Suzanne Anker is a visual artist and theorist working at the nexus of art and the biological sciences. Her work has been shown both nationally and internationally in museums and galleries including the Walker Art Center, the Smithsonian Institute, the Phillips Collection, P.S.1 Museum, the JP Getty Museum, and the Museum of Modern Art in Japan. Her seminal text The Molecular Gaze: Art in the Genetic Age (co-authored with the late Dorothy Nelkin) was published in 2004. She is the Chair of the Fine Arts Department of School of Visual Arts in New York since 2005.Sabine Flach is Professor for Contemporary Art and Art Theory (visiting) at School of Visual Arts in New York. Her current research focuses on Epistemology and Methodology of Contemporary Art; Praxis and Theory of Contemporary Art; Aisthesis and Media of Embodiment; Epistemology and Aesthetics of Visual Thinking; Emotions and Culture of the Senses; Knowledge of the Arts; Art and Art Theories of the 19th and 20th Centuries; Concepts of Nature.

• Contents: C.S. Meijns: What’s Imagining Got to Do with Images? – Suzanne Anker: Bio-ethers and Luminous Ores: Welcome to Wonderland – Raúl Gómez Valverde By Sabine Flach: Sometimes I Begin with a Title – Mika Elo: (Dis) Synchronies of Vision and Touch – Esa Kirkkopelto: What Does Imagination Look Like? Notes on the Schematism of the Modalities – Sabine Flach: Negotiation and Metamorphosis: Carsten Höller’s SOMA and Matthew Barney’s Cremaster – Dawna Schuld: Plato’s Shade: Embodying the Cave in Phenomenal Art – Gerhard Scharbert: Fantasias - Experimental Induced Psychosis and Modern Aesthetics in 19th Century France – Arthur I. Miller: Creative Processes within Fantasies: The Strange Friendship of Wolfgang Pauli and Carl Jung – Gabriele Brandstetter: Fantasies of the Catastrophe: Embodiment and Kinaesthetic Awareness in the Performance-Installation of Naoko Tanaka’s «Die Scheinwerferin» – Frank Gillette: Patterns Which Connect: Embodied Fantasies – Boris Goesl: Star Arts or Celestial Embodiments: Culturally Conventionalized Constellations and Ambiguous Artistic Asterisms in the Modern Projection Planetarium – Mitchell Joachim: The Necessity of All Scales: Planetary Design in the Age of Globality – Mathias Kessler By Sabine Flach: Staging Nature – Alex Arteaga: Fantasy in a Non-Given World? – Margareta Hesse By Sabine Flach: Seeing Red – Alexander Schwan: Body-Calligraphies: Dance as an Embodied Fantasy of Writing – Shelley Rice: The Grass is Always Greener: Self-Portraiture in the Age of Facebook – Laura Taler: Spiegelei – Thyrza Nichols Goodeve: Twilight of the Artworld: From Representation to Ontology in the Work of Matthew Barney – Ellen Esrock: The Phantasmagoria of Everyday Life: The Visceral-Somatic Viewer of Hiroshi Sugimoto and Adolph Menze.

Suzanne Anker is a visual artist and theorist working at the nexus of art and the biological sciences. Her work has been shown both nationally and internationally in museums and galleries including the Walker Art Center, the Smithsonian Institute, the Phillips Collection, P.S.1 Museum, the JP Getty Museum, and the Museum of Modern Art in Japan. Her seminal text The Molecular Gaze: Art in the Genetic Age (co-authored with the late Dorothy Nelkin) was published in 2004. She is the Chair of the Fine Arts Department of School of Visual Arts in New York since 2005.Sabine Flach is Professor for Contemporary Art and Art Theory (visiting) at School of Visual Arts in New York. Her current research focuses on Epistemology and Methodology of Contemporary Art; Praxis and Theory of Contemporary Art; Aisthesis and Media of Embodiment; Epistemology and Aesthetics of Visual Thinking; Emotions and Culture of the Senses; Knowledge of the Arts; Art and Art Theories of the 19th and 20th Centuries; Concepts of Nature.

• Contents: C.S. Meijns: What’s Imagining Got to Do with Images? – Suzanne Anker: Bio-ethers and Luminous Ores: Welcome to Wonderland – Raúl Gómez Valverde By Sabine Flach: Sometimes I Begin with a Title – Mika Elo: (Dis) Synchronies of Vision and Touch – Esa Kirkkopelto: What Does Imagination Look Like? Notes on the Schematism of the Modalities – Sabine Flach: Negotiation and Metamorphosis: Carsten Höller’s SOMA and Matthew Barney’s Cremaster – Dawna Schuld: Plato’s Shade: Embodying the Cave in Phenomenal Art – Gerhard Scharbert: Fantasias - Experimental Induced Psychosis and Modern Aesthetics in 19th Century France – Arthur I. Miller: Creative Processes within Fantasies: The Strange Friendship of Wolfgang Pauli and Carl Jung – Gabriele Brandstetter: Fantasies of the Catastrophe: Embodiment and Kinaesthetic Awareness in the Performance-Installation of Naoko Tanaka’s «Die Scheinwerferin» – Frank Gillette: Patterns Which Connect: Embodied Fantasies – Boris Goesl: Star Arts or Celestial Embodiments: Culturally Conventionalized Constellations and Ambiguous Artistic Asterisms in the Modern Projection Planetarium – Mitchell Joachim: The Necessity of All Scales: Planetary Design in the Age of Globality – Mathias Kessler By Sabine Flach: Staging Nature – Alex Arteaga: Fantasy in a Non-Given World? – Margareta Hesse By Sabine Flach: Seeing Red – Alexander Schwan: Body-Calligraphies: Dance as an Embodied Fantasy of Writing – Shelley Rice: The Grass is Always Greener: Self-Portraiture in the Age of Facebook – Laura Taler: Spiegelei – Thyrza Nichols Goodeve: Twilight of the Artworld: From Representation to Ontology in the Work of Matthew Barney – Ellen Esrock: The Phantasmagoria of Everyday Life: The Visceral-Somatic Viewer of Hiroshi Sugimoto and Adolph Menze.

Suzanne Anker is a visual artist and theorist working at the nexus of art and the biological sciences. Her work has been shown both nationally and internationally in museums and galleries including the Walker Art Center, the Smithsonian Institute, the Phillips Collection, P.S.1 Museum, the JP Getty Museum, and the Museum of Modern Art in Japan. Her seminal text The Molecular Gaze: Art in the Genetic Age (co-authored with the late Dorothy Nelkin) was published in 2004. She is the Chair of the Fine Arts Department of School of Visual Arts in New York since 2005.Sabine Flach is Professor for Contemporary Art and Art Theory (visiting) at School of Visual Arts in New York. Her current research focuses on Epistemology and Methodology of Contemporary Art; Praxis and Theory of Contemporary Art; Aisthesis and Media of Embodiment; Epistemology and Aesthetics of Visual Thinking; Emotions and Culture of the Senses; Knowledge of the Arts; Art and Art Theories of the 19th and 20th Centuries; Concepts of Nature.

• Contents: C.S. Meijns: What’s Imagining Got to Do with Images? – Suzanne Anker: Bio-ethers and Luminous Ores: Welcome to Wonderland – Raúl Gómez Valverde By Sabine Flach: Sometimes I Begin with a Title – Mika Elo: (Dis) Synchronies of Vision and Touch – Esa Kirkkopelto: What Does Imagination Look Like? Notes on the Schematism of the Modalities – Sabine Flach: Negotiation and Metamorphosis: Carsten Höller’s SOMA and Matthew Barney’s Cremaster – Dawna Schuld: Plato’s Shade: Embodying the Cave in Phenomenal Art – Gerhard Scharbert: Fantasias - Experimental Induced Psychosis and Modern Aesthetics in 19th Century France – Arthur I. Miller: Creative Processes within Fantasies: The Strange Friendship of Wolfgang Pauli and Carl Jung – Gabriele Brandstetter: Fantasies of the Catastrophe: Embodiment and Kinaesthetic Awareness in the Performance-Installation of Naoko Tanaka’s «Die Scheinwerferin» – Frank Gillette: Patterns Which Connect: Embodied Fantasies – Boris Goesl: Star Arts or Celestial Embodiments: Culturally Conventionalized Constellations and Ambiguous Artistic Asterisms in the Modern Projection Planetarium – Mitchell Joachim: The Necessity of All Scales: Planetary Design in the Age of Globality – Mathias Kessler By Sabine Flach: Staging Nature – Alex Arteaga: Fantasy in a Non-Given World? – Margareta Hesse By Sabine Flach: Seeing Red – Alexander Schwan: Body-Calligraphies: Dance as an Embodied Fantasy of Writing – Shelley Rice: The Grass is Always Greener: Self-Portraiture in the Age of Facebook – Laura Taler: Spiegelei – Thyrza Nichols Goodeve: Twilight of the Artworld: From Representation to Ontology in the Work of Matthew Barney – Ellen Esrock: The Phantasmagoria of Everyday Life: The Visceral-Somatic Viewer of Hiroshi Sugimoto and Adolph Menze.