s-70s List of Illustrations Bibliography
Psychology of Aesthetics, Creativity, and the Arts, Dec 22, 2022
Hava Aldouby, Béatrice Hasler, Tehila Nadav, and Doron Friedman, “Viewing Images of Jagged Textur... more Hava Aldouby, Béatrice Hasler, Tehila Nadav, and Doron Friedman, “Viewing Images of Jagged Texture in Digital Artwork Affects Body Sensations: A Virtual Reality Study.” Psychology of Aesthetics, Creativity and the Arts, forthcoming.
The purpose of this review was to examine current strategies for classifying the courses of schiz... more The purpose of this review was to examine current strategies for classifying the courses of schizophrenia. Although a number of course classifications have evolved over the past two decades, the field has not addressed fully the complex issue of course description. This review compared previously published prototypes for describing the longterm courses of schizophrenia to identify variations and consistencies in course descriptions. Across investigations, differences were found in the number of courses described, in the structure of course categories, in the relative emphasis on syndrome symptoms versus syndrome change, and in documenting specific course features (i.e., illness onset, illness outcome, and types of symptoms). Interstudy comparisons of long-term illness patterns therefore are limited and cumulative statements on prognosis will remain problematic until some standardization is introduced. A minimal set of course parameters that should be documented in future studies include (1) the rate of syndrome onset; (2) postonset patterns of psychotic and residual symptoms;
This article looks at On Reflection, a video installation by the London-based artist Ori Gersht, ... more This article looks at On Reflection, a video installation by the London-based artist Ori Gersht, in light of the artist’s transcultural or ‘travelling’ position between the United Kingdom, where Gersht has been residing and practising art since 1989, and his native country of Israel. Through close analysis of a single video installation by a British/Israeli ‘radicant’, to adopt Nicolas Bourriaud’s suggestive nomenclature, the article asks how the global migratory condition is affecting contemporary art and aesthetic experience. Focusing on sensory and motor aspects of viewers’ engagement with the installation, the article proposes an approach to the political through the prism of aisthêsis, or sensory engagement. It further suggests that On Reflection evinces a cautious effort to augment observers’ sense of bodily presence, which, however, does not outlast the brief duration of the gallery visit. The multidisciplinary approach offered here combines close attention to aesthetics, in Jill Bennett’s sense of ‘what art does’, with insights from phenomenological film theory and from cognitive neuroscience. It is argued that this is a productive critical gateway through which to investigate the migratory turn in global art.
This paper addresses an intriguing intergenerational encounter between Micha Ullman (b. Tel Aviv ... more This paper addresses an intriguing intergenerational encounter between Micha Ullman (b. Tel Aviv 1939), one of Israel's most prominent senior artists, and Ronen Sharabani (b. Tel Aviv 1974), a young media artist. The two artists' otherwise divergent practices converge in their use of sand and red earth as their primary media. The paper brings Mieke Bal's concept of migratory aesthetics and Jill Bennett's phenomenological approach to trauma-related art to bear on Ullman's fragile earth installations and perforated sand tables, and on Sharabani's projections of Virtual Reality onto sand. Also addressed is Sharabani's series Vitual Territories (2019), in which digitally manipulated views from Google Earth probe geographical sites that resonate with migratory histories. The paper traces two main trajectories upon which the oeuvres of Ullman and Sharabani interface. The first category, "treacherous sands", relates to installations involving sand tables and other containers of soil. In turn, the category of "fragile traces" addresses installations that feature various architectural ground plans modeled in sand. In these installations, sand is the quintessential terra infirma. At the same time, however, the paper proposes that through the haptic appeal of the medium of sand, these installations counter the pervasive anxiety of shifting ground with an augmented sense of bodily presence.
This article is an open access article distributed under the terms and conditions of the Creative... more This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY
Psychology of Aesthetics, Creativity, and the Arts
Hava Aldouby, Béatrice Hasler, Tehila Nadav, and Doron Friedman, “Viewing Images of Jagged Textur... more Hava Aldouby, Béatrice Hasler, Tehila Nadav, and Doron Friedman, “Viewing Images of Jagged Texture in Digital Artwork Affects Body Sensations: A Virtual Reality Study.” Psychology of Aesthetics, Creativity and the Arts, forthcoming.
Psychology of Aesthetics, Creativity, and the Arts, 2022
Aldouby, H., Hasler, B. S., Nadav, T., & Friedman, D. (2022). Viewing images of jagged texture in... more Aldouby, H., Hasler, B. S., Nadav, T., & Friedman, D. (2022). Viewing images of jagged texture in digital artwork affects body sensations: A virtual reality study. Psychology of Aesthetics, Creativity, and the Arts. Advance online publication. https://doi.org/10.1037/aca0000522
One of the topics recurring in contemporary aesthetics is haptic visuality—a sense of physical touching, or being touched, induced by exposure to a purely visual stimulus. In this study we attempt at an empirical evaluation of this elusive concept, and specifically address the role of visual texture in inducing bodily sensations. We carried out a virtual reality experiment in which 144 participants could see their virtual hands and use them for interaction. Inside the virtual reality experience, the participants viewed four contemporary art images that were preselected as fostering haptic visuality. After viewing each image, the participants immediately performed a simple motor task and answered a few questions. The motor task comprised picking a virtual ball and placing it in a designated place, and in half of the cases their virtual arm was threatened by a virtual chainsaw. Our main hypothesis was supported—art stimuli depicting a jagged object reduced the perceived threat to the virtual arm, indicating a decrease in ownership of the virtual body. Interactions with body awareness as trait were also revealed. (PsycInfo Database Record (c) 2022 APA, all rights reserved)
This article addresses a body of works by the video artist Ruth Patir, in which Israeli womanhood... more This article addresses a body of works by the video artist Ruth Patir, in which Israeli womanhood in the 2020s is interrogated through Iron Age female statuettes, known as Judean Pillar Figurines. By means of motion capture technology and 3D animation, Patir features contemporary Israeli women uncannily moving and speaking through the bodies of millennium-old female figurines, whose history and function are still under debate. In Petah Tikva (2020), Patir situates these hybrid figures in a modern IVF clinic, offering a biopolitical perspective on Israeli society’s compelling maternal impulse. Marry Fuck Kill (2019), in turn, ponders Israeli women’s legitimation of their femininity, across the generational gap between the artist and her mother, here cast in the role of an imposing Iron Age figurine. The paper addresses Patir’s work in both biopolitical and phenomenological terms, arguing that the sensual appeal of the archaeological objects often undermines the videos’ political crit...
Acknowledgemens Preface Chapter 1 - Fellini, Painting On Film Chapter 2 - Giulietta degli spiriti... more Acknowledgemens Preface Chapter 1 - Fellini, Painting On Film Chapter 2 - Giulietta degli spiriti: Symbolist virgins meet Decadent femmes-fatales in Art Nouveau interiors * Symbolist strands embedded in Giulietta's childhood scenes * Suzy's domain: Symbolist femmes fatales roaming art nouveau interiors * The Master's Bedroom and the Jungian Shadow Chapter 3 - Toby Dammit: Rembrandt meets Velazquez on Screen * The hanging carcass - Rembrandt to Fellini via Soutine and Bacon * The bambina diavolo, or "Velazquez on film" * Fellini, Picasso, and Las Meninas after Velazquez * Severed head and white ball: Fellini's Jungian universe The severed head: Symbolist intertexts * Toby Dammit: the creative artist as mystical initiate Chapter 4 - Fellini-Satyricon: Bruegel meets Klimt in the sewers of imperial Rome * Fellini's (re)presentation of Romanita * Fellini's "Byzantium" Picasso's Minotaur meets Encolpio in Fabrizio Clerici's labyrinths Chapter 5 - Fellini's Casanova: Casanova meets De Chirico on Bocklin's Isle of the Dead * Casanova, Fellini's version of the Golem * Through the half-drawn curtain: Casanova, De Chirico and The Enigma of the Oracle * The Isoletta di San Bartolo, or Isle of the Dead * A bridge over the Thames: Fellini's Casanova meets Whistler's Nocturnes Conclusion - "A new hypothesis of the truth": Painting as vehicle of the Real in Fellini's films, 1960s-70s List of Illustrations Bibliography
Psychology of Aesthetics, Creativity, and the Arts, Dec 22, 2022
Hava Aldouby, Béatrice Hasler, Tehila Nadav, and Doron Friedman, “Viewing Images of Jagged Textur... more Hava Aldouby, Béatrice Hasler, Tehila Nadav, and Doron Friedman, “Viewing Images of Jagged Texture in Digital Artwork Affects Body Sensations: A Virtual Reality Study.” Psychology of Aesthetics, Creativity and the Arts, forthcoming.
The purpose of this review was to examine current strategies for classifying the courses of schiz... more The purpose of this review was to examine current strategies for classifying the courses of schizophrenia. Although a number of course classifications have evolved over the past two decades, the field has not addressed fully the complex issue of course description. This review compared previously published prototypes for describing the longterm courses of schizophrenia to identify variations and consistencies in course descriptions. Across investigations, differences were found in the number of courses described, in the structure of course categories, in the relative emphasis on syndrome symptoms versus syndrome change, and in documenting specific course features (i.e., illness onset, illness outcome, and types of symptoms). Interstudy comparisons of long-term illness patterns therefore are limited and cumulative statements on prognosis will remain problematic until some standardization is introduced. A minimal set of course parameters that should be documented in future studies include (1) the rate of syndrome onset; (2) postonset patterns of psychotic and residual symptoms;
This article looks at On Reflection, a video installation by the London-based artist Ori Gersht, ... more This article looks at On Reflection, a video installation by the London-based artist Ori Gersht, in light of the artist’s transcultural or ‘travelling’ position between the United Kingdom, where Gersht has been residing and practising art since 1989, and his native country of Israel. Through close analysis of a single video installation by a British/Israeli ‘radicant’, to adopt Nicolas Bourriaud’s suggestive nomenclature, the article asks how the global migratory condition is affecting contemporary art and aesthetic experience. Focusing on sensory and motor aspects of viewers’ engagement with the installation, the article proposes an approach to the political through the prism of aisthêsis, or sensory engagement. It further suggests that On Reflection evinces a cautious effort to augment observers’ sense of bodily presence, which, however, does not outlast the brief duration of the gallery visit. The multidisciplinary approach offered here combines close attention to aesthetics, in Jill Bennett’s sense of ‘what art does’, with insights from phenomenological film theory and from cognitive neuroscience. It is argued that this is a productive critical gateway through which to investigate the migratory turn in global art.
This paper addresses an intriguing intergenerational encounter between Micha Ullman (b. Tel Aviv ... more This paper addresses an intriguing intergenerational encounter between Micha Ullman (b. Tel Aviv 1939), one of Israel's most prominent senior artists, and Ronen Sharabani (b. Tel Aviv 1974), a young media artist. The two artists' otherwise divergent practices converge in their use of sand and red earth as their primary media. The paper brings Mieke Bal's concept of migratory aesthetics and Jill Bennett's phenomenological approach to trauma-related art to bear on Ullman's fragile earth installations and perforated sand tables, and on Sharabani's projections of Virtual Reality onto sand. Also addressed is Sharabani's series Vitual Territories (2019), in which digitally manipulated views from Google Earth probe geographical sites that resonate with migratory histories. The paper traces two main trajectories upon which the oeuvres of Ullman and Sharabani interface. The first category, "treacherous sands", relates to installations involving sand tables and other containers of soil. In turn, the category of "fragile traces" addresses installations that feature various architectural ground plans modeled in sand. In these installations, sand is the quintessential terra infirma. At the same time, however, the paper proposes that through the haptic appeal of the medium of sand, these installations counter the pervasive anxiety of shifting ground with an augmented sense of bodily presence.
This article is an open access article distributed under the terms and conditions of the Creative... more This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY
Psychology of Aesthetics, Creativity, and the Arts
Hava Aldouby, Béatrice Hasler, Tehila Nadav, and Doron Friedman, “Viewing Images of Jagged Textur... more Hava Aldouby, Béatrice Hasler, Tehila Nadav, and Doron Friedman, “Viewing Images of Jagged Texture in Digital Artwork Affects Body Sensations: A Virtual Reality Study.” Psychology of Aesthetics, Creativity and the Arts, forthcoming.
Psychology of Aesthetics, Creativity, and the Arts, 2022
Aldouby, H., Hasler, B. S., Nadav, T., & Friedman, D. (2022). Viewing images of jagged texture in... more Aldouby, H., Hasler, B. S., Nadav, T., & Friedman, D. (2022). Viewing images of jagged texture in digital artwork affects body sensations: A virtual reality study. Psychology of Aesthetics, Creativity, and the Arts. Advance online publication. https://doi.org/10.1037/aca0000522
One of the topics recurring in contemporary aesthetics is haptic visuality—a sense of physical touching, or being touched, induced by exposure to a purely visual stimulus. In this study we attempt at an empirical evaluation of this elusive concept, and specifically address the role of visual texture in inducing bodily sensations. We carried out a virtual reality experiment in which 144 participants could see their virtual hands and use them for interaction. Inside the virtual reality experience, the participants viewed four contemporary art images that were preselected as fostering haptic visuality. After viewing each image, the participants immediately performed a simple motor task and answered a few questions. The motor task comprised picking a virtual ball and placing it in a designated place, and in half of the cases their virtual arm was threatened by a virtual chainsaw. Our main hypothesis was supported—art stimuli depicting a jagged object reduced the perceived threat to the virtual arm, indicating a decrease in ownership of the virtual body. Interactions with body awareness as trait were also revealed. (PsycInfo Database Record (c) 2022 APA, all rights reserved)
This article addresses a body of works by the video artist Ruth Patir, in which Israeli womanhood... more This article addresses a body of works by the video artist Ruth Patir, in which Israeli womanhood in the 2020s is interrogated through Iron Age female statuettes, known as Judean Pillar Figurines. By means of motion capture technology and 3D animation, Patir features contemporary Israeli women uncannily moving and speaking through the bodies of millennium-old female figurines, whose history and function are still under debate. In Petah Tikva (2020), Patir situates these hybrid figures in a modern IVF clinic, offering a biopolitical perspective on Israeli society’s compelling maternal impulse. Marry Fuck Kill (2019), in turn, ponders Israeli women’s legitimation of their femininity, across the generational gap between the artist and her mother, here cast in the role of an imposing Iron Age figurine. The paper addresses Patir’s work in both biopolitical and phenomenological terms, arguing that the sensual appeal of the archaeological objects often undermines the videos’ political crit...
Federico Fellini professed a desire to create “an entire film made of immobile pictures.” In this... more Federico Fellini professed a desire to create “an entire film made of immobile pictures.” In this study, Hava Aldouby uses this quotation as a launching point to analyze Fellini’s films as sequences of “pictures” that draw extensively on art history, and particularly painting, as a reservoir of visual imagery. Aldouby employs an innovative pictorial approach that allows her to uncover a wealth of visual evocations overlooked by Fellini scholars over the years.
Federico Fellini: Painting in Film, Painting on Film sheds light on the intertextual links between Fellini’s films and the works of various artists, from Velazquez to Francis Bacon, by identifying references to specific paintings in his films. Using new archival evidence from Fellini’s private library, brought to light for the first time here, Aldouby draws out Fellini’s in-depth knowledge of art history and his systematic employment of art-historical allusions.
Early 21st century media arts are addressing the anxieties of an age shadowed by ubiquitous surveillance, big data profiling, and globalised translocations of people. Altogether, they tap the overwhelming changes in our lived experience of self, body, and intersubjective relations. Shifting Interfaces addresses current exciting exchanges between art, science, and emerging technologies, highlighting a range of concerns that currently prevail in the field of media arts. This book provides an up-to-date perspective on the field, with a considerable representation of art-based research gaining salience in media art studies. The collection attends to art projects interrogating the destabilisation of identity and the breaching of individual privacy, the rekindled interest in phenomenology and in the neurocognitive workings of empathy, and the routes of interconnectivity beyond the human in the age of the Internet of Things. Offering a diversity of perspectives, ranging from purely theoretical to art-based research, and from aesthetics to social and cultural critique, this volume will be of great value for readers interested in contemporary art, art-science-technology interfaces, visual culture, and cultural studies.
Wiley Blackwell Companion to Federico Fellini, 2020
The paper reexamines the “Fellini look” from a phenomenological perspective. It seeks to exceed t... more The paper reexamines the “Fellini look” from a phenomenological perspective. It seeks to exceed the boundaries of interpretation and attend to the potency of haptic appeal, channels of somatic communication, and invitations to sensorimotor activation offered by Fellini’s cinema. Fellini’s quest for unmediated engagement between viewer and film is analyzed on the basis of a tripartite periodization: (1) Intense employment of the foreground, primarily in the black-and-white films; (2) a painterly middle period; and (3) recourse to plastic, vapor, and other forms of material excess, in the third and last period. These and other visual tactics are interrogated with respect to phenomenological film theory and recent neurocognitive studies, that look at spectators’ engagement with art and film. In this frame of inquiry, a crucial role is assigned to textures and surfaces, spatial disorientation, and sensorimotor arousal. The discussion is focused on the viewer’s body and the phenomenology of engagement with Fellini’s films, rather than the cerebral puzzlement and top-down cognitive processing they might elicit. Drawing on Gumbrecht’s (2004) presence effect, and Gallese’s (2005) embodied simulation, the paper investigates Fellini’s specific ways of anchoring film affect in the viewer’s body. Attending to the phenomenological aspect of Fellini’s visual style is crucial to understanding the compelling grip of his films as aesthetic objects.
exh. cat. Archaeology in Reverse, Phil Solomon, Hansen Center for Art and Technology, 2015
“Between Jerusalem and Liberty City: An Interview with Phil Solomon,” in exh. cat. Archaeology in... more “Between Jerusalem and Liberty City: An Interview with Phil Solomon,” in exh. cat. Archaeology in Reverse, Phil Solomon, Hansen Center for Art and Technology, Jerusalem, July-August 2015
exh. cat. Archaeology in Reverse, Phil Solomon, Hansen Center for Art and Technology, 2015
“A Filmmaker in the World of Gaming: Place and Non-Place in Phil Solomon’s Cinema,” in exh. cat. ... more “A Filmmaker in the World of Gaming: Place and Non-Place in Phil Solomon’s Cinema,” in exh. cat. Archaeology in Reverse, Phil Solomon, Hansen Center for Art and Technology, Jerusalem, July-August 2015
exh. cat. Poem/Po-Eima: A Hair in the Scene of the Crime, 2018
“Inverted Blonds and Black Witches: Probing Beyond the Language Barrier,” in exh. cat. Poem/Po-Ei... more “Inverted Blonds and Black Witches: Probing Beyond the Language Barrier,” in exh. cat. Poem/Po-Eima: A Hair in the Scene of the Crime, The Open University Gallery, November 2018-January 2019
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Papers by Hava Aldouby
One of the topics recurring in contemporary aesthetics is haptic visuality—a sense of physical touching, or being touched, induced by exposure to a purely visual stimulus. In this study we attempt at an empirical evaluation of this elusive concept, and specifically address the role of visual texture in inducing bodily sensations. We carried out a virtual reality experiment in which 144 participants could see their virtual hands and use them for interaction. Inside the virtual reality experience, the participants viewed four contemporary art images that were preselected as fostering haptic visuality. After viewing each image, the participants immediately performed a simple motor task and answered a few questions. The motor task comprised picking a virtual ball and placing it in a designated place, and in half of the cases their virtual arm was threatened by a virtual chainsaw. Our main hypothesis was supported—art stimuli depicting a jagged object reduced the perceived threat to the virtual arm, indicating a decrease in ownership of the virtual body. Interactions with body awareness as trait were also revealed. (PsycInfo Database Record (c) 2022 APA, all rights reserved)
One of the topics recurring in contemporary aesthetics is haptic visuality—a sense of physical touching, or being touched, induced by exposure to a purely visual stimulus. In this study we attempt at an empirical evaluation of this elusive concept, and specifically address the role of visual texture in inducing bodily sensations. We carried out a virtual reality experiment in which 144 participants could see their virtual hands and use them for interaction. Inside the virtual reality experience, the participants viewed four contemporary art images that were preselected as fostering haptic visuality. After viewing each image, the participants immediately performed a simple motor task and answered a few questions. The motor task comprised picking a virtual ball and placing it in a designated place, and in half of the cases their virtual arm was threatened by a virtual chainsaw. Our main hypothesis was supported—art stimuli depicting a jagged object reduced the perceived threat to the virtual arm, indicating a decrease in ownership of the virtual body. Interactions with body awareness as trait were also revealed. (PsycInfo Database Record (c) 2022 APA, all rights reserved)
Federico Fellini: Painting in Film, Painting on Film sheds light on the intertextual links between Fellini’s films and the works of various artists, from Velazquez to Francis Bacon, by identifying references to specific paintings in his films. Using new archival evidence from Fellini’s private library, brought to light for the first time here, Aldouby draws out Fellini’s in-depth knowledge of art history and his systematic employment of art-historical allusions.
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Early 21st century media arts are addressing the anxieties of an age shadowed by ubiquitous surveillance, big data profiling, and globalised translocations of people. Altogether, they tap the overwhelming changes in our lived experience of self, body, and intersubjective relations. Shifting Interfaces addresses current exciting exchanges between art, science, and emerging technologies, highlighting a range of concerns that currently prevail in the field of media arts. This book provides an up-to-date perspective on the field, with a considerable representation of art-based research gaining salience in media art studies. The collection attends to art projects interrogating the destabilisation of identity and the breaching of individual privacy, the rekindled interest in phenomenology and in the neurocognitive workings of empathy, and the routes of interconnectivity beyond the human in the age of the Internet of Things. Offering a diversity of perspectives, ranging from purely theoretical to art-based research, and from aesthetics to social and cultural critique, this volume will be of great value for readers interested in contemporary art, art-science-technology interfaces, visual culture, and cultural studies.
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