Academic literature on the topic 'Art, Modern Art and science Art and technology'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Art, Modern Art and science Art and technology.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Art, Modern Art and science Art and technology"
1
Tormakhova, A. M. "MEDIA TECHNOLOGIES AND SCIENCE ART IN THE CONTEXT OF MODERN CULTURAL AND ART PRACTICES." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 98–101. http://dx.doi.org/10.17721/ucs.2020.1(6).19.
Full textAbstract:
Media in the 21st Century Cultural Area is an integral component of artistic practices. Currently, a new direction is emerging – science art, which combines art, technology and scientific development. The leading feature of contemporary music is its transformation, which is due to the changing channels of artistic communication that set certain parameters. Music plays a very important role in the space in which it is performed, both the material itself and the musicians. A promising area of science-art development is the emergence of software and equipment that allows us to "resurrect" the stars of the past, simplify the process of musical creation and performance. There is currently a use of holograms for various purposes in music. Sometimes holograms play the role of an accompanying factor, because they can create a background for the performer, replacing the usual scenery, compensate for the absence of dancers, creating a visual basis for performances. Performers working in the field of popular and pop art are often organized in this way. Examples include the concert numbers of participants in the Eurovision Song Contest. Also, hologram or media projection can be used not only as a background but also as a leading factor in a composition. Hatsune Miku is media performer which presents by a hologram and "performs" with live instrumentalists. Miku's visual characteristics are driven by the traditions of manga comics and anime cartoon strips. The vocal party is created using software that can combine different samples. In this case we are talking about the use of the Vocaloid program, which synthesizes the human voice to record vocals, as well as the vocaloid as a fictional character corresponding to a particular synthesized voice. Although Hatsune Miku's live performances are accompanied by live-instrumental performers, the audience's focus is on the vocalist. The ability to create the perfect virtual performers gradually diminishes the professional qualities of gifted live musicians, whose ability is limited, unlike a vocaloid. The evolution and advancement of technology are changing the disposition between composer, performer and audience, but create new opportunities for creative expression.
2
Popper, Frank. "Art, Science, Technology: Six Exhibitions 1966–1998." Leonardo 52, no. 2 (April 2019): 194–95. http://dx.doi.org/10.1162/leon_a_01163.
Full textAbstract:
From the late 1960s until the end of the twentieth century, the author organized, or helped organize, six exhibitions throughout Europe that saw artists integrate and alter the collective destinies of science, art and technology. The works of art presented at these exhibitions: KunstLichtKunst at the Stedelijk Van Abbe Museum in Eindhoven; the Lumière et Mouvement exhibition at the Musée d’Art Moderne de la Ville de Paris; Cinétisme, Spectacle, Environnement, held at the Mobile theater of the Maison de la Culture in Grenoble; Interventions and Environments in the Streets of Paris and in Its Suburbs and Electra at the Museum of Modern Art of the City of Paris; and the Virtual Art show in Boulogne-Billancourt in 1998, did more than just lay a formal and theoretical foundation for new media art to follow—they challenged the perceptions of both the spectator of the art as well as other artists working in this area. This article chronicles the aesthetic and societal ramifications, particularly within the artistic community, that the works in these exhibitions created.
3
Roberts, John. "Art After Deskilling." Historical Materialism 18, no. 2 (May 20, 2010): 77–96. http://dx.doi.org/10.1163/156920610x512444.
Full textAbstract:
The absence of would-be palpable skills in contemporary and modern art has become a commonplace of both conservative and radical art-criticism. Indeed, these criticisms have tended to define where the critic stands in relation to the critique of authorship and the limits of ‘expression’ at the centre of the modernist experience. In this article, I am less interested in why these criticisms take the form they do – this is a matter for ideology-critique and the sociology of criticism and audiences – than in the analysis of the radical transformation of conceptions in artistic skill and craft in the modern period. This will necessitate a focus on modernism and the avant-garde, and after, as it comes into alignment with, and retreat from, the modern forces of production and means of reproduction. Much, of course, has been written within the histories of modernism, and the histories of art since, on this process of confrontation and exchange – that is, between modern art’s perceived hard-won autonomy and the increasing alienation of the artist, and the reification of art under the new social and technological conditions of advanced capitalist competition – little, however, has been written on the transformed conditions and understanding of labour in the artwork itself (with the partial exception of Adorno). This is because so little art-history and art-criticism – certainly since the 1960s – has been framed explicitly within a labour-theory of culture: in what ways do artists labour, and how are these forms of labour indexed to art’s relationship to the development of general social technique (the advanced level of technology and science as it expressed in the technical conditions of social reproducibility)? In this article, I look at the modern and contemporary dynamics of this question.
4
BridA, Tom Kerševan, Sendi Mango, and Jurij Pavlica. "Somewhere between art and science." Journal of Science Communication 08, no. 02 (June 19, 2009): C05. http://dx.doi.org/10.22323/2.08020305.
Full textAbstract:
There is a fundamental difference between artists, who use science as an object of social examination, and artists, who believe that science represents a component of their expressive style. The idea that different ideological manipulations of the Art&Science concept can cause a distorted view on this fascinating and at the same time controversial relation is becoming clear. In our projects we use different technological and scientific applications; to us technology is an integral part of our artistic expression. The scientific and analytical approach that we use when we investigate and solve various operations within our projects, indicates that our system is based on collective and systematic work and it allows us to understand better the different problems and relations of contemporary society. Art has always played an important role in the system of the communication of ideas and feelings in a tight connection with contemporary society. No wonder that the artist today uses the methods and technologies of modern and sophisticated devices. We are all users of new technologies, developed with the help of scientific discoveries in order to satisfy our needs. Anyway the belief that society borrowed research in the field of science and technology in order to survive is incorrect.
5
Zhao, Yan, and Xu Guang Yang. "Research on Digital Media Technology in the Folk Art Design." Advanced Materials Research 926-930 (May 2014): 2550–53. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.2550.
Full textAbstract:
Digital Media Art and Design is based on a visual art, design, computer graphics and media technology intersect science disciplines of digital media. Meanwhile it is also the product of the combination of the rapid development of information technology and the arts. Through the application of Digital Media Art and Design, it not only brings innovations for modern visual communication art and design but also provides a rich form of expression and communication carriers for the folk art design, which makes it rise from the traditional to the digital level, process level. This kind of design innovates an innovative style. The elements of art and culture with national spirit got the better show in digital media technology, which makes the folk art entered its post-modern stage enter its post-modern stage, and no longer presents the main characteristics of a single.
6
Dörries, Matthias. "The Art of Listening." Historical Studies in the Natural Sciences 51, no. 4 (September 1, 2021): 468–506. http://dx.doi.org/10.1525/hsns.2021.51.4.468.
Full textAbstract:
Music and seismology merged in the daily work of the Caltech professor Hugo Benioff, who united the avant-garde technology of the 1920s with a nineteenth-century Helmholtzian aesthetic, cultural, and scientific understanding of music. The transducer facilitated this merger, mediating between science and music and allowing for new ways of listening to waves outside the audible range. Benioff had the capacity to listen—“listening” understood here not as passive perception, but as an active search to distinguish and separate signal from noise, whether from in- or outside of the instrument. For more than forty years, Benioff worked as a sonic expert, perfecting the recording and reproduction of waves and vibrations of all types and frequencies. After tracing elements of Benioff’s biography, I examine how he incorporated the technology of the transducer in his workshop into his seismological and musical instruments, notable not only for the control, austerity, and clarity of lines of their modernist design, but also for a new kind of poetic technology. Benioff’s seismological instruments made it possible to listen to a large variety of previously undetectable phenomena such as the free oscillations of the earth, and his work with the pianist Rosalyn Tureck on electric musical instruments aimed to reproduce the pure sound of traditional instruments. I argue that Benioff’s search for an aesthetic reconciliation of the scientific modern with an enchanted view of the world is very much a product of the social, cultural, technical, and scientific conditions of the interwar period.
7
Sugita, I. Wayan, Made Setini, and Yahya Anshori. "Counter Hegemony of Cultural Art Innovation against Art in Digital Media." Journal of Open Innovation: Technology, Market, and Complexity 7, no. 2 (June 4, 2021): 147. http://dx.doi.org/10.3390/joitmc7020147.
Full textAbstract:
Culture is the most critical thing when driving innovation. This paper aims to discuss the counter-hegemony of Drama Gong against modern entertainment arts today with the dynamics of openness innovation. The research method used is qualitative and uses triangulation analysis. Basic qualitative data were obtained by examining two stories of Drama Gong, namely: (1) Angling Dharma (the 1980s) and (2) Jayaprana (2020). Data were collected through observation, document review, and interviews with artists and art observers of the Drama Gong culture of Bali. Qualitative descriptive analysis was carried out by applying the theory of semiotics and the theory of symbolic interaction. The results showed that to maintain its existence since the 1980s Drama Gong performance art has been revitalized as a form of counter-hegemony to today’s modern entertainment arts. The counter-hegemony concerns three things, namely: (1) the innovation of Drama Gong performance art, (2) the application of new technology to support the packaging and performance of the Drama Gong, and (3) efforts to maintain the function of the Drama Gong as a way to teach Balinese culture.
8
Reina-Rozo, Juan David. "Art, Energy and Technology: the Solarpunk Movement." International Journal of Engineering, Social Justice, and Peace 8, no. 1 (March 5, 2021): 55–68. http://dx.doi.org/10.24908/ijesjp.v8i1.14292.
Full textAbstract:
The purpose of this text is to reflect on the ways that science fiction allows criticism on the modern technology path. Imagination has allowed us to think of some ends of the world, but it has been a privileged space. Creating other possible futures for our relationship with energy is essential. Corporate renewable energy projects are emerging in corners of the planet where green capitalism has not yet reached. In this way, the creation of alternatives to centralized and corporate models of energy generation, distribution and consumption must go through new potentialities of inhabiting new possible futures. Science fiction is a literature genre that has inspired generations of people assembling art and techno-science as well as dystopia. Solarpunk has been consolidated as a space of counter-cultural hope to allow us to go beyond social-ecological injustices and growing epistemic and ontological violence. This genre is derived from other currents such as Cyberpunk, Steampunk and Dieselpunk, elucidating another relationship between technology, society and nature, nourished in turn by climate sci-fi, Indigenous and Afro-futurist science fiction. In this sense, a concept revision is made in three spheres: i) historical, based on its digital origins; ii) literary, based on the edited anthologies and iii) academic, of the reflections that it has raised. Finally, the Solarpunk Manifesto, revealed at the beginning of 2020, is shared in order to continue its co-creation.
9
Boychuk, Vitaliy, Volodymyr Umanets, and Fu Guan. "PREPARATION OF FUTURE TEACHERS OF ART AND ART DISCIPLINES WITH THE HELP OF INNOVATIVE TECHNOLOGIES IN EDUCATION." OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, no. 10 (2021): 33–42. http://dx.doi.org/10.28925/2414-0325.2021.104.
Full textAbstract:
During the writing of the article, we analyzed the domestic and foreign experience in implementing STEAM approaches in the educational process of educational institutions. The article considers the issues of modern STEAM strategy - education, which is successfully developing in our time, which is the result of the integration of science and art, as a result of which scientific technologies are born. Some historical and pedagogical aspects of this problem are analyzed. Attention is drawn to the five components of STEAM-education: S - science (natural sciences), T - technology (technology), E - engineering (engineering art), A - art (creativity) and M - mathematics (mathematics) and emphasis on the importance of the artistic component in the interdisciplinary formation of a holistic personality. The results of separate researches of domestic and foreign scientists are covered. Approaches to the implementation of such educational standards in the United States and Austria, other EU countries are analyzed. It is determined that for pedagogical representatives, in particular, future teachers of art disciplines, the introduction of STEAM helps to increase their own level of professionalism, improve the quality of the educational process, reduce preparation time, allows to make a radically new job. Artistic and creative activity is an important indicator of the formation of the creative personality of the student, a special role in relation to artistic activity is played by the development of artistic perception when acquainted with works of painting, graphics, sculpture, arts and crafts. This acquaintance can take various forms, including the use of modern information technology and STEAM-approaches. We concluded that a comprehensive understanding of scientific problems, creative and engineering approach to their solution, critical thinking, the ability to process data representing figurative and symbolic objects; the ability to analyze several data streams simultaneously, the integrated application of scientific and artistic methods of cognition contributes to the development of all important competencies of future professionals.
10
Xilin, You. "Information, Communication and Art." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 233–49. http://dx.doi.org/10.1515/yewph-2018-0017.
Full textAbstract:
AbstractFrom Karl Marx to Martin Heidegger, the dialectical relationship between technology and art has become an ontological question of social reality. Marshall McLuhan’s theory of cool-hot media provides an analytical framework for the information age. “Cool-hot media” is McLuhan’s truly original concept. However, while McLuhan determined electronic media to embrace printing media which was regarded as a typical representative of hot media, he could not foresee that electronic media is properly speaking the latest representative of the split type of hot media. Through Gödel’s Incompleteness Theorems which underlies formalization and Embodied Cognition Theory, this article argues that there exists an ontological difference between computers and human existence and explores the position of art from the contemporary cool media perspective. This contribution is not only intended to be a philosophical critique of the philosophy of technology of the media age, but also a repositioning of contemporary art and its function from the media perspective. The technological division and abstraction represented in hot media becomes the basic premise for a holistic approach to computer science and artificial intelligence. Their rich information context leads to multiple interpretations of meaning instead of a one-dimensional definition; the everyday actions of cold media have become a type of life art in a broad sense, and manifest their social function as an art of the information age, i.e. to balance the cognitive narrative of hot media and to ensure that its communication does not suppress the audience’s individual creativity, so that they can maintain their subjectivity by tracing the source of information. Art facilitates active audience participation and so allows participants to overcome a one dimensional way of thinking and promotes imagination and creativity in liberal arts education. Following the rules of art, cold media obtains its greatest significance as the guardian of the free subjectivity of all humans, which is alien to modern technology. Cold media and hot media balance each other to create a new way of producing and living that not only discovers but also safeguards the world.
Dissertations / Theses on the topic "Art, Modern Art and science Art and technology"
1
Guo, Hao. "Living machine." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/3651.
Full textAbstract:
"In terms of what they are capable of, it seems to me, when you have the distance narrowing between humans and machines in the sense that if we are becoming more machine-like, it's easier to see the machine as more human-like. I don't want to be overly dramatic about it, but I think more and more people wonder, is this living or are we just going through the motions? What's happening? Is everything being leached out of life? Are the whole texture and values and everything kind of draining away? Well, that would take many other lectures, but it's not so much the actual advance of the technology: If machines can be human, humans can be machines. The truly scary point is the narrowing of the distance between the two".In John Zerza’s talk ‘Against Technology’ at Stanford University, he observed that when you have the distance between humans and machines narrowing then in a sense we are becoming more machine-like, and it’s easier to see the machine as more human like. These views are similar to the views I have been considering for some time in my art practice.My research paper attempts to chart the relationship between my art practice and personal and global circumstances as an international student from Beijing studying at an art school in Melbourne.Living Machines also finds expressions of these ideas in the theories of Michel Focault, Gilles Deleuze, Jacques Lacan and Harold Pinter. The artists I have been investigating include Marcel Duchamp, Ai WeiWei, Ang Lee, Tom Friedman and A Constructed World .The informal nature of the writing attempts to articulate my philosophical stance taken in the studio-based research. My studio research practice comprises collaboration and installations where I construct objects from found materials, and use video, animation, and performance to explore material and spatial equivalences to the concept of body as machine.
2
Campbell, Kurt (Kurt Denver). "The tensions in technology : influences of technology in the modern age." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/16268.
Full textAbstract:
Thesis (MA(BK))--University of Stellenbosch, 2004.ENGLISH ABSTRACT: Technology as a formal structure has been given pride of place in many developing countries because of its association with modernity and social development. It has been grouped with Science as a force that operates beyond reproach because of its perceived rational and instrumental nature. By surveying current theories of technology, philosophy and technology development modules, I investigate the implications that modern technology and technological artifacts have beyond merely their instrumental role. I will question the current conceptions of technology as a rational, objective force by arguing that technology operates as a force that more often than not produces a variety of unintended consequences as part of its impact on society.
AFRIKAANSE OPSOMMING: In menige ontwikkelende lande geniet tegnologie voorrang as ‘n formele struktuur weens die verbintenis daarvan met moderniteit en sosiale ontwikkeling. Tegnologie word saam met wetenskap gegroepeer omdat dit, weens die waarneembare rasionele en instrumentele aard daarvan, onberispelik funksioneer. Deur huidige teoriee van tegnologie, filosofie en tegnologiese ontwikkelingsmodules te bestudeer, ondersoek ek dié aanduidinge wat moderne tegnologie en tegnologiese artefakte bo en behalwe hul blote instrumentele rolle besit. Ek sal die huidige opvattings van tegnologie as ‘n rasionele, objektiewe krag bevraagteken deur te argumenteer dat tegnologie eerder ‘n verskeidenheid van onopsetlike voortvloeisels as deel van sy impak op die samelewing tot gevolg het.
3
Taylor, Grant D. "The machine that made science art : the troubled history of computer art 1963-1989." University of Western Australia. Visual Arts Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0114.
Full textAbstract:
[Truncated abstract] This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science paradigms for inspiration and insight. While recourse to science was a major impediment to computer art’s acceptance by the artworld orthodoxy, it was the sustained hostility towards the computer that persistently wore away at the computer art enterprise. The anticomputer response came from several sources, both humanist and anti-humanist. The first originated with mainstream critics whose strong humanist tendencies led them to reproach computerised art for its mechanical sterility. A comparison with aesthetically and theoretically similar art forms of the era reveals that the criticism of computer art is motivated by the romantic fear that a computerised surrogate had replaced the artist. Such usurpation undermined some of the keystones of modern Western art, such as notions of artistic “genius” and “creativity”. Any attempt to rationalise the human creative faculty, as many of the scientists and technologists were claiming to do, would for the humanist critics have transgressed what they considered the primordial mystique of art. Criticism of computer art also came from other quarters. Dystopianism gained popularity in the 1970s within the reactive counter-culture and avant-garde movements. Influenced by the pessimistic and cynical sentiment of anti-humanist writings, many within the arts viewed the computer as an emblem of rationalisation, a powerful instrument in the overall subordination of the individual to the emerging technocracy
4
Garubba, Keith. "Art/Science and a Blended Inquiry." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405436323.
Full text
5
Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.
Full textAbstract:
Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.
6
Ann, Jessica. "Intentional Entanglement: The Art of Living on a Dying Planet." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461073161.
Full text
7
Leclercq, Christophe. "Experiments in Art and Technology : la question environnementale." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010663.
Full textAbstract:
L'activité théorique et pratique d'Experiments in Art and Technology (E.A.T.) soulève un certain nombre de problèmes esthétiques, ceux posés par une organisation qui soutient la collaboration entre artistes et ingénieurs, à l'intérieur comme à l'extérieur du monde de l'art. Cette thèse interroge l'irruption, jugée symptomatique, de la question environnementale en art, et la mobilisation, par les principaux acteurs d'E.A.T., du concept équivoque d'environnement pour désigner non seulement ce qui nous entoure, mais aussi ce qui peut nous influencer. En confrontant les propos de John Cage, Robert Whitman et Robert Rauschenberg sur leur pratique à des œuvres de références attestant de l'imprégnation des technologies dans nos existences on identifie une approche environnementale qui participe d'une explicitation, par l'art, de l'environnement contemporain. Ces artistes s'efforcent en effet de mettre en évidence, par leur travail, les qualités esthétiques d'un environnement naturel et artificiel, à l'égard duquel on ne peut plus être indifférent. L'attention portée à la perception dans l'expérience de cet environnement, témoigne d'un intérêt commun pour une physique phénoménale qui, bien qu'en relation avec des préoccupations scientifiques, s'en démarque cependant. Il s'agit non seulement de transformer cet environnement diffus en un espace perçu, mais également d'interroger la place et le rôle de l'artiste dans la mise en forme de l'environnement humain. S'élabore ainsi avec E.A. T., une recherche-action centrée sur l'individu, et qui envisage la possibilité, non plus simplement de vivre dans, mais d'exister avec son environnementThe theoretical and practical activity of Experiments in Art and Technology (E.A. T.) raises a number of aesthetic problems - those posed by an organization whose aim was to facilitate and encourage collaboration between artists and engineers, both inside and outside the art world. This thesis investigates the eruption of environmental issues in art and the use made by E.A.T.'s main actors of the ambiguous concept of the environment, a concept which includes not only what surrounds us but also that which can have an influence on us. By juxtaposing and comparing what John Cage, Robert Rauschenberg and Robert Whitman had to say about their practice with key works on the infiltration of technology into our lives, we will identify an environmental approach that is part of an “explicitation” of the contemporary environment by and through art. These artists strive to highlight, through their work, the aesthetic qualities of a natural and artificial environment, the consequences of which cannot leave us untouched or indifferent. The focus on perception in the experience of this environment reflects a common interest in a 'phenomenal physics' which, even if related scientific concerns, also differs significantly from them. It is not only a question of the transformation of this pervasive environment into a perceived space but also a matter of investigating the place and role of the artist in the shaping of the human environment. Thus we see in E.A.T.'s program an activity a form of action-research focused on the individual, which envisages also the possibility not only of living in but of existing with one's environment
8
NASCIMENTO, ELEN CRISTINA CARVALHO. "ELECTRONIC ART: THE MISSING LINK BETWEEN DESIGN, SCIENCE AND TECHNOLOGY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30067@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Este trabalho propõe a reflexão sobre a relevância da Arte Eletrônica no processo de formação e produção para o conhecimento contemporâneo, bem como suas afinidades com o campo do Design, desde os princípios históricos até as práticas de produção e experimentação transdisciplinares que ampliam os limites entre Arte, Ciência e Tecnologia. Os capítulos refletem os problemas epistemológicos encontrados e trazem à análise, conceitos e exemplos de obras de Arte Eletrônica, desde estágios iniciais de experimentação até modelos publicamente apresentados. Foram também realizadas entrevistas com professores, alunos, especialistas e pesquisadores de áreas relacionadas para auxiliar em análises comparativas de interpretação.
This work proposes to reflect on the relevance of Electronic Art in the process of formation and production of the contemporary knowledge, as well as its affinities with the field of Design, from historical principles to practices of transdisciplinary production and experimentation that expands the boundaries between Art, Science, and Technology. The chapters reflect the epistemological problems encountered, and bring the analysis, concepts, and examples of works of Electronic Art, from initial stages of experimentation, to publicly presented models. In addition, interviews were conducted with teachers, students, specialists, and researchers from related areas to assist in comparative analysis of interpretation.
9
TAYLOR, SHAWN. "SPEED AND RESOLUTION IN THE AGE OF TECHNOLOGICAL REPRODUCIBILITY." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3888.
Full textAbstract:
The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.
10
Carroll, Michael Jeffrey. "Preserving Queer Legacies in Archives and Art." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/582084.
Full textAbstract:
Art HistoryM.A.
Queer artists have engaged archives throughout modern and contemporary American art, but art historical discourse of their work has centered the writing of Jacques Derrida and Michel Foucault to theorize these spaces without considering archival scholarship. This text takes up Gabriel Martinez’s Archive series as a case study to critique archival selection theory and better understand how prejudice has affected the preservation of queer folx’s collections. Martinez’s series is situated amongst other Western artworks that center archival records and queer themes throughout the last century. This section places his artwork in dialogue with other artists for whom the archive is the subject of their artwork. The artworks detailed exemplify the multiplicity of ways that queer folx critique and interpret the histories preserved in these institutions. Following this survey of art is an analysis of how archival records are selected for preservation and the inherent subjectivity of this task. Pedagogical writing on archival selection by Frank Boles, Richard Cox, and James O’Toole are consulted to better understand how archivists working in the field are taught to handle this type of work. Most of their writing is focused on traditional archives and fails to articulate the challenges facing counterarchives, spaces formed to compensate for the erasure of queer persons in traditional institutions. This review of archival scholarship ends with a critique of how queer counterarchives have fallen short of their inclusive aims. The final section of this text is dedicated to a close study of Martinez’s Archive series. His photographs document the Harry R. Eberlin photograph collection and the John J. Wilcox, Jr. Archives in Philadelphia. The historical context of the Eberlin collection and the founding of its host repository are presented in conjunction with Archive series because Martinez’s compositions are inseparable from these histories. Philadelphia queer culture in the 1970s and 1980s is revealed through the retelling of these histories and by examining who was visualized in the images themselves. These images of bars and events simultaneously reveal the gender and racial disparity of patronage within these spaces and exemplify long-standing tensions in the city’s queer spaces. Lastly, this text posits a practice called “pseudo-processing” where artists document and preserve facsimiles of archival records to question the divisions of archival labor from that of an artist performing comparable tasks.
Temple University--Theses
Books on the topic "Art, Modern Art and science Art and technology"
1
Art as inquiry: Toward new collaborations between art, science, and technology. New York: Peter Lang, 1997.
Find full text
2
Jean-Louis, Maubant, Moura Leonel, and Centro Cultural de Cascais, eds. Architopia: Art, architecture, science. Villeurbanne: Institut d'art contemporain, 2002.
Find full text
3
Gallery, Regina Gouger Miller, and Carnegie-Mellon University, eds. New art/science affinities. Pittsburgh, Pa: Miller Gallery at Carnegie Mellon University and CMU STUDIO for Creative Inquiry, 2011.
Find full text
5
Couchot, Edmond. La technologie dans l'art: De la photographie à la réalité virtuelle. Nîmes: J. Chambon, 1998.
Find full text
6
Giorgio, Celli, Ascott Roy, Del Bufalo Dario, Eletti Valerio, and Biennale di Venezia (42nd : 1986)., eds. Arte e biologia. [Venezia]: Edizioni La Biennale, 1986.
Find full text
7
Donnaregina, Museo d'arte contemporanea, ed. Barock: Art, science, faith and technology in the contemporary age : Napoli, MADRE, Museo d'arte contemporanea Donnaregina. Milano: Electa, 2009.
Find full text
10
Sun Tzu's Art of war: The modern Chinese interpretation. New York: Sterling Publishing Company, 1992.
Find full textBook chapters on the topic "Art, Modern Art and science Art and technology"
1
Guliciuc, Viorel. "The Wondering Angels of the Fractal Art." In Model-Based Reasoning in Science, Technology, and Medicine, 333–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-71986-1_19.
Full text
2
Chen, TongJi. "The Study on Practical Teaching Reform of Modern Art Design Education Based on Information Technology." In Advances in Computer Science, Environment, Ecoinformatics, and Education, 106–10. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23339-5_19.
Full text
3
O’Connor, Zena. "Optical Art." In Encyclopedia of Color Science and Technology, 985–87. New York, NY: Springer New York, 2016. http://dx.doi.org/10.1007/978-1-4419-8071-7_241.
Full text
4
O’Connor, Zena. "Optical Art." In Encyclopedia of Color Science and Technology, 1–3. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-642-27851-8_241-1.
Full text
5
O’Connor, Zena. "Optical Art." In Encyclopedia of Color Science and Technology, 1–3. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-642-27851-8_241-2.
Full text
6
O’Connor, Zena. "Optical Art." In Encyclopedia of Color Science and Technology, 1–3. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-642-27851-8_241-2.
Full text
7
Trujillo-López, Mónica. "Art and Agency." In Science, Technology, and Art in International Relations, 174–84. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315618371-19.
Full text
8
Patti, M., C. Anselmi, B. Doherty, C. Daffara, and R. Fontana. "CHAPTER 23. Modern Painted Palimpsests. Deciphering the Artworks of Osvaldo Licini." In Science and Art, 477–98. Cambridge: Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00477.
Full text
9
Cruz Souza, Luiz Antonio, Alessandra Rosado, Yacy-Ara Froner Gonçalves, Rita Lages Rodrigues, Humberto Farias de Carvalho, Maria Alice Sanna Castelo Branco, and Giulia Giovani. "CHAPTER 10. Judith Lauand: Art and Technology of a Brazilian Concrete Painter." In Science and Art, 208–24. Cambridge: Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781788016384-00208.
Full text
10
Huber, David Miles, and Robert E. Runstein. "The Art and Technology of Mixing." In Modern Recording Techniques, 449–91. Edition 9. | New York; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315666952-17.
Full textConference papers on the topic "Art, Modern Art and science Art and technology"
1
Zheng, Lixia. "The influence of folk art appreciation on modern art design." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.66.
Full text
2
Cao, Shangqiu. "The Application of Traditional Folk Art in Modern Environmental Art Design." In 2017 2nd International Conference on Modern Management, Education Technology, and Social Science (MMETSS 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/mmetss-17.2017.54.
Full text
3
Fedorenko, Iryna. "MODERN TRENDS IN THE SYNTHESIS OF ART AND TECHNOLOGY IN THE WORLD AND UKRAINIAN ART SPACE." In EDUCATION AND SCIENCE OF TODAY: INTERSECTORAL ISSUES AND DEVELOPMENT OF SCIENCES. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-19.03.2021.v4.34.
Full text
4
Ji, Liaoliao, and Yilei Liu. "Modern Industrial Products Color Research and Art Design." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.338.
Full text
5
Xie, Jun. "Discussion on Ecological idea in Environmental Art Design." In 2016 International Conference on Modern Management, Education Technology, and Social Science (MMETSS 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/mmetss-16.2017.7.
Full text
6
Li, Minfang, and Minyan Li. "The Pursuit and Innovation of Formal Beauty in Modern Art." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.56.
Full text
7
Chen, Zhuohao. "The application of traditional culture in modern environmental art design." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.71.
Full text
8
Alamoudi, Yasser A., Azzeddine Ferrah, Raghu Panduranga, Ahmed Althobaiti, and F. Mulolani. "State-of-the Art Electrical Machines for Modern Electric Vehicles." In 2019 Advances in Science and Engineering Technology International Conferences (ASET). IEEE, 2019. http://dx.doi.org/10.1109/icaset.2019.8714343.
Full text
9
Vandenabeele, Peter, Luc Moens, and Howell G. Edwards. "Raman spectroscopy of modern art: classification and identification of Azo-pigments." In International Symposium on Optical Science and Technology, edited by David L. Andrews, Toshimitsu Asakura, Suganda Jutamulia, Wiley P. Kirk, Max G. Lagally, Ravindra B. Lal, and James D. Trolinger. SPIE, 2000. http://dx.doi.org/10.1117/12.401642.
Full text
10
Xu, ZhiHua. "Modern Teaching of Art and Design Indoor and Outdoor Manuscripts." In 2016 2nd International Conference on Education Technology, Management and Humanities Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/etmhs-16.2016.183.
Full textReports on the topic "Art, Modern Art and science Art and technology"
1
Aiginger, Karl, Andreas Reinstaller, Michael Böheim, Rahel Falk, Michael Peneder, Susanne Sieber, Jürgen Janger, et al. Evaluation of Government Funding in RTDI from a Systems Perspective in Austria. Synthesis Report. WIFO, Austria, August 2009. http://dx.doi.org/10.22163/fteval.2009.504.
Full textAbstract:
In the spring of 2008, WIFO, KMU Forschung Austria, Prognos AG in Germany and convelop were jointly commissioned by the Austrian Federal Ministry for Transport, Innovation and Technology and the Austrian Federal Ministry of Economy, Family and Youth to perform a systems evaluation of the country's research promotion and funding activities. Based on their findings, six recommendations were developed for a change in Austrian RTDI policy as outlined below: 1. to move from a narrow to a broader approach in RTDI policy (links to education policy, consideration of the framework for innovation such as competition, international perspectives and mobility); 2. to move from an imitation to a frontrunner strategy (striving for excellence and market leadership in niche and high-quality segments, increasing market shares in advanced sectors and technology fields, and operating in segments of relevance for society); 3. to move from a fragmented approach to public intervention to a more coordinated and consistent approach(explicit economic goals, internal and external challenges and reasoning for public intervention); 4. to move from a multiplicity of narrowly defined funding programmes to a flexible, dynamic policy that uses a broader definition of its tasks and priorities (key technology and research segments as priority-action fields, adequate financing of clusters and centres of excellence); 5. to move from an unclear to a precisely defined allocation of responsibilities between ministries and other players in the field (high-ranking steering group at government level, monitoring by a Science, Research and Innovation Council); 6. to move from red-tape-bound to a modern management of public intervention (institutional separation between ministries formulating policies and agencies executing them, e.g., by "progressive autonomy").
2
Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.
Full textAbstract:
The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
3
Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
Full textAbstract:
The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
4
Building Profitable and Sustainable Community Owned Connectivity Networks. Academy of Science of South Africa (ASSAf), 2021. http://dx.doi.org/10.17159/assaf.2019/0065.
Full textAbstract:
The IID seminar titled “Building Profitable and Sustainable Community Owned Connectivity Networks”, was hosted on 31 August 2020 on Zoom Webinar. The 2019 White Paper on science, technology and innovation (STI) recognise the pivotal enabling role of information and communication technologies (ICTs) in realising an inclusive and prosperous information society and knowledge economy. One of the Department of Science and Innovation (DSI)’s key role is to catalyse the digital ecosystem and develop scalable models for community owned connectivity networks to replicate in other areas. Rural areas provide challenging environment to implement communication infrastructure for data and Internet based services, including high cost of network implementation and lack of customer base, low-income streams, highly scattered and low population density. The DSI has thus partnered with the University of Western Cape (UWC), the Mankosi Village community, with support from the Technology Innovation Agency (TIA) to scaleup the Zenzeleni Community Owned Connectivity Networks (COCN). The Zenzeleni COCN has been in existence since 2012 and provides timely, reliable and affordable Wi-Fi connectivity to the remote rural areas of Mankosi and Zithulele in Mthatha. The webinar, facilitated by Ms Ellen Fischat from Story Room aimed to look at how rural and township wireless connectivity models, including Zenzeleni COCN can be scaled-up to increase the number of people connected in the rural settings, more so in light of the COVID-19 crisis. It is evident from the proceedings the need for community networks to provide access to connectivity and also more importantly, what connectivity enables. Subsequent discussions would need to focus on the users and owners of these community networks to understand how their lives have improved through the deployment of the technology. This will shed light of the financial feasibility and benefit.
5
CONSENSUS STUDY ON THE STATE OF THE HUMANITIES IN SOUTH AFRICA: STATUS, PROSPECTS AND STRATEGIES. Academy of Science of South Africa, 2011. http://dx.doi.org/10.17159/assaf.2016/0025.
Full textAbstract:
The purpose of this study was to provide evidence-based advice on the status and future role of the Humanities in South Africa to government and other stakeholders (such as science councils, the department of education, universities) as a contribution towards improving the human condition. Everywhere, the Humanities is judged by many to be in “crisis.” The reasons for this, in South Africa, include the governmental emphasis on science and technology; the political emphasis on the economically-grounded idea of “developmentalism;” the shift of values among youth (and their parents) towards practical employment and financial gain; and the argument that the challenges faced by our society are so urgent and immediate that the reflective and critical modes of thinking favoured in the Humanities seem to be unaffordable luxuries. The Report provides invaluable detail about the challenges and opportunities associated with tapping the many pools of excellence that exist in the country. It should be used as a guideline for policymakers to do something concrete to improve the circumstances faced by the Humanities, not only in South Africa but also around the world. Amongst other recommendations, the Report calls for the establishment of a Council for the Humanities to advise government on how to improve the status and standing of the Humanities in South Africa. It also calls for initiation, through the leadership of the Department of Basic Education, considered measures to boost knowledge of and positive choices for the Humanities throughout the twelve years of schooling, including progressive ways of privileging the Arts, History and Languages in the school curriculum through Grade 12.