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Zhyrov, Vasyl. "Assemblage as Art Technique in Contemporary Art." ART Space, no. 3 (2018): 73–75. http://dx.doi.org/10.28925/2519-4135.4.2018.3.12.
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In this article the content of the notions of “collage” and “аssemblage” is covered. The characteristic to аssemblage as a style of painting is given . Stylization of an artistic image through аssemblage is analysed.
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Jones, Andrew Meirion. "The Art of Assemblage: Styling Neolithic Art." Cambridge Archaeological Journal 27, no. 1 (January 11, 2017): 85–94. http://dx.doi.org/10.1017/s0959774316000561.
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The art of Neolithic Britain and Ireland consists of a variety of curvilinear and geometric motifs pecked into stone (in open-air rock art or passage tombs) or carved into portable artefacts of chalk, stone or antler. Because of its abstract nature the art has proved problematic for archaeologists. Initially archaeologists assumed the art was representational; now most scholars have abandoned this view, and simply approach the art stylistically. Here I argue that stylistic analysis is insufficient to understand this art: instead the process of making provides a fuller understanding of this art. It is argued that the practice of assemblage is a key aspect of the process of making.
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Maithani, Charu. "Screens as Gestures in Interactive Art Assemblage." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 147. http://dx.doi.org/10.25038/am.v0i17.278.
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The interaction in the contemporary media art installations can be viewed as a process of transformation as the parts of the installation engage and respond to each other. This paper considers interactive media art as assemblages and argues screens to be gestures of this assemblage. The screens activate and rearrange the relations between the elements of the assemblage by providing multiple connections between them. By examining two artworks, Breath (1991/92) by Ulrike Gabriel and Shadow 3 (2007) by Shilpa Gupta, the paper extrapolates the aesthetic experiences gestured by the screens. Article received: April 25, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Maithani, Charu. "Screens as Gestures in Interactive Art Assemblage." AM Journal of Art and Media Studies 17 (2018): 147−155. doi: 10.25038/am.v0i17.278
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Somerville, Kristine. "Boxed in: The Art of Assemblage." Missouri Review 45, no. 1 (March 2022): 149–65. http://dx.doi.org/10.1353/mis.2022.0006.
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Hsu, Wun-Ting, and Wen-Shu Lai. "Readymade and Assemblage in Database Art." Leonardo 46, no. 1 (February 2013): 80–81. http://dx.doi.org/10.1162/leon_a_00491.
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This paper aims to elucidate the concept of data as readymade and to discuss how data collection and viewer intervention constitute assemblage in database art. After a brief overview of the concepts, insights are provided into how they may be rendered in database art and what meaningful implications such process might yield.
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Park, Jeong-Ae. "Art as a Collective Assemblage of Enunciation: Implications for Art Education." Journal of Research in Art Education 22, no. 4 (October 31, 2021): 1–16. http://dx.doi.org/10.20977/kkosea.2021.22.4.1.
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Chaberski, Mateusz. "Thomas Shadwell’s the Virtuoso as an Assemblage Laboratory. A View from Installation Art." Art History & Criticism 13, no. 1 (December 1, 2017): 111–22. http://dx.doi.org/10.1515/mik-2017-0008.
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Summary The contemporary landscape of performing arts becomes more and more populated by hybrid genres or “artistic installations” (Rebentisch) which fuse traditional artistic, theatrical and performance practices with scientific procedures, political activism and designing new technologies (e.g. bioart, technoart, digital art and site-specific performance). In this context, theatre texts can no longer be perceived as autopoietic means of solely artistic expression but become part of an assemblage of different discourses and practices. As contemporary assemblage theory contends (DeLanda), assemblages are relational entities which change dramatically depending on relations between its different human and nonhuman elements and various contexts in which they function. Taking the contemporary installation art as a vantage point, this paper aims to analyse a Restoration comedy The Virtuoso (1676) by Thomas Shadwell in an assemblage of theatrical, scientific and political discourses and practices of Early Modern England. Staged in Dorset Gardens theatre in London, the play mobilised a plethora of discourses of science (the status of experimental philosophy institutionalized in 1660 as the Royal Society), politics (Restoration of the monarchy under Charles II) and gender (the infamous heac vir or effeminate man). Drawing on contemporary new materialism, the paper focuses predominantly on Shadwell’s use of the laboratory as a site of emerging assemblages rather than objective matters of fact. In this context, the play itself becomes an assemblage laboratory where new ways of thinking and being are being forged and constantly negotiated.
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Minner, Jennifer. "A Pattern Assemblage: Art, Craft, and Conservation." Change Over Time 10, no. 1 (2021): 26–45. http://dx.doi.org/10.1353/cot.2021.0000.
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Kee, Jessica Baker, Cayla Bailey, Shabreia Horton, Katrice Kelly, James McClue, and Lionell Thomas. "Art at Ashé: Collaboration as Creative Assemblage." Art Education 69, no. 5 (August 15, 2016): 14–19. http://dx.doi.org/10.1080/00043125.2016.1201408.
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Koenderink, Jan, and Andrea van Doorn. "Assemblage and Icon in Perception and Art." Art & Perception 1, no. 1-2 (2013): 5–18. http://dx.doi.org/10.1163/22134913-00002007.
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In The Problem of Form (1893), the German sculptor Adolf Hildebrand distinguishes categorically between perception obtained from multiple fixations or vantage points (G.: Bewegungsvorstellungen; we call these ‘assemblages’), and from purely ‘iconic’ imagery (G.: Fernbilder). Only the latter he considers properly ‘artistic’. Hildebrand finds the reason for this ontological distinction in the microgenesis of visual awareness. What to make of this? We analyze the various ‘modes of seeing’ in some detail. The conceptual issues involved are fundamental, and relevant to both vision science and the visual arts.
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Wood, Craig. "The secret art of pedagogical alchemy." Open Scholarship of Teaching and Learning 2, no. 1 (October 20, 2022): 1–21. http://dx.doi.org/10.56230/osotl.45.
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This paper reveals secrets. Like their Renaissance counterparts, pedagogical alchemists often work in secret networks as they struggle against dominant forces. Pedagogical alchemists seek to transform assemblages of neoliberal education policies, shifting enactments of such policies from replication of systemic hierarchies and oppressions towards teacher and student experiences of joy, hope, and resistance. The secret art of pedagogical alchemy adopts critical praxis research method that amplifies epistemological insights arising from teacher experience. This paper utilizes performative autoethnography and social fiction to interrogate the influence of socio-political context on the labour of an 8th grade school-teacher. The secret art of pedagogical alchemy locates the experiences of a pedagogical alchemist whose 8th grade history class includes a unit of work on Renaissance alchemist Isabella Cortese. The experiences are framed by globalised, neo-liberal education policy assemblage. Like the writings of Renaissance alchemist, Isabella Cortese, the voice of the 8th grade history pedagogical alchemist is performed in quatrains that are written in iambic pentameter.
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Cheglakov, Aleksandr Dmitrievich. "The assemblage technique in the creation of modern wooden sculptures." SENTENTIA. European Journal of Humanities and Social Sciences, no. 3 (March 2022): 40–46. http://dx.doi.org/10.25136/1339-3057.2022.3.36017.
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The article demonstrates how the assemblage technique manifests itself in modern wooden sculptures. The author shows what assemblage is and what is the essence of this method. In addition, close attention is paid to another innovation of avant-garde culture – organic art, according to the philosophy of which the world is represented as an organic whole, a single system with its own laws. By the example of M. Matyushin’s pedagogical system, the natural connection between man and nature in works of art is shown. On the basis of the developed creative method, it is presented how modern art can combine such avant-garde tendencies as, for example, organic art and assemblage. Another important methodology, close to the technique of assemblage, and at the same time bordering on the practices of kinetic art, is the creation of sculptures, the elements of which can be rotated. The synthesis of methods and materials allows us to expand the boundaries of art by introducing non-artistic materials into the creative circulation. The main idea of this approach is to enlarge the context in which the work of art we have created exists, to enrich its history. It is stated that the wooden sculpture provides the creator with ample opportunities for experimentation. The ideas and plots of wooden sculptures embody various ranges of artistic diversity of decorative and applied arts.
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كيلاني, عادل. "نقوش صخرية في الفترة المتأخرة من العصر الحجري القديم بأسوان - جنوب مصر." Abgadiyat 12, no. 1 (June 6, 2017): 30–43. http://dx.doi.org/10.1163/22138609-01201013.
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A new archaeological survey in Wadi Abu Subeira and el-Aqaba el-Saghira by a team from the Egyptian Supreme Council of Antiquities has recently identified numerous new rock art sites. So far, nine sites with Late Palaeolithic rock art have been identified in Wādi Abū Subeira and only one in Aqaba. The Late Palaeolithic rock art in both Wādi Abū Subeira and Aqaba were implemented in a naturalistic style: Franco–Cantabrian Lascaux-like style, applying both techniques of hammering and incision to create the images. This style is substantially different from the later rock art located nearby. Rock art style, patina, technique and subject matter identified the date of these rock art assemblage to Late Paleaolithic. This date is supported by recently OSL date of similar rock art assemblage located at Kurta, north of Wadi Gabeira.
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Cheglakov, Aleksandr Dmitrievich. "Assemblage technique in creating modern wooden sculptures." Человек и культура, no. 4 (April 2021): 160–67. http://dx.doi.org/10.25136/2409-8744.2021.4.35982.
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This article demonstrates the manifestation of assemblage technique in modern wooden sculpture. The author describes the essence of this method. Special attention is given to another novelty of avant-garde culture – organic art, according to the philosophy of which, the world is depicted as organic whole, the uniform system with its own laws. The pedagogical system of M. Matyushin allows demonstrating the natural bound of man and nature in the artworks. Based on the developed creative method, the author indicates that contemporary art may combine such avant-garde trends as organic art and assemblage. Another important methodology that is similar to assemblage technique, and simultaneously verges upon the practices of kinetic art, is the creation of sculptures with spinning elements. The synthesis of techniques and materials allows expanding the boundaries of art by introducing into inartistic materials. The fundamental idea of this approach is to enrich the context of existence of the artwork and its history. It is stated that wooden sculpture allows the artists to experiment. The ideas and plotlines of wooden sculptures embody the artistic diversity of decorative and applied arts.
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Andersson, Patrik. "Rörelse i konsten: The Art of Re-assemblage." Konsthistorisk Tidskrift/Journal of Art History 78, no. 4 (December 2009): 178–92. http://dx.doi.org/10.1080/00233600903461396.
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Rubin, Joshua D. "Assembling emergence: making art and selling gas in Bulawayo." Africa 89, no. 3 (July 16, 2019): 479–98. http://dx.doi.org/10.1017/s0001972019000482.
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AbstractThis article is an ethnographic investigation of the labours of making art and selling liquid petroleum gas (LPG) in Bulawayo, Zimbabwe. It locates these activities within a shared social world, centred on one of Bulawayo's major art galleries, and it demonstrates that artists and LPG dealers use similar strategies to respond to the political conditions of life in the city. This article frames these conditions as unpredictable, insofar as they change frequently and crystallize in unexpected forms, and it argues that both groups are attempting to act within these conditions and shape them into emergent assemblages. In adopting this term ‘assemblage’, which has been elaborated theoretically by Gilles Deleuze, Félix Guattari and their many interlocutors, this article emphasizes both the mutability and the unpredictability of these formations. The artists who work in the gallery, for their part, make their art by assembling their chosen media. The processes by which they choose their media constitute assemblages as well, in that artists have to adapt their artistic visions to the materials that Zimbabwe's market can provide. Street dealers in gas also produce emergent assemblages against the backdrop of unpredictability. If they want to make natural gas available to consumers, dealers must shepherd their medium through an always emergent process of distribution. They participate in transnational networks of trade, but they also theorize innovative strategies of procurement, develop circuits of trust and loyalty, and conjure up visions of a predatory state. Like artists, they use their work to construct dynamic representations of the world around them. Artists may produce images, and dealers circulate gas, but this article shows that conceptualizing these practices in terms of ‘assemblages’ calls their commonalities into view. In doing so, it also demonstrates that these practices complicate easy distinctions between aesthetics, economics and politics.
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Jaworski, Adam. "Epilogue: the moiré effect and the art of assemblage." Social Semiotics 27, no. 4 (June 25, 2017): 532–43. http://dx.doi.org/10.1080/10350330.2017.1334405.
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Filipović, Andrija. "Knotting the Humanimal Assemblage. Race, Animals, and Art in Post-socialist Belgrade." REGAC - Revista de Estudios Globales y Arte Contempor�neo 8, no. 1 (December 22, 2022): 209–30. http://dx.doi.org/10.1344/regac2022.8.41422.
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The aim of this article is to show how ontic difference between humans and animals is produced and maintained through weaving and knotting various bodies and flows of matter – the humanimal assemblage. Race and effects of capitalism play decisive roles in the formation of such differences and include humans, postsocialist condition, investment urbanism, state apparatus, non-human beings, artworks, etc. Those humans who are defined as non-white are socially produced as spatio-temporally closer to animals in the whole spectrum of material-semiotic registers. By close reading of the installation Gypsies and Dogs and the event of a death of a dog to which I was a witness, I show the ways in which art plays an important role in this humanimal assemblage, together with the institutions that surround it and enable its production. Using concepts created by Deleuze and Guattari together with Afropessimist thought, I show that humanimal assemblage produces ontological rigidity in the Roma people and their relation with the companion dogs, as well as ethnic Serbs and their dogs as pets. Each human-animal relation is an effect and constitutive part of humanimal assemblage that forcefully relates human and nonhuman animals and other bodies and flows of matter. By thinking transversally, we can see that racialization, postsocialist condition, nascent neoliberal capitalist order, and artworld function to capture flows of matter, singularities-in-constitution, and tie them together in a single assemblage. In conclusion, the knots of the humanimal assemblage need to be unraveled by critical attention to the moments of ontological heterogenesis, which is grounded neither in ontological plasticity nor ontological rigidity.
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Sutters, Justin P. "Locales of learning and teaching art in pre-service education." Visual Inquiry 10, no. 1 (June 1, 2021): 89–106. http://dx.doi.org/10.1386/vi_00027_1.
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Social ontology addresses assertions of the entities’ existence and social scientists bring into question whether particular conventions applied to the entities being studied can subsequently affect them. This study explores existing spatial classifications enacted by federal bodies to identify areas surrounding public schools in the United States. Over a three-year period, participants in a Midwestern university art education programme engaged in field practices that used the school locale codes as a mechanism to critically reflect on how labels such as urban, suburban and rural are understood in relation to their own positionality and pedagogy. Through Manuel DeLanda’s Assemblage Theory, the author analyses participant responses through a framework wherein schools are theorized as assemblages in order to identify the constitutive subcomponents of both material and expressive components in order to bracket perceptions of the locales. Implications are provided related to fieldwork practices in the field of art education.
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Hamilakis, Yannis, and Andrew Meirion Jones. "Archaeology and Assemblage." Cambridge Archaeological Journal 27, no. 1 (January 11, 2017): 77–84. http://dx.doi.org/10.1017/s0959774316000688.
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Assemblage is a concept common to a number of academic disciplines, most notably archaeology and art, but also geology and palaeontology. Archaeology can claim a special link to the term assemblage, though novel approaches to the concept of assemblage have recently been adopted from the fields of philosophy and political theory. These approaches, bracketed under the term ‘new materialism’, are discussed here. The introduction to this collection of papers outlines these approaches and evaluates their usefulness for archaeological practice and interpretation.
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Reilly, Paul, and Ian Dawson. "Track and Trace, and Other Collaborative Art/Archaeology Bubbles in the Phygital Pandemic." Open Archaeology 7, no. 1 (January 1, 2021): 291–313. http://dx.doi.org/10.1515/opar-2020-0137.
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Abstract This paper describes our creative responses to a surface assemblage (a scatter) of lithic artefacts encountered on either side of a worn track across a field early on in the pandemic. Our art/archaeology response takes place within a phygital nexus in which artefacts or assemblages can be instantiated either physically or digitally, or both. In the nexus we create, connect and explore an ontological multiplicity of – more or less – physical and digital skeuomorphs and other more standard forms of records for sharing (i.e. Latour’s immutable mobiles, such as photographs), but rendered with radically different properties and affordances, at different scales, with different apparatus. These include interactive Reflectance Transformation Images, graphical surface models, machine intelligence style transfer, and 3D prints, all of which were produced in a variety of isolated analytical “bubble” settings and transmitted to and from (both digitally and physically) a home office in an isolated Hampshire village and a home studio in a London suburb. Our approach is to describe, diffractively, the ontological shifts and itineraries associated with some of these objects and assess how this assemblage came to matter as an art/archaeology installation. Ultimately, some of these deterritorialised, (re)colourised, affective, biodegradable, and diffractively born metamorphic instars, now inscribed with new meanings, are returned to the original findspot of the lithics to be (re)discovered.
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Baird, Nicola. "“in itself a work of art”: Word-Image Encounters in Ray: Art Miscellany." Journal of Modern Periodical Studies 13, no. 1 (June 1, 2022): 182–98. http://dx.doi.org/10.5325/jmodeperistud.13.1.0182.
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ABSTRACT Ray: Art Miscellany was founded, edited, and published by Sidney James Hunt, a British painter, poet, and draughtsman, between 1926 and 1927. Ray was the first little magazine in England to introduce readers to the work of European and international avant-garde artists, including Kazimir Malevich, Wassily Kandinsky, El Lissitzky, Naum Gabo, and László Moholy-Nagy, and might be regarded as the only English equivalent of such influential publications as Der Sturm, De Stijl, and Mécano. Building on recent work as well as previous critical efforts, I conduct a detailed study of Ray’s adventurous content and design by way of a series of close visual and textual analyses. Essentially combinatorial, Hunt’s idiosyncratic aesthetic project can be characterized by its compositeness and cut and mix quality. As a result, terms and concepts borrowed from art history, critical theory, and art practice, namely assemblage and collage, allow for the exploration of the numerous eclectic encounters between word and image found within the pages of Ray.
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Radchenko, Simon. "Rediscovered Mesolithic Rock Art Collection from Kamyana Mohyla Complex in Eastern Ukraine." Open Archaeology 8, no. 1 (January 1, 2022): 114–31. http://dx.doi.org/10.1515/opar-2022-0230.
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Abstract The unique rock art complex of Kamyana Mohyla in South-Eastern Ukraine is known due to its numerous cave art engraved elements and settlements, which show how important is this site in the general picture of European prehistory as regards the Mesolithic, Neolithic and Bronze Age periods of the region. However, the assemblages from this site include also a collection of portable rock art artifacts called “churingas.” Important elements of this assemblage are thought to belong to the Mesolithic. These specimens illustrate different aspects of the artist’s worldview and are capable of revealing a lot of additional data on the technological and cultural aspects of their creation. However, their study is complicate because of a very abstract imaging, lack of systematic approach to the artifact classification and absence of a well-defined stratigraphic context from which they have been recovered. Likely, current state of archaeological record and modern technologies introduces the new opportunity to rediscover, reconsider and reshape this collection.
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Kamaruzaman, Muhamad Zaim, Farid Raihan Ahmad, Mohamad Rizal Salleh, and Muhammad Sukor Romat. "New Norm Documentation: Solidarity of solitary in art making." Environment-Behaviour Proceedings Journal 7, SI9 (October 10, 2022): 69–73. http://dx.doi.org/10.21834/ebpj.v7isi9.3938.
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Positive Covid-19 instances are becoming more common every day. To reduce everyday cases, the government has taken a variety of actions. It logically follows from the absence of cohesiveness among the community. This work of art aims to provide social commentary by using assemblage paintings as a record to promote communal cohesion. Overall, the results demonstrate that a few social groups' steadfast contempt for Standard Operating Procedures (SOPs) has led to the failure of countless programmes. In order to reduce the incidence of infection, the populace must be united and accept government orders. Keywords: Painting, Mixed Media, Assemblage, Covid-19 eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3938
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Ahn, Jinkook. "The Multilayeredness of Mobility and the Visual Art Language: The Material Turn, the Inequality in ‘Mobility Capital’, the Hierarchy in Mobility, and Art." Center for Asia and Diaspora 12, no. 2 (August 31, 2022): 6–50. http://dx.doi.org/10.15519/dcc.2022.08.12.2.6.
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This study explores what mobility means from the social science perspective and how it becomes a form of capital in todays modern highly mobile society. It also investigates how it appears in arts by analyzing the artworks in the exhibition titled To you: Move Toward Where You Are.
It seems that mobility characterized by complexity, hybridity, vitality, materiality, and assemblage is somehow part of the Material Turn. Transportation, capital, power, cities, refugees, migration, tourism, climate crisis, systems, infrastructure, control, surveillance, communications, gender, race, disability, and so on. These may seem heterogeneous multi-layered issues, but all these relate to uneven mobility. And mobility inequalities occur in the dynamics of their relations.
In the highly-mobile society where the fetishism of movement prevails, mobility becomes more uneven. When freedom, acceleration, convenience and safety increase, so does censorship, control and restriction. Gaining velocity, efficiency, convenience, and safety of movement can undermine the rights of others. We should envisage the hidden power relations under the rights of (im)mobility.
Characteristics of mobility and its inequalities directly and indirectly emerge in the artworks exhibited in To you: Move Toward Where You Are. We need to consider how mobility justice can be practiced against mobility inequalities in the hierarchy of mobility capital, uneven mobility, and mobility injustice. Art which thinks beyond thinking will provide new stimulus and imagination to the practice.
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Reilly, Paul, Simon Callery, Ian Dawson, and Stefan Gant. "Provenance Illusions and Elusive Paradata: When Archaeology and Art/Archaeological Practice Meets the Phygital." Open Archaeology 7, no. 1 (January 1, 2021): 454–81. http://dx.doi.org/10.1515/opar-2020-0143.
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Abstract In this art/archaeological study, we question the utility of the interrelated concepts of provenance, provenience, and paradata as applied to assemblages in art, archaeology, and cultural heritage contexts. We discuss how these overlapping concepts are used to establish values of authenticity and authoritative attributions. However, as cultural assemblages are increasingly being extended through virtualisation, they may exist digitally as well as physically, or as combinations of both, that is phygitally. We show how provenances and paradata can now become unstable and even detached from the assemblage. Through a sequence of collaborative projects, we expose two provenance illusions at the centre of archaeological recording and presentation practices. In these illusions, the archaeologists and much of the archaeology they record actually disappear from the authoritative reports that are published. Using a transdisciplinary, diffractive art/archaeology approach, these illusions are unpacked to reveal how superficially slight changes to traditional archaeological “drawings” and “photographs” have wrought fundamental ontological shifts in their modern phygital incarnations which undermines their provenances and associated paradata. We conclude that archaeology like fine art does not require conscious paradata in order to support statements of authority and interpretation. Instead, we argue that archaeologists should adopt an art/archaeology approach and subvert and dismantle established practices, methods, tools, techniques, and outputs. By highlighting and challenging inconsistencies in what we say we do with what we actually do, we expose gaps in our knowledge and data and shortcomings in our practices. These deficiencies can then be tackled by developing more robust (trans)disciplinary approaches.
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Filimowicz, Michael. "A mixed framework for new media art reception." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, no. 1 (December 15, 2014): 41–65. http://dx.doi.org/10.7146/se.v4i1.20482.
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In this essay I propose a theoretical assemblage integrating several discursive perspectives towards audience reception in the context of new media art creation, with a focus on sonic works. After reviewing the historical origins of reception theory in reader response and its later appropriation by communication and cultural studies, I argue that a mixed discursive perspective offers a potential refinement of contemporary reception theory as applicable to new media production, in which technological abstractions and complexities may be rich for purposes of production, but fall short in appreciation and communicative value for an audience
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Filipovic, Andrija, and Bojana Matejic. "Art=life? Deleuze, badiou and ontology of the human." Filozofija i drustvo 26, no. 2 (2015): 392–413. http://dx.doi.org/10.2298/fid1502392f.
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The idea of the relation between art and life as becoming-life of art is a consequence of specific modern developments ranging from the Enlightenment to capitalism. This assemblage of thought and practice is present in one of the most dominant art forms today, and the task of this paper is to reassess the current state of affairs in art considering that the current state of affairs in art is a symptom of the global society of control. In order to be emancipatory art, on the one hand, Art presupposes de-substantialization and deessentialization of the biopolitically formed life and the category of Man, while on the other hand it also presupposes a new ?generic in-humanum? (in Badiou), that is, a people to come (in Deleuze) as the basis of politicity. Hence, emancipatory art needs to break away with the human in order to reach that which is beyond the current democratic materialism.
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Pawlikowska-Gwiazda, Aleksandra. "Terracotta oil-lamps from Egypt's Theban region in the collection of the Metropolitan Museum of Arts, New York." Ancient lamps from Spain to India. Trade, influences, local traditions, no. 28.1 (December 31, 2019): 641–57. http://dx.doi.org/10.31338/uw.2083-537x.pam28.1.28.
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The group of 17 oil lamps now in the Islamic Art Department collection of the Metropolitan Museum of Art (New York) was excavated in West Thebes in Upper Egypt by the Metropolitan Museum of Art expedition at the beginning of the 20th century. The assemblage was never fully published (apart from being included in the online MeT Collection database). The present paper documents the material in full, examining the collection and proposing in a few cases a new dating based on parallels from other sites.
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Matviienko, I. S. "МИСТЕЦТВО МИСЛИТИ ЛОГІЧНО ТА ОСОБЛИВОСТІ ФІЛОСОФСЬКОЇ АРГУМЕНТАЦІЇ." HUMANITARIAN STUDIOS: PEDAGOGICS, PSYCHOLOGY, PHILOSOPHY 12, no. 1 (January 2021): 112–18. http://dx.doi.org/10.31548/hspedagog2021.01.112.
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Argumentation, as an assemblage of proofs in defense of the stated positions is always present in philosophical dispute, and the extent to which you are conclusive in this dispute depends on your skills of argumentation. That is why this article is devoted to the examination of philosophical argumentation and its use of formal logics.
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Martínez Campos, Carmen. "El arte reciclado de David Kemp: assemblages y esculturas comprometidos con su entorno . The recycled art of David Kemp: environmentally engaged assemblages and sculptures." De Arte. Revista de Historia del Arte, no. 14 (November 29, 2015): 221. http://dx.doi.org/10.18002/da.v0i14.1664.
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<p>Un breve recorrido por el arte del siglo XX nos permite descubrir que la presencia de objetos encontrados y materiales de desecho ha estado intrínsecamente vinculada a algunos de los cambios más influyentes en el devenir del arte, desde el <em>collage</em> hasta las nuevas corrientes de posguerra, como el <em>Happening</em> o el <em>Land Art</em>, así como a una creciente conciencia ecológica por parte de los artistas. Al hilo de este contexto, el presente artículo se propone analizar la obra de David Kemp, escultor y artista del <em>assemblage</em>, estableciendo relaciones con estos precedentes. La heterogeneidad de su producción artística se hace eco de todos ellos, reflejando no sólo un interés por el entorno y el medioambiente, sino una profunda confianza en el poder transformador del arte sobre la sociedad, propia del artista comprometido con su tiempo. <strong> </strong></p> <p><strong> </strong></p><p>A brief tour around the 20th Century art work lead us to discover the presence of found objects and waste materials has been deeply bound to some of the most influential changes in Art from collage to new post war art movements, such as the so-called Happening or Land Art. Both hand-in-hand have set up roots for an increased environmental conscience on the artist mind. This article analyses David Kemp's art work, as a sculptor and artist of the assemblage, and looks at the established relations between his work and his precedents. The heterogeneity of his art work production reflects not only the influences of those named tendencies, highlighting his great interest on the surroundings and the environment, but also his belief in the transforming power of art, proper of committed modern artist of his time.</p>
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Abbott, Berenice, Mina Loy, and Amy E. Elkins. "From the Gutter to the Gallery: Berenice Abbott Photographs Mina Loy's Assemblages." PMLA/Publications of the Modern Language Association of America 134, no. 5 (October 2019): 1094–103. http://dx.doi.org/10.1632/pmla.2019.134.5.1094.
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In 1958 Marcel Duchamp and a friend gained access to the modernist poet Mina Loy's apartment on stanton street near the Bowery in New York, so that they could display the art she was storing there in a one-woman show of her assemblage artwork (Burke, Becoming 433–34). The show, which Loy herself couldn't attend since she was unwell and living with family in Aspen, Colorado, was known as the Bodley Gallery Exhibition and generated considerable interest, even drawing the increasingly reclusive Djuna Barnes to its lively opening (434). The show was described by Stuart Preston in a New York Times review as a boxing match between the popular art of the time and “Mina Loy's shocking and macabre big collages, composed most graphically of refuse, and inspired by scenes near the Bowery” (qtd. in Burke, Becoming 434). Loy's dadaist assemblages, Preston's review made clear, were a formidable opponent not only of mainstream art but also of the larger politics of art at the time: the “alliance” they reflected “between Dada and social comment,” he wrote, was “downright sinister,” and they contained a slightly apocalyptic undercurrent of social critique. Loy's artwork incorporated discarded objects, such as bottles and pieces of cardboard, from New York City's liminal spaces—especially the Bowery's alleys and abandoned buildings, places where the homeless and unemployed gathered in desperate conditions. Transporting the gutter to the gallery, this body of work depended on her close relationship to the city's so-called refuse, the homeless people she befriended who helped her collect the objects she recycled as art. It has been almost impossible to know what Loy's body of assemblage artwork—carefully dusted off and hung up by Duchamp—looked like at the Bodley Gallery show. But one fellow Bowery artist, the American photographer Berenice Abbott, had photographed Loy's assemblages. Abbott and Loy had been friends since the 1920s, when they frequented the same art scene in Paris, where Abbott was Man Ray's assistant. Abbott photographed Loy's children, and the two artists are pictured together, along with Tristan Tzara, Jane Heap, and Margaret Anderson, in a famous photograph taken at a party in Constantin Brancusi's studio in 1920.1 In this image, Loy and Abbott fill the center of the frame; Abbott's eyes confront the camera, as if to say, “I know what you're up to,” her confident head emerging over Loy's right shoulder—Loy looking as ethereal as she does glamorous. Their friendship picked up again in New York in the 1940s and 1950s, where it was defined by Abbott's interest in Loy's success and well-being.
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Rarey, Matthew Francis. "Assemblage, Occlusion, and the Art of Survival in the Black Atlantic." African Arts 51, no. 4 (November 2018): 20–33. http://dx.doi.org/10.1162/afar_a_00430.
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Blier, Suzanne Preston. "The Art of Assemblage: Aesthetic Expression and Social Experience in Danhomè." Res: Anthropology and aesthetics 45 (March 2004): 186–210. http://dx.doi.org/10.1086/resv45n1ms20167627.
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 62, no. 1 (March 25, 2015): 119–23. http://dx.doi.org/10.1017/s001738351400031x.
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The archaeologist Heinrich Schliemann once met, in London, the poet Alfred Tennyson – who, though he saluted Mount Ida tenderly, never travelled much south of the Dolomites. In the course of conversation, Schliemann remarked: ‘Hissarlik, the ancient Troy, is no bigger than the courtyard of Burlington House’. ‘I can never believe that’, Tennyson replied. Most of us, I dare say, would understand Tennyson's disbelief – and agree, accordingly, with the sentiment that Troy the site is not a marvellous ‘visitor experience’. The location may be broadly evocative – for those imaginatively predisposed to survey a landscape of epic combat. Yet the excavated remains are rather underwhelming, and difficult to comprehend. The huge trench cut through the Bronze Age settlement by Schliemann, and the resultant spoil heap left on the northern edge of the citadel, certainly contribute to a sense of confusion. But that aside, the multiple layers of habitation, from c.3000 bc until Byzantine times, customarily represented like a pile of pancakes in archaeological diagrams, will test even those pilgrims arriving with some expertise in ancient construction methods. Choice finds from the city are lodged in remote museums; and the substantial extent of Troy in Hellenistic, Roman, and possibly earlier times, indicated mainly by geophysical prospection, is hardly discernible. So archaeologists, post-Schliemann, have to work hard to make the ‘Trojan stones speak’ – at least if they also wish to avoid the charge of being obsessed (as Schliemann notoriously was) with establishing some kind of historical reality for Homer's epic. The late Manfred Korfmann, director of the international excavations at Troy since 1988, produced an enthusiastic guidebook. Now his colleague C. B. Rose has made a one-volume synthesis of the results so far, The Archaeology of Greek and Roman Troy. This will be particularly welcome for students unable or unwilling to access the annual excavation journal, Studia Troica. But novices, I fear, may soon despair of grasping the phases of stratification and ceramic assemblage more often cited by the author than explained (e.g. ‘LH III2a/VIh’). And any reader seeking new answers for old questions about the site's relationship to ‘the Trojan War’ should prepare for disappointment. Much of the evidence for Troy in the late Bronze Age – the period of c.1250 bc, generally reckoned to correlate with events transformed into epic – remains elusive: where, for example, are graves comparable to those of Mycenae? On the other hand, the lesson of the multi-period approach is that Troy the historical city largely constructs its identity upon Troy the mythical citadel – as does the Troad region. So Rose does well to devote an entire chapter to the remarkable archaic sarcophagus recovered in 1994 from a tumulus in the Granicus valley, with scenes of the sacrifice of Polyxena, Hecuba's attendant distress, and some kind of celebration. The iconography here may not be easy to relate to the gender of the deceased (a middle-aged man, according to osteological analysis). Yet it makes a visual statement about the sort of mythical bloodline to be claimed in the region: and, in due time (for Rose's survey is chronological), we will see the epigraphic and monumental evidence for similar ancestral claims by members of the Julio-Claudian clan.
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Hendricks, Lynn A., Taryn Young, Susanna S. Van Wyk, Catharina Matheï, and Karin Hannes. "Storyboarding HIV Infected Young People’s Adherence to Antiretroviral Therapy in Lower- to Upper Middle-Income Countries: A New-Materialist Qualitative Evidence Synthesis." International Journal of Environmental Research and Public Health 19, no. 18 (September 8, 2022): 11317. http://dx.doi.org/10.3390/ijerph191811317.
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Young people living with perinatal infections of Human Immunodeficiency Virus (YLPHIV) face a chronic disease, with treatment including adherence to lifelong antiretroviral treatment (ART). The aim of this QES was to explore adherence to ART for YLPHIV as an assemblage within the framework of the biopsychosocial model with a new materialist perspective. We searched up to November 2021 and followed the ENTREQ and Cochrane guidelines for QES. All screening, data extraction, and critical appraisal were done in duplicate. We analysed and interpreted the findings innovatively by creating images of meaning, a storyboard, and storylines. We then reported the findings in a first-person narrative story. We included 47 studies and identified 9 storylines. We found that treatment adherence has less to do with humans’ preferences, motivations, needs, and dispositions and more to do with how bodies, viruses, things, ideas, institutions, environments, social processes, and social structures assemble. This QES highlights that adherence to ART for YLPHIV is a multisensorial experience in a multi-agentic world. Future research into rethinking the linear and casual inferences we are accustomed to in evidence-based health care is needed if we are to adopt multidisciplinary approaches to address pressing issues such as adherence to ART.
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Eakle, A. Jonathan. "Baroque, Breakout, and Education Without Organs." Qualitative Inquiry 23, no. 9 (September 12, 2017): 711–21. http://dx.doi.org/10.1177/1077800417725358.
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The present assemblage ( agencement) is derived from Deleuze’s ideas and affect theory. It is comprised of concepts and affects fueled by art to point toward an education without organs and with the goal of dismantling institutional structures, processes, and ideas. In this assemblage, concepts are used as method to produce a language text and an oil painting that is drawn from the Baroque and intended to realize affects and sensations.
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Kong, Jieyoung. "Zeno's Paradox." Qualitative Communication Research 1, no. 4 (2012): 491–519. http://dx.doi.org/10.1525/qcr.2012.1.4.491.
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Scholars have noted the increase in “Eastern movement forms” (e.g., non-sporting martial arts, yoga, meditation, and Tai Chi), which have been penetrating into social-cultural spaces and institutions outside their native contexts. The practice halls and studios where such movement forms are trained are intercorporeal communicative spaces where practitioners are not only grappling with the specificity of movements, but enmeshed in an assemblage of moving bodies and cultural resources. By plunging into the practice of aikido, a martial art style originating from Japan, this study explores how practitioners in the United States understand their martial art practice through their bodies. Three themes emerged: practicing, ki, and mastering. Listening to the voices of martial art bodies revealed that skillfulness is a ceaseless endeavor that uses movement to draw new relationalities between one's own corporeal assemblage and those of others rather than the internationalization of movement techniques. In the case of aikido practice, the on-site learning and practice open the way for new relationship-making across multiple lines of difference, suggesting cultural appropriation as a transformational process that exceeds the simple use and borrowing of cultural elements.
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Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 69. http://dx.doi.org/10.25038/am.v0i19.306.
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Books and artworks have a long common history. Written texts, as well as the joy of reading and the act of writing them, appeared in pieces of art from early Antiquity onwards, well before the current form of the book itself was invented. Apart from indicating readers and writers, the book had also become a basic symbol of culture, education, or the attribute of saints. On the other hand, there are many artists who create special books, i.e. special one-copy and one-edition volumes, not only containing the artist’s drawings or paintings but the whole assemblage of the book (and often even the paper itself) is the creator’s own work. From the Early Modern Age and especially from Romanticism onwards, the sketchbook of the artist grew rapidly in its importance. In this paper, however, I would like to survey another aspect: when the book, and especially its material property or physicality, serves as the basis of the creation of a novel artwork. In other words, I focus on pieces of art where the book is not simply a depicted motif or an attribute and it is not even a newly-created book-art object. Hence my current examination aims to analyze the phenomenon of the book, as how its materiality and referential ability may inspire the artist to further develop considerations on cultural, social and political issues. Works by Sophia Pompéry, Ákos Czigány, the art collective Slavs and Tatars, Jorge Méndez Blake and Carla Filipe are analyzed.Article received: April 15, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Review ArticleHow to cite this article: Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies 19 (2019): 69-75. doi: 10.25038/am.v0i19.306
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Wolf, Christian, Stephan Frickenhaus, Estelle S. Kilias, Ilka Peeken, and Katja Metfies. "Regional variability in eukaryotic protist communities in the Amundsen Sea." Antarctic Science 25, no. 6 (April 16, 2013): 741–51. http://dx.doi.org/10.1017/s0954102013000229.
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AbstractWe determined the composition and structure of late summer eukaryotic protist assemblages along a west–east transect in the Amundsen Sea. We used state-of-the-art molecular approaches, such as automated ribosomal intergenic spacer analysis (ARISA) and 454-pyrosequencing, combined with pigment measurements via high performance liquid chromatography (HPLC) to study the protist assemblage. We found characteristic offshore and inshore communities. In general, total chlorophyll a and microeukaryotic contribution were higher in inshore samples. Diatoms were the dominant group across the entire area, of which Eucampia sp. and Pseudo-nitzschia sp. were dominant inshore and Chaetoceros sp. was dominant offshore. At the most eastern station, the assemblage was dominated by Phaeocystis sp. Under the ice, ciliates showed their highest and haptophytes their lowest abundance. This study delivers a taxon detailed overview of the eukaryotic protist composition in the Amundsen Sea during the summer 2010.
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Hayward, John A., Iain G. Johnston, Sally K. May, and Paul S. C. Taçon. "Memorialization and the Stencilled Rock Art of Mirarr Country, Northern Australia." Cambridge Archaeological Journal 28, no. 3 (March 15, 2018): 361–78. http://dx.doi.org/10.1017/s095977431800015x.
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This paper addresses the motivations for producing the rare object stencils found in the rock art of western Arnhem Land. We present evidence for 84 stencils recorded as part of the Mirarr Gunwarddebim project in western Arnhem Land, northern Australia. Ranging from boomerangs to dilly bags, armlets and spearthrowers, this assemblage suggests something other than a common or ongoing culture practice of stencilling objects used in everyday life. Instead, we suggest that these stencils represent an entirely different function in rock art through a process of memorialization that was rare, opportunistic and highly selective.
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McCall, Grant S. "Altitude Adjustments: More on Didima Gorge and New Directions in Rock Art Research." American Antiquity 77, no. 4 (October 2012): 813–17. http://dx.doi.org/10.7183/0002-7316.77.4.813.
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AbstractIn their comment, Challis et al. (this issue) find fault with several aspects of my earlier paper on rock paintings in the Didima Gorge, South Africa (McCall 2010). In this reply, I acknowledge that they may be correct in certain assertions concerning rock shelter altitudes. I argue, however, that the significance of these “altitude adjustments” for my broader arguments concerning variability in San rock art site use patterns is minor. I close by considering more substantive challenges for the use of quantitative analytical methods in the examination rock art assemblage composition and landscape-scale variation.
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Brumm, Adam, Michelle C. Langley, Mark W. Moore, Budianto Hakim, Muhammad Ramli, Iwan Sumantri, Basran Burhan, et al. "Early human symbolic behavior in the Late Pleistocene of Wallacea." Proceedings of the National Academy of Sciences 114, no. 16 (April 3, 2017): 4105–10. http://dx.doi.org/10.1073/pnas.1619013114.
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Wallacea, the zone of oceanic islands separating the continental regions of Southeast Asia and Australia, has yielded sparse evidence for the symbolic culture of early modern humans. Here we report evidence for symbolic activity 30,000–22,000 y ago at Leang Bulu Bettue, a cave and rock-shelter site on the Wallacean island of Sulawesi. We describe hitherto undocumented practices of personal ornamentation and portable art, alongside evidence for pigment processing and use in deposits that are the same age as dated rock art in the surrounding karst region. Previously, assemblages of multiple and diverse types of Pleistocene “symbolic” artifacts were entirely unknown from this region. The Leang Bulu Bettue assemblage provides insight into the complexity and diversification of modern human culture during a key period in the global dispersal of our species. It also shows that early inhabitants of Sulawesi fashioned ornaments from body parts of endemic animals, suggesting modern humans integrated exotic faunas and other novel resources into their symbolic world as they colonized the biogeographically unique regions southeast of continental Eurasia.
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Riris, Philip, and José Oliver. "Patterns of Style, Diversity, and Similarity in Middle Orinoco Rock Art Assemblages." Arts 8, no. 2 (April 2, 2019): 48. http://dx.doi.org/10.3390/arts8020048.
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The area encompassed by the Orinoco river basin is home to some of the largest and most diverse rock art sites in lowland South America. In this paper, we aim to formally describe the spatial distribution and stylistic attributes of rock engravings and paintings on both banks of the Orinoco, centred on the Átures Rapids. Drawing on an exhaustive literature review and four years of field survey, we identify salient aspects of this corpus by investigating patterns of diversity and similarity. Based on a stylistic classification of Middle Orinoco rock art, this permits us to discuss potential links, as well as notable discontinuities, within the assemblage and possibly further afield. We consider the theoretical implications of our work for the study of pre-Columbian art and conclude with some suggestions for advances in methods for achieving the goal of deriving broader syntheses.
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Kane, D. "STEPHEN FREDMAN. Contextual Practice: Assemblage and the Erotic in Postwar Poetry and Art." Review of English Studies 62, no. 255 (March 26, 2011): 497–500. http://dx.doi.org/10.1093/res/hgr028.
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Katz, Jonathan D. "“Committing the Perfect Crime”: Sexuality, Assemblage, and the Postmodern Turn in American Art." Art Journal 67, no. 1 (March 2008): 38–53. http://dx.doi.org/10.1080/00043249.2008.10791293.
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März, Roland, and Debbie Lewer. "Introduction to From Collage to Assemblage: Aspects of Material Art in the GDR." Art in Translation 5, no. 1 (February 2013): 145–50. http://dx.doi.org/10.2752/175613113x13547854569447.
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Penn Chapman, Louise Elizabeth. "Cabinets of Costume: Renegotiating Participation Through Practice, Object-Based Study and ‘Ghosts’ of an Assemblage of Dress." Costume 54, no. 2 (September 2020): 222–41. http://dx.doi.org/10.3366/cost.2020.0165.
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The exhibition Cabinets of Costume was undertaken as part of an international conference, Culture, Costume, and Dress at Birmingham City University (BCU) in May 2017. Its aim was to highlight two study collections held at BCU — the first, the Historical Dress Archive, which includes the Kate Elizabeth Bunce objects, and the second, the Art and Design Archives. Referencing the previous practice of object-based study to inform current practice at the Municipal School of Art, Birmingham, this paper will explore the cultural and creative capital of this assemblage of everyday historic dress uncovered in 2012 at BCU. Focusing on the Historical Dress Archive the initiative was developed to enable undergraduates across the faculty of Art, Design and Media at BCU to study extant historical dress, creating five representations or ‘ghosts’ of the objects of study. The initiative and exhibition offered an opportunity for a student-academic partnership to share the practices of object-based study as a creative catalyst, to inform costume practices as a live project.
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Yazbeck, Sherri-Lynn, and Ildikó Danis. "Entangled Frictions With Place As Assemblage." Journal of Childhood Studies 40, no. 2 (December 5, 2015): 22. http://dx.doi.org/10.18357/jcs.v40i2.15176.
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<p>The focus of this paper is to tell stories and grapple with questions about place. We share documentation gathered during explorations in an art studio we created in an urban forest located next to our childcare centre. We work with multiple forms of knowledge about place in order to develop complex (and situated) forest pedagogies. Our stories engage with clay and the use of maps, and lend themselves to thinking of place as assemblage with more-‐than-‐human others. We conclude the paper with an examination of how our newly forming forest pedagogies creep into other stories—unfolding, changing, and creating frictions in our practice, explorations, and inquiries—just as English ivy does in our forest studio.</p>
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Li, Kin Sum (Sammy), Quanyu Wang, J. Keith Wilson, Fan Jeremy Zhang, Jody Ho Yee Cheung, Tsz Hin Chun, Sum Lam, et al. "DECORATED MODELS, REPLICATION, AND ASSEMBLY LINES FOR BRONZE INDUSTRIAL PRODUCTION IN 500 b.c.e. CHINA." Early China 44 (September 2021): 109–42. http://dx.doi.org/10.1017/eac.2021.9.
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AbstractThis article examines the earliest examples of replication of bronze objects of complicated structure in China. It uses four quadrupeds from the Freer Gallery (National Museum of Asian Art, Smithsonian Institution), the Asian Art Museum of San Francisco, the British Museum, and the Yūrinkan Museum in Kyōto as examples to illustrate the complex technology required in replicating bronzes. It provides evidence to define identical bronzes and proves that the four quadrupeds shared the same decorated model. The application of section-mold casting, spacers, clay cores, and mold section assemblage will be examined using 3D scanning, X-ray photography, computerized tomography (CT) scanning, and alloy composition analysis.