{"id":70,"date":"2021-02-18T14:55:59","date_gmt":"2021-02-18T13:55:59","guid":{"rendered":"https:\/\/projects.unifr.ch\/aesthetics-critique\/?page_id=70"},"modified":"2021-05-21T12:49:55","modified_gmt":"2021-05-21T10:49:55","slug":"publications","status":"publish","type":"page","link":"https:\/\/projects.unifr.ch\/aesthetics-critique\/publications\/","title":{"rendered":"Publications"},"content":{"rendered":"\n<div class=\"wp-block-columns are-vertically-aligned-top is-layout-flex wp-container-2 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-top is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\"><ul class=\"wp-block-latest-posts__list is-grid columns-3 alignleft wp-block-latest-posts\"><li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" width=\"300\" height=\"133\" src=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2024\/04\/AG_Alloa-720x320-1-300x133.jpg\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" decoding=\"async\" style=\"max-width:225px;max-height:225px;\" srcset=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2024\/04\/AG_Alloa-720x320-1-300x133.jpg 300w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2024\/04\/AG_Alloa-720x320-1.jpg 720w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/2024\/04\/05\/interview-pioniergeist-der-erste-asthetik-lehrstuhl-der-schweiz\/\">[Interview] Pioniergeist: Der erste \u00c4sthetik-Lehrstuhl der Schweiz<\/a><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" width=\"210\" height=\"300\" src=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/09\/m_coverimage-210x300.png\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" decoding=\"async\" style=\"max-width:225px;max-height:225px;\" srcset=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/09\/m_coverimage-210x300.png 210w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/09\/m_coverimage.png 520w\" sizes=\"(max-width: 210px) 100vw, 210px\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/2023\/09\/08\/article-lucie-mercier-the-translatability-of-experience-on-fanons-language-puzzle\/\">(Article) Lucie Mercier, The Translatability of Experience: On Fanon&#8217;s Language Puzzle<\/a><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" width=\"191\" height=\"300\" src=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/05\/145273_couverture_Hres_0-191x300.jpg\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" decoding=\"async\" style=\"max-width:225px;max-height:225px;\" srcset=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/05\/145273_couverture_Hres_0-191x300.jpg 191w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/05\/145273_couverture_Hres_0-652x1024.jpg 652w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/05\/145273_couverture_Hres_0-768x1206.jpg 768w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/05\/145273_couverture_Hres_0-978x1536.jpg 978w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/05\/145273_couverture_Hres_0.jpg 1274w\" sizes=\"(max-width: 191px) 100vw, 191px\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/2023\/05\/17\/publication-m-foucault-la-question-anthropologique-ed-arianna-sforzini\/\">Publication: M. Foucault, La Question anthropologique (Ed. Arianna Sforzini)<\/a><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" width=\"200\" height=\"300\" src=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/05\/10412_00_detail-200x300.png\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" decoding=\"async\" style=\"max-width:225px;max-height:225px;\" srcset=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/05\/10412_00_detail-200x300.png 200w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2023\/05\/10412_00_detail.png 358w\" sizes=\"(max-width: 200px) 100vw, 200px\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/2023\/05\/17\/publication-handbuch-phanomenologie-hrsg-e-alloa-th-breyer-und-e-caminada\/\">Publication: Handbuch Ph\u00e4nomenologie (Hrsg. E. Alloa, Th. Breyer und E. Caminada)<\/a><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" width=\"200\" height=\"300\" src=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2022\/03\/9789462703254-200x300.jpg\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" decoding=\"async\" style=\"max-width:225px;max-height:225px;\" srcset=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2022\/03\/9789462703254-200x300.jpg 200w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2022\/03\/9789462703254.jpg 334w\" sizes=\"(max-width: 200px) 100vw, 200px\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/2022\/03\/08\/publication-emmanuel-alloa-ed-this-obscure-thing-called-transparency-lup-2022\/\">Publication: Emmanuel Alloa (Ed.), This Obscure Thing Called Transparency, LUP 2022.<\/a><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" width=\"300\" height=\"300\" src=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/07\/9780231187930-e1626120778337-300x300.jpg\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" decoding=\"async\" style=\"max-width:225px;max-height:225px;\" srcset=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/07\/9780231187930-e1626120778337-300x300.jpg 300w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/07\/9780231187930-e1626120778337-150x150.jpg 150w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/07\/9780231187930-e1626120778337.jpg 322w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/2021\/07\/26\/publication-emmanuel-alloa-looking-through-images-trans-by-nils-f-schott\/\">Publication: Emmanuel Alloa, Looking through images (trans. by Nils F. Schott)<\/a><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" width=\"300\" height=\"300\" src=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/02\/9782213716633-001-T-2-e1619087011203-300x300.jpeg\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" decoding=\"async\" style=\"max-width:225px;max-height:225px;\" srcset=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/02\/9782213716633-001-T-2-e1619087011203-300x300.jpeg 300w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/02\/9782213716633-001-T-2-e1619087011203-150x150.jpeg 150w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/02\/9782213716633-001-T-2-e1619087011203.jpeg 599w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/2021\/07\/26\/alloa-emmanuel-partages-de-la-perspective-paris-fayard-2020\/\">Publication: Emmanuel Alloa, Partages de la perspective<\/a><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" width=\"300\" height=\"300\" src=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/05\/Vom-Neuern-der-alten-Musik-e1621341007581-300x300.jpg\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" decoding=\"async\" style=\"max-width:225px;max-height:225px;\" srcset=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/05\/Vom-Neuern-der-alten-Musik-e1621341007581-300x300.jpg 300w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/05\/Vom-Neuern-der-alten-Musik-e1621341007581-1021x1024.jpg 1021w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/05\/Vom-Neuern-der-alten-Musik-e1621341007581-150x150.jpg 150w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/05\/Vom-Neuern-der-alten-Musik-e1621341007581-768x770.jpg 768w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/05\/Vom-Neuern-der-alten-Musik-e1621341007581.jpg 1201w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/2021\/03\/18\/radio-feature-vom-neuern-der-alten-musik\/\">Radio-Feature: Christoph Haffter, Vom Neuern der alten Musik<\/a><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" width=\"300\" height=\"300\" src=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/02\/Dynamis-of-the-Image_Cover_Alloa-Cappelletto_11-2-scaled-e1619087072976-300x300.jpg\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" decoding=\"async\" style=\"max-width:225px;max-height:225px;\" srcset=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/02\/Dynamis-of-the-Image_Cover_Alloa-Cappelletto_11-2-scaled-e1619087072976-300x300.jpg 300w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/02\/Dynamis-of-the-Image_Cover_Alloa-Cappelletto_11-2-scaled-e1619087072976-1020x1024.jpg 1020w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/02\/Dynamis-of-the-Image_Cover_Alloa-Cappelletto_11-2-scaled-e1619087072976-150x150.jpg 150w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/02\/Dynamis-of-the-Image_Cover_Alloa-Cappelletto_11-2-scaled-e1619087072976-768x771.jpg 768w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/02\/Dynamis-of-the-Image_Cover_Alloa-Cappelletto_11-2-scaled-e1619087072976-1530x1536.jpg 1530w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/02\/Dynamis-of-the-Image_Cover_Alloa-Cappelletto_11-2-scaled-e1619087072976.jpg 1817w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/2021\/02\/18\/alloa-cappelletto-eds-dynamis-of-the-image-moving-images-in-a-global-world-berlin-new-york-de-gruyter-2020\/\">Publication: Emmanuel Alloa &#038; Chiara Cappelletto (eds.), Dynamis of the Image. Moving Images in a Global World<\/a><\/li>\n<li><div class=\"wp-block-latest-posts__featured-image alignleft\"><img loading=\"lazy\" width=\"300\" height=\"298\" src=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/04\/9783826071805xxl-2-e1619086766377-300x298.jpg\" class=\"attachment-medium size-medium wp-post-image\" alt=\"\" decoding=\"async\" style=\"max-width:225px;max-height:225px;\" srcset=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/04\/9783826071805xxl-2-e1619086766377-300x298.jpg 300w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/04\/9783826071805xxl-2-e1619086766377-150x150.jpg 150w, https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-content\/uploads\/2021\/04\/9783826071805xxl-2-e1619086766377.jpg 428w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><a class=\"wp-block-latest-posts__post-title\" href=\"https:\/\/projects.unifr.ch\/aesthetics-critique\/2021\/01\/05\/publication-christoph-haffter-szenen-der-selbstenttauschung\/\">Publication: Christoph Haffter, Szenen der Selbstentt\u00e4uschung<\/a><\/li>\n<\/ul><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"_links":{"self":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/pages\/70"}],"collection":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/comments?post=70"}],"version-history":[{"count":14,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/pages\/70\/revisions"}],"predecessor-version":[{"id":609,"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/pages\/70\/revisions\/609"}],"wp:attachment":[{"href":"https:\/\/projects.unifr.ch\/aesthetics-critique\/wp-json\/wp\/v2\/media?parent=70"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}