Relevant bibliographies by topics / Art, Modern – Zimbabwean – 20th century

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Art, Modern – Zimbabwean – 20th century'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Art, Modern – Zimbabwean – 20th century"

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Asanuma, Keiji. "20th Century-End of Modern Art?" TRENDS IN THE SCIENCES 6, no. 2 (2001): 56–58. http://dx.doi.org/10.5363/tits.6.2_56.

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Selber, Kimberly A. "Influence of Modern Art on Early 20th-Century Advertising Art." International Journal of the Arts in Society: Annual Review 2, no. 1 (2007): 183–92. http://dx.doi.org/10.18848/1833-1866/cgp/v02i01/35350.

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CIRLOT, L. "THE KEY TO MODERN ART OF THE EARLY 20TH CENTURY." Art Book 1, no. 3 (June 1994): 16f. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00130.x.

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Heusser, Hans-Jörg. "AICARC and the Archives of Modern Art." Art Libraries Journal 11, no. 2 (1986): 4–8. http://dx.doi.org/10.1017/s0307472200004582.

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Since the 1960s AICA, the Association Internationale des Critiques d’Art, has been increasingly concerned with the primary resources on which research depends. In particular, access to archival material was felt to be necessary in order to counter a dominant, highly selective, ‘modernist’ interpretation of 20th century art, with a more objective, comprehensive, and thoroughly researched history of the period covering all countries. The AICARC-Bulletin, founded in 1974, is devoted to primary sources, archives and documentation centres, archival techniques, and the ‘documentary’ approach to art, in relation to the art of this century.
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Keser, Sezer Cihaner. "20th Century quest for new art and interdisciplinary approach." Global Journal of Arts Education 7, no. 2 (June 12, 2017): 61–65. http://dx.doi.org/10.18844/gjae.v7i2.1835.

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AbstractArt; when setting up the combined connection of feelings and thoughts, it is a very effective helper of learning and development. It developes one's source of explanation better, form of expression and other disciplines. That is why, in modern eductaion systems science and art should be nested together. Collaboration of different disciplines in art education started to gain importance towards the end of the 20th century. Because both fields are aimed for service development and discovery of the new, when feelings are educated, mental abilities, thoughts and intelligence have been seen to be developed. In this study, the key actions of the art education in the 20th century education has been briefly noted and towards the end of the 20th century with the importance gained from different disciplines with art the new created discipline based art education and approach to interdisciplinary art has been investigated. Keywords: art, education, interdisciplinary art, mental abilities, learning, development.
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Ştefănescu, Mircea. "The Beginnings of The Modern Art." Review of Artistic Education 18, no. 1 (March 1, 2019): 255–61. http://dx.doi.org/10.2478/rae-2019-0028.

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Abstract At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.
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Penney, David W., and William Rubin. ""Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern." African Arts 18, no. 4 (August 1985): 27. http://dx.doi.org/10.2307/3336253.

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Karpova, Elena A. "TEXTILE ART AS PART OF CITY'S ARCHITECTURAL SPACE." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 20. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-20.

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The article is devoted to the interaction of textile art with architecture. The prototypes of tent architecture were temporary and mobile structures and ancient tent shelters. Decorative fabrics were used to decorate city streets during festivals and processions. They served as an essential color dominant emotionally affecting the viewers. The textile art of the 20th – early 21st century has seen the emergence of three-dimensional forms named "new tapisserie" and "environment". In the 20th century, architectural tent structures received extensive engineering and technical development, which influenced the form and plasticity in modern textile art, existing in synthesis with the architectural space of the city.
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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 82–98. http://dx.doi.org/10.17816/vgik11182-98.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 102–15. http://dx.doi.org/10.17816/vgik112102-115.

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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Dissertations / Theses on the topic "Art, Modern – Zimbabwean – 20th century"

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Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence." Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.

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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.
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Kaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory." Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.

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Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.

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Ferguson, Bruce W. "From sight to site : some considerations regarding contemporary theory in relation to contemporary art." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61972.

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Boetzkes, Amanda. "Beyond perception : the ethics of contemporary earth art." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102788.

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This dissertation considers the aesthetic strategies and ethical implications of contemporary earth art. Drawing from feminist and ecological critiques of phenomenology, it posits that an ethical preoccupation with the earth is identifiable in works that stage the artist's inability to condense natural phenomena into an intelligible art object thereby evidencing the earth's excess beyond the field of perception. Contemporary earth art has the paradoxical goal of evoking the sensorial plenitude of the earth without representing it as such. The first chapter analyzes Robert Smithson's monumental sculpture, the Spiral Jetty (1970), and suggests that the artist deploys the emblem of the whirlpool to express the artwork's constitutive rupture from the earth, a loss that the artwork subsequently discloses in its textual modes, including an essay and a film that document the construction of the sculpture. Chapter two examines the recurrence of the whirlpool motif and other anagrammatic shapes such as black holes, tornadoes, shells and nests, in earth art from the last three decades. In contemporary practices the whirlpool allegorizes an ethical attentiveness to the earth's alterity; not only does it thematize the artwork's separation from perpetual natural regeneration, it signals the artist's withdrawal from the attempt to construct a totalizing perspective of the site. Chapter three addresses performance and installation works that feature the contact between the artist's body and the earth, and in particular, the body's role in delineating the point of friction between the earth's sensorial plenitude and its resistance to representation. Earth artists thereby assert the body as a surface that separates itself out from the earth and receives sensation of it as other. The conclusion summarizes the main arguments of the previous chapters through a discussion of a three-part installation by Chris Drury entitled Whorls (2005).
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Nasifoglu, Yelda. "Walter Pichler : the modern Prometheus." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32821.

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The ritualistic aspect of Walter Pichler's work greatly problematizes the traditional view of the art object as the locus of aesthetic contemplation. Yet how are we to approach such art in our secularized world? For it to maintain its meaningfulness, does not ritual require a shared symbolic system?
Indirectly guided by Pichler's work, this thesis is an exploration of the contemporary status of the work of art. An investigation into the myth of Prometheus reveals that art and ritual share the same origin. Further inquiries into early Greek sculpture, as well as the concepts of techne and mimesis, expand this origin into the relationship between the art object and the viewer, shifting the customary focus away from the resemblance between the model and the copy. In this space of looking , art no longer presents itself as an aestheticized object---presence and absence, the visible and the invisible, recognition and anamnesis come into play as possible ways of participation in the work of art.
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Cheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.

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Collins, Anne Marie. "Changes in pictorial construction and types of representation which formed the basis of modern art." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1010579.

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The erosion of traditional French academic methods of picture-construction, and the eclipse of hierarchical subject-matter, ensured the emergence of a diversity of new painting styles in France by 1900 and the possibility of even more drastic departures from tradition in the 20th century, particularly in the work of Picasso, from 1900 to 1914.
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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.

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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.
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Matthews, Elaine Katherine Simone. "Environmental art and its contribution to establishing an awareness of the sacred in nature." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002209.

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The introduction establishes the goal of the research, which is to discover that art concerned with re-evaluating the relationship to the environment and spirituality can serve to connect people to one another, and to the environment. The context of the research is the contemporary ecological and spiritual crisis of the postmodern world. The background places the discussion within the contexts of modernism and postmodernism. The historical background focuses on the period from the 1960s to the present day. Land and Environmental artists who work in a manner that is conscious of environmental issues and who suggest a sacred and creative attitude to ecology are discussed. My own creative work which is a response to both ancient and contemporary sites as well as to contemporary theories of art and spirituality is discussed. The four projects, are discussed in chronological order, they are: Quest - A journey into Sacred Space; Gaika's Kop - Sacred Mountain; Labyrinth - Journeys to the Centre; and Transforming the Centre. The conclusion shows that the multi-faceted, intertextual and relativistic philosophy of postmodernism has brought about a significant change in the attitude of humanity towards the environment. Artists who reject the modernist aesthetic and philosophy are making art that emphasises relationship to, rather than separation from the natural world.
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Books on the topic "Art, Modern – Zimbabwean – 20th century"

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(Firm), Butterfields. 20th century art. San Francisco: Butterfields, 2000.

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20th century Korean art. London: Laurence King, 2005.

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Fosu, Kojo. 20th century art of Africa. Accra, Ghana: Artists Alliance, 1993.

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Fosu, Kojo. 20th century art of Africa. Zaria, Nigeria: Gaskiya Corp., 1986.

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M, Jacobus John, and Wheeler Daniel, eds. Modern art. 3rd ed. Upper Saddle River, NJ: Prentice Hall, 2005.

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British Museum. Collecting the 20th century. London: Published for the Trustees of the British Museum by British Museum Press, 1991.

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Vogel, Susan. Africa explores: 20th century African art. New York: Center for African Art, 1991.

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A history of 20th century art. Paris: Flammarion, 2001.

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Art: The twentieth century. Milano: Skira, 2008.

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Gualdoni, Flaminio. Art: The twentieth century. Milano: Skira, 2008.

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Book chapters on the topic "Art, Modern – Zimbabwean – 20th century"

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"The Rise of Chance in Modern Sciences." In The Radical Use of Chance in 20th Century Art, 17–24. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207263_003.

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Kraševac, Irena, and Petra Šlosel. "Networking of Central European Artists’ Associations via Exhibitions. The Slovenian Art Association, Czech Mánes and Polish Sztuka in Zagreb in the Early 20th Century." In Modern and Contemporary Artists' Networks. An Inquiry into Digital History of Art and Architecture, 16–36. Institute of Art History, 2018. http://dx.doi.org/10.31664/9789537875596.02.

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Mishchenko, I. I. "TENDENCIES OF THE DEVELOPMENT OF THE BUKOVYNIAN SCULPTURE FROM THE MIDDLE OF THE 20TH TO THE BEGINNING OF THE 21TH CENTURY." In UROPEAN VECTOR OF MODERN CULTURAL STUDIES AND ART CRITICISM: THE EXPERIENCE OF UKRAINE AND THE REPUBLIC OF POLAND, 73–89. Izdevniecība “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-588-41-9/73-89.

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Regina Baggio Osinski, Dulce, and Ricardo Carneiro Antonio. "Children’s Art Exhibitions in Brazil: A Modern Badge for the New Man." In Pedagogy - Challenges, Recent Advances, New Perspectives, and Applications [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.99161.

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In this article we analyze, within the context of the decades between 1940 and 1960, children’s art exhibits as a strategy for asserting the importance of Art in educating and developing a child’s personality, using newspaper articles, pictures, children’s drawings, reports and other institutional documents as sources. The artistic vanguards of the early 20th century, advocates of the artist’s self expression, and the acknowledgement – by Psychology and Pedagogy – of the specificities of being a child have resulted both in the defense of the child’s freedom of artistic expression, and in a renewal of Art and education concepts of that period of time. As of the mid ‘40s, children’s art caught UNESCO’s attention because it represented potential integration and fraternity among people and the desire to build a new Man. Such exhibits acted as showcases for several ideas and justified the importance of children’s art involving, in the Brazilian context, from governmental agencies to national newspapers and private companies. Aiming at inculcating an educational conduct based on assumptions such as the unrestricted freedom of children’s creative spirit they had, as a contradiction, the censorship of themes considered unsuitable such as violence, and the need to follow a pre-defined esthetic standard.
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Emison, Patricia. "After Eve." In Moving Pictures and Renaissance Art History. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036_ch04.

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The imagery of films both reflected and spurred radical shifts in women’s lives throughout the 20th century. The history of film, and of responses to film, provides evidence of social attitudes and prejudices—those in Hollywood but also regional biases, pertaining to race as well as to gender. Those who were socially denigrated, such as prostitutes, were often treated with a degree of respect in screen narratives. The traditional genres had depended on closure; film, especially post–World War II, featured women and children with complexly difficult lives often lacking neat resolutions. Resnais, Bergman, and Antonioni each focused on women with humdrum rather than heroic lives, and made them the linchpin for studies of the psychological pressures of the modern world.
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Mayo, Sherry. "A Model for a Collective Aesthetic Consciousness." In Advances in Media, Entertainment, and the Arts, 159–72. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8679-3.ch013.

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During the 20th century, the modern media was born and viewed as an industrial factory-model machine. These powerful media such as film, radio, and television transmitted culture to the passive masses (Enzensberger; 1974). These art forms were divorced of ritual and authenticity and were reproduced to reinforce their prowess (Benjamin, 1936). In the 21st century post-media condition, a process of convergence and evolution toward a social consciousness, facilitated by a many-to-many social network strategy, is underway. Web 2.0 technologies are a catalyst toward an emergence of a collectivist aesthetic consciousness. As the prophecy of a post-industrial society (Bell, 1973) becomes fulfilled, a post-media society emerges whose quest is for knowledge dependent upon economy that barters information. This paper identifies a conceptual model of this recent paradigmatic shift and to identify some of the possibilities that are emerging.
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Gigante, Lorenzo. "Incontri, scontri, confronti Appunti sulla ricezione della xilografia nordica in Italia tra XV e XX secolo." In Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/007.

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Germany, France, Italy: the attribution of the first woodcut images has long been debated between several countries, to gain the technological primacy of the invention of reproductive printmaking, before Gutenberg’s movable type printing. Today we know how difficult it is, if not impossible, to establish a place and a date of origin of image printing in Europe. Impossible and probably unimportant. Printing was a European phenomenon in the 15th century, and we may ask ourselves whether a northern woodcut beyond the Italian borders was intended as something different than an Italian one. The contrast between northern and southern prints, which has been claimed by art historians from Vasari until the half of the 20th century, seems to be denied by early modern Italian sources. For example, a German woodcut from the first decades of the 15th century and a Florentine painting from the end of the 14th century can coexist as models for the illumination of the same manuscript. This unpublished case study of two Florentine 15th-century illuminations shows how a European cultural horizon was more common than we think today, and how much woodcut has been a fundamental tool for this broadening of horizons, since its very beginning.
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Diamantides, Marinos, and Anton Schütz. "Social Systems on the Cross." In Political Theology. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748697762.003.0003.

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While early 20th century Social Darwinism has been discredited, post-WW2 theories have re-emphasized Darwin's notion of the environment. On this basis, and substituting social systems for natural species, society has been analyzed as a system-in-evolution, a machinery that, reflexively or self-referentially, produces itself at every moment anew. Modern society, according to social systems theory, continuously makes itself, thanks to countless simultaneous communications taking place at once. There are two equally disquieting lessons here. On the one hand, modern law, understood as the communicative system that applies the distinction lawful/unlawful to everything that gets in its way, is placed within an environment constituted by other communicative social systems (the economy, politics, religion, art etc) and the conditions created by those. On the other hand, social systems at large are separated from the realm of human consciousness, i.e. of collective or individual identity (the ‘psychic systems’). While ‘social' and ‘psychic’ systems never meet, they rely on absolute indifference with respect to their other side, as only this indifference enables especially social systems to assure their (superior) fact-creating potential. Our own project consists in spelling out the implications of this scissile sense of ‘meaning’, at once understood as a shorthand for what is actually happening (fragmented communications) and as consciousness-as-identity (imaginary unity).
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Murphy, Peter. "The N-Dimensional Geometry and Kinaesthetic Space of the Internet." In Encyclopedia of Multimedia Technology and Networking, Second Edition, 1042–47. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch140.

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What does the space created by the Internet look like? One answer to this question is to say that, because this space exists “virtually,” it cannot be represented. The idea of things that cannot be visually represented has a long history, ranging from the Romantic sublime to the Jewish God. A second, more prosaic, answer to the question of what cyberspace looks like is to imagine it as a diagram-like web. This is how it is represented in “maps” of the Internet. It appears as a mix of crosshatching, lattice-like web figures, and hub-and-spoke patterns of intersecting lines. This latter representation, though, tells us little more than that the Internet is a computer-mediated network of data traffic, and that this traffic is concentrated in a handful of global cities and metropolitan centres. A third answer to our question is to say that Internet space looks like its representations in graphical user interfaces (GUIs). Yet GUIs, like all graphical designs, are conventions. Such conventions leave us with the puzzle: Are they adequate representations of the nature of the Net and its deep structures? Let us suppose that Internet space can be visually represented, but that diagrams of network traffic are too naïve in nature to illustrate much more than patterns of data flow, and that GUI conventions may make misleading assumptions about Internet space, the question remains: What does the structure of this space actually look like? This question asks us to consider the intrinsic nature, and not just the representation, of the spatial qualities of the Internet. One powerful way of conceptualising this nature is via the concept of hyperspace. The term hyperspace came into use about a hundred years before the Internet (Greene, 1999; Kaku, 1995; Kline, 1953; Rucker, 1977, 1984; Stewart, 1995; Wertheim, 1999). In the course of the following century, a number of powerful visual schemas were developed, in both science and art, to depict it. These schemas were developed to represent the nature of four-dimensional geometry and tactile-kinetic motion—both central to the distinctive time-space of 20th-century physics and art. When we speak of the Internet as hyperspace, this is not just a flip appropriation of an established scientific or artistic term. The qualities of higher-dimensional geometry and tactile-kinetic space that were crucial to key advances in modern art and science are replicated in the nature and structure of space that is browsed or navigated by Internet users. Notions of higher-dimensional geometry and tactile-kinetic space provide a tacit, but nonetheless powerful, way of conceptualising the multimedia and search technologies that grew up in connection with networked computing in the 1970’s-1990’s.
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Conference papers on the topic "Art, Modern – Zimbabwean – 20th century"

1

Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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2

Ceravolo, R. "Condition Assessment, Monitoring and Preservation of Some Iconic Concrete Structures of the 20th Century." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0054.

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<p>Great architects and structural engineers such as Berg (1870-1947), Maillart (1872-1940), Freyssinet (1879- 1962), Torroja (1899 -1961), Nervi (1891-1979), Candela (1910-1997), Isler (1926-2009) and many others have designed recognized works of art in their discipline. They conceived extraordinary concrete spatial structures, that are located mostly in Europe and represent a unique legacy. It is important to raise awareness of this heritage, define the criteria for preserving it and begin the process of its renovation and rehabilitation.</p> <p>While concrete has become a 20th century emblem, much of the world’s heritage from this period is unrecognized or undervalued, and therefore it is at risk and in need of analysis and protection. Innovative technologies and solutions are needed that contribute to the successful reuse of modern concrete built heritage. Indeed, such structures are plagued by significant deterioration and most of them are in urgent need of retrofitting and/or radical refurbishment. In other words, there is a need to bring some of these buildings back to life, while respecting the spirit of their original characters, through new technologies for long-term conservation that can maintain an adequate level of structural performance. Achieving this goal would produce substantial economic impacts through activities such as restoration, maintenance, and cultural industry.</p> <p>The keynote lecture, more specifically, focuses on the condition assessment, monitoring and preservation of 20th century architectural heritage characterized by a complex spatial structural design. The service life of civil and cultural heritage concrete spatial structures is typically thought to range from 10 to 200 years, but in practice the service environment plays a pivotal role in sustained durability. Indeed, the collapse of Polcevera Viaduct in Genoa has raised strong concerns on the durability of concrete structures conceived at that time. The scientific community has once again underlined the important role played by maintenance and continuous structural health monitoring in avoiding these disastrous events. In order to demonstrate a correct approach to condition monitoring of concrete spatial buildings and bridges, some important experiences are described that were recently obtained at the Polytechnic of Turin on the structural analysis, seismic vulnerability and condition assessment for iconic 20th century heritage buildings.</p>
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