Visual Culture Studies, which attaches importance to the sociality or historicality of vision, has revealed the problem of power which underlies "seeing", but on the other hand runs the danger of reducing "seeing" to a mere repetition of social structure or discourse. This paper aims to discover within "seeing" itself a way to break through the constructed nature of it by considering the notion of the Image and its double function in the theory of W. J. T. Mitchell. Mitchell defines the Image as a "natural sign", a sign which represents a resemblance in a given representation system. One of its social functions is to provide in a natural form the basis for "seeing" to those who share the same representation system. This basis is formed and functions not by the power of the Image itself, but through our narrations concerning the Image. However, the Image, as a natural sign, has a further function of making visible the basis itself for "seeing". Such a recognition of the Image is not "seeing" on a particular basis but is itself the basis for "seeing", and thus differs from seeing within "a prescribed set of possibilities". In narrating concerning the Image, we forget what lies outside of the possibilities even though we experience it continually.

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The aim of this paper is to examine the history of the "art competitions" in the modern Olympics, and thus to cast a new light on the boundary problem between art and sport. Pierre de Coubertin, the principal founder of the modern Olympics, held up an ideal of reunification of muscle and mind, and proposed to introduce five art competitions -in architecture, sculpture, painting, music and literature- within the course of the Olympic games. Then "art competitions" were successfully held in seven Olympiads from 1912 to 1948; but they were replaced by "art exhibitions" without medals from the Helsinki Olympics (1952) onward. In spite of Courbertin's personal enthusiasm for art, some of the IOC members remained skeptical of the art competitions, mainly because they seemed incompatible with the amateurism policy of the Olympics: participants therein were professional artists in most cases, and the prizewinning artworks were often traded openly at high prices. Added to this issue, art was condemned for lack of the qualification to rank with the Olympic sports, from the viewpoints that it has no uniform rules and no clear criteria for evaluation like athletic games, and that prizewinning artists are in general much older as compared to athletes, violating the Olympic ideal of "youthfulness." The introduction and abolition of the Olympic art competitions thus suggests the fundamental discrepancy in cultural and social status between art and sport, while our attention is too often directed merely to their alikeness or affinity.

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In recent years, researches concerning the representative work of Koga Harue's Surrealism, Umi (1929), have pinpointed the sources to the various images portrayed therein. But, they have only deepened its enigmatic character. This paper, however, sheds new light on Koga's art. Constituted in combination with an analogue of a girl in swimsuit (right), the industrial machine imagery (top left) holds an important significance decisive to the understanding of the work's composition and meaning. The source to this image is found in the blast furnace photograph published in the German popular science journal, "Wissen und Fortschritt" (1927-10). Yanase Masamu's CAPITALISMUS too is understood to have been based on the same blast furnace Herrenwyk (Lubeck) photograph, anticipating an affinity between Koga and Yanase. Further, the introductory poem by Koga reveals how a "revolving of the world" image, akin to that of proletariat art, cuts across Umi. But, what is more important with regards Koga's "revolving" image is the collage hier ist noch alles in der schwebe (1920) by Max Ernst. "Soluble Fish" (^military vessel pouring out smoke and whose bowels are transparent=smoke-bellowing ship), with moorings in Ernst, becomes a symbol of the principle in Koga's surrealistic painting and appears frequently in a number of works post-Umi. On the bottom left of his second representative work, Sougai no Keshou (1930), there is an allusion made to a photograph of the metalwork studio of Bauhaus. From a "Romanticism of the machine" of the Umi to a "Realism of the machine" (Itagaki Takaho), as evident in the allusion to Bauhaus, Sougai no Keshou shows how Koga's "Mechanism" underwent a huge gyratory motion.

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Krzysztof Wodiczko started his Public Projection in 1980, by anatomical analysis of architectures on photographs. If we use the terms of Walter Benjamin, this new artistic presentation can be understood as a behavior to give an Exhibition-Value to architectures, which have their own Aura and Cult-Value. According to the terms of Alois Riegl, the writer of "The Modern Cult of Monuments," it also can be understood as a behavior to make known the intention of authors of architectures by projecting their symbolic images to Intentional Monuments. It changed, however, in the middle of 1980's, to a behavior to protect Monuments by projecting critical thoughts and reflections of inhabitants around them. Wodiczko seemed to regard their thoughts and reflections as Artistic-Will (Kunstwollen), one of the most important terms of Alois Riegl, but we must not overlook that there is a gap between them. Video Public Projections, which Wodiczko started in 1996, used architectures as transitional objects: a term of developmental psychology for silent speakers. Public Projection continued changing in the past quarter century in order to extract various abilities of architectures.

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La musique nouvelle acheve de s'affranchir des ordres tonals, et la se revele l'abondance de la matiere sonore. Mais la suffisance du son, elle fait la musique discontinue. La discontinuite pourrait etre met en danger de reduire l'oeuvre musicale a neant. Alors, Brelet trouve l'unite du temps dans la musique nouvelle pour vaincre la negation de soi. C'est le silence et l'instant de donner le moment de l'unite du temps. Le silence n'est jamais le neant, mais une source originelle ou sommeillent toutes les virtualites sonores, et fait ressortir l'instant sonore, centre sur lui-meme, dans son autonomie et sa suffisance. La suffisance de l'instant libere l'auditeur du souvenir et de l'attente pour le concentre sur "le maintenant" de l'instant. Et chaque instant s'est renouvelle perpetuellement par l'imprevisibilite du temps reel. De la, on trouve l'unite du temps vivant. Ce n'est rien d'autre que le temps musical chez Brelet.

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Karl Friedrich Schinkel, the pre-eminent architect of 19th-century Prussia, also worked in other areas, for example, landscape painting, diorama (then fashionable) and city planning (Berlin) . Returning from the Grand Tour, Schinkel began to work with the Gropius company, scenic designers, on panoramas and dioramas. Using new optical techniques, he tried to recapture his sublimely dislocating experience in the Italian landscape, that had altered his very sense of his own body. He thought he could apply these techniques directly to theatrical set design, which, through pictorial near-illusion, would transport the spectators into the imaginary quasi-reality of the drama. Schinkel's outstanding stage designs for The Magic Flute are the pinnacle of his accomplishment as a scenographer. As superintendent of the Berlin city planning department, he extended his theatrical conceptions to the wider spheres of architecture and urban design. In conceiving the Berlin cityscape as a stage setting, he was a precursor of the politics of spectacle.

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