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Journal articles on the topic 'Exhibition theories'
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1
Aubart, François. "The Exhibition. Theories and Practices." Critique d’art, no. 55 (November 30, 2020): 171–79. http://dx.doi.org/10.4000/critiquedart.68102.
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Jo, Young Hoon, Jikio Kim, Yong Hyun Yun, Nam Chul Cho, and Chan Hee Lee. "Developing Experiential Exhibitions Based on Conservation Science Content of Bronze Mirror." Journal of Conservation Science 37, no. 4 (August 31, 2021): 362–69. http://dx.doi.org/10.12654/jcs.2021.37.4.05.
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In museums, exhibition content focuses mostly on cultural heritage’s historical values and functions, but doing so tends to limit visitors’ interest and immersion. To counter this limitation, the study developed an experiential media art exhibition fusing bronze mirrors’ traditional production technology and modern conservation science. First, for the exhibition system, scientific cultural heritage contents were projected on the three-dimensional (3D) printed bronze mirror through interactions between motion recognition digital information display (DID) and the projector. Then, a scenario of 17 missions in four stages (production process, corrosion mechanism, scientific analysis and diagnosis, and conservation treatment and restoration) was prepared according to the temporal spectrum. Additionally, various media art effects and interaction technologies were developed, so visitors could understand and become immersed in bronze mirrors’ scientific content. A user test was evaluated through the living lab, reflecting generally high levels of satisfaction (90.2 points). Qualitative evaluation was generally positive, with comments such as “easy to understand and useful as the esoteric science exhibition was combined with media art” (16.7%), “wonderful and interesting” (11.7%), and “firsthand experience was good” (9.2%). By combining an esoteric science exhibition centered on principles and theories with visual media art and by developing an immersive directing method to provide high-level exhibition technology, the exhibition induced visitors’ active participation. This exhibition’s content can become an important platform for expanding universal museum exhibitions on archaeology, history, and art into conservation science.
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Lin, Airtok, and Grant G. L. Yang. "Empirical Study on Preference Similarity Theory in China’s Overseas Exhibitions." Business Prospects 1, no. 1 (December 1, 2020): 30–47. http://dx.doi.org/10.52288/bp.27089851.2020.12.02.
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As a part of the modern economic system, the exhibition industry has shown vigorous development and has attracted the general attention of all countries worldwide. The international exhibitions bring together many industries with wide influence, great development potential, and a high degree of industrial relevance. A large amount of information, technology, capital, and talents are gathered to promote the development and progress of commodity trade, industry development, technological and cultural exchanges, which play an important role in bringing considerable benefits to the global economy. Overseas exhibitions can provide excellent business opportunities for enterprises as an efficient marketing method, not only insincerity but also more access to potential customers. Based on the overseas exhibitions that China has participated in, this paper analyzes and proves the Preferences Similar Theories in China’s participation in the Belt and Road and non-the Belt and Road countries. Results of this study may suggest the future layout of the global exhibition.
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Christensen, Line Hjorth. "At svare plakaten igen. En omgivelsesorienteret strategi for kuratering af plakater og grafisk design." Nordisk Museologi, no. 2 (March 8, 2017): 78–94. http://dx.doi.org/10.5617/nm.4338.
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This article investigates the change of context and meaning makingprocess that occurs when posters are turned into objects for curatorial practice.Based on historical and recent examples of poster exhibitions it suggests ascheme for curatorial work in regard to posters and graphic design lendingfrom phenomenologically and materially orientated theories that give priorityto sensorial aspects of the exhibition media. Further it introduces the concept“counterability” (da.: “gengældelse”, “modydelse”) as a tool for discussing howposters’ dependency on the living environments can be transferred for curatorialpurposes. Finally, the concept is discussed in regard to the exhibition Spot On!British Posters of the Interwar Years which in 2015 was held at the Danish PosterMuseum in Den Gamle By (The Old Town) in Aarhus.
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Li, Gan. "Research on the Connotation and Operation Mechanism of Smart Exhibition." E3S Web of Conferences 235 (2021): 03058. http://dx.doi.org/10.1051/e3sconf/202123503058.
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The current development of China’s convention and exhibition economy is showing a new normal, under the background of the rapid development of information technology and the era of experience economy, the transformation and upgrading of the convention and exhibition industry will inevitably develop in the direction of informatization and intelligence, that is “smart exhibition”. This article takes the theoretical research related to the development status of smart exhibition as the starting point, studies and analyzes the connotation, elements and structure of smart exhibition, discusses the basic framework of smart exhibition, reveals the operation mechanism of smart exhibition, and forms some basic viewpoints and theories about smart exhibition.
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Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.
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The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
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MUŞKARA, Üftade, Oylum TUNÇELLİ, and Serpil ŞAHİN. "ART AND ARCHAEOLOGY CLOSE ENCOUNTERS OF THE THIRD KIND." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (April 1, 2021): 732–49. http://dx.doi.org/10.7456/11102100/024.
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Art and archaeology have a growing interaction, which is expressed mainly in displaying the material culture of ancient civilizations. The post-modernist concept suggests that art is for everyone. Likewise, archaeologists recognize the idea that archaeological narratives are supposed to be everyone to understand and enjoy. Today, many museum displays and special exhibitions consist of contemporary design features of art. The technology-driven exhibition techniques applied in the “Curious Case of Çatalhöyük” exhibition and Göbeklitepe Animation Center to increase the perception of visitors establish the basis of the study. The paper examines the backgrounds of the relation between two disciplines by “digging” up the history of archaeological theories and analyzing main art movements corresponding to a period from Dadaism to contemporary art. Archaeological storytelling of history and culture using post-modern rhetoric is defined as the “close encounter.” The interactive display provides new directions in the visual reconstructions of past societies. We proposed that the Çatalhöyük exhibition and Göbeklitepe Animation Center are among the best examples of the new approach for presentation in archaeology.
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Barriendos, Joaquin. "SPHERICAL CONFLUENCE: Global Curatorship after ‘Magiciens de la Terre’." ARJ – Art Research Journal / Revista de Pesquisa em Artes 2, no. 2 (September 25, 2015): 1–14. http://dx.doi.org/10.36025/arj.v2i2.7293.
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This paper examines the 25th anniversary of Magiciens de la Terre, one of the twentieth century’s most controversial and ambitious exhibitions. The aim of this text is to call into question the assumption that this exhibition inaugurated a sort of new global confluence between so-called Western and Non-Western art. In order to do that, the paper addresses some of the curatorial projects, theories of (alter)modernity and globalist ideologies that gravitate around this exhibition. Our intention is to analyse the consequences of accepting that 1989 is the degree zero of the ‘spherical confluence’ of global art. For our purposes here, the papers defines this phenomenon as the ‘magiciens effect’: the premise that art became truly global in 1989, in Paris, due to Magiciens de la terre, and that the canonical hierarchies of modernity were dissolved in the process giving place to a post-asymmetric geo-aesthetic regime.
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Fargo, Hailley, and Rachel White. "Depth of field: Connecting library exhibition space to curriculum and programming." Alexandria: The Journal of National and International Library and Information Issues 29, no. 1-2 (April 2019): 189–203. http://dx.doi.org/10.1177/0955749019876384.
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This article focuses on an exhibition curated by library employees at the Pennsylvania State University. Their exhibition, Depth of Field, grew out of a common reading program collaboration. In creating the exhibition, the authors of this article aimed to create a dialogue around the way in which viewers interact with visual and textual imagery, specifically as it relates to war photography. Photojournalism is interdisciplinary and provided the authors with multiple avenues in which to approach themes, thus making it the perfect vehicle to cross boundaries and find common space for visitors to the exhibition. The intent of this article is to provide an example of a cross-campus collaboration that resulted in an engaging exhibition, how to take complex ideas and theories and make them digestible for a first-year student audience, and strategies for academic libraries who are considering a similar project at their institution.
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Rowe, Dorothy. "Georg Simmel and the Berlin Trade Exhibition of 1896." Urban History 22, no. 2 (August 1995): 216–28. http://dx.doi.org/10.1017/s0963926800000481.
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In tracing a theoretical history of modernity peculiar to Imperial Berlin after 1871, the urban themes developed in the writings of the German social theorist, Georg Simmel, have proved to be particularly pertinent. The exhibition of 1896 provides Simmel with a major site of investigation into the visible effects of the commodified urban sphere upon the individual city dweller which finds one of its most spectacular forms in the rise of the mid-nineteenth-century ‘World Exhibition’. The paper outlines aspects of Simmel's theories of the differentiation of the individual in the capitalist metropolis as a background to an investigation into the various functions assigned to the 1896 Berlin Trade Exhibition both by its organizers and by Simmel.
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Reiche, Claudia, and Helene von Oldenburg. "What is the Mars Patent and What Does it do?" Leonardo 39, no. 1 (February 2006): 19–22. http://dx.doi.org/10.1162/002409406775452276.
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The authors invite readers and others, including aliens (provided they claim to have female first names), to submit “things” to the MARS PATENT project for interplanetary exhibition on Mars and on the Internet. The MARS PATENT High Reality Machine will teleport sculptures, theories, web art and other things, imaginable or not fully imaginable, to the exhibition site on the red planet. The authors have also established the Oldenburg-Reiche Prize, an open competition challenging artists, scientists and others to come up with a satisfying explanation for how the High Reality Machine works.
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Simonov, K. V. "Economic Exchanges Management in the Exhibition Bilateral Market." Management Science 10, no. 1 (April 22, 2020): 22–35. http://dx.doi.org/10.26794/2404-022x-2020-10-1-22-35.
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The slowdown in Russian economy caused a drop in demand for exhibition business services. Operating in the segment of trade fairs organizing companies faced a decrease in the intensity of economic exchanges due to the outflow of customers. The paper considers modification of the exchange management in order to intensify the latter. The research methodology bases the provisions of the theory of bilateral markets, theories of management, marketing and logistics, methods of analysis and synthesis, as well as on the experience of exhibition activities. As a result of the study: the expediency of application by linear companies-organizers of the business model “two-sided market” was justified; the interpretation of business model determined by two-component functional two-stage system was given when the platform (service) is prepared within the linear fragment and then the main fragment turns on — two-sided market, providing intensification of exchanges management by means of asymmetric pricing strategies and network effects. Recommendations are formulated for practitioners who are puzzled by the problem of economic exchanges intensification. The combination of these theoretically and practically significant results develops the theory of two-sided exhibition markets, as well as provides scientific support in the format of recommendations and descriptions of tools that help exhibition business practitioners cope with the problem of managing economic exchanges.
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Taylor. "Curating The American Algorists: Digital Art and National Identity." Arts 8, no. 3 (August 21, 2019): 106. http://dx.doi.org/10.3390/arts8030106.
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This essay details the curating strategies and central premise behind the 2013 traveling exhibition The American Algorists: Linear Sublime. This group exhibition, which showcased the artwork of Jean-Pierre Hébert, Manfred Mohr, Roman Verostko, and Mark Wilson, marked the 20th anniversary of New York Digital Salon. In organizing this exhibit, I attempted to expand the discourse of digital art curation by linking the Algorists, a group formed at the Los Angeles SIGGRAPH conference in 1995, to the broader narrative of American art. Through the exhibition catalogue, I constructed a detailed history of the Algorists and connected the movement’s narrative to ideas of national identity and myth. To cultivate this nexus, I interpreted the Algorists’ unique approach to linear abstraction through the various theories of the sublime active within the history of American art. Ultimately, this case study reveals the incongruities of aligning this group of digital artists—who shared a decidedly internationalist outlook—with a national narrative. While the Algorists resisted parochial characterizations, the concept of the sublime provided a useful vehicle for theorizing the aesthetic response to computer-generated abstraction. The travelling exhibition also offered a potential model, based on effective partnerships and resource sharing, for small college and university galleries.
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Jakobs, Dörthe. "„BEFORE WE UNDERSTAND WHAT WE ARE DOING, WE NEED TO KNOW HOW WE THINK”." Protection of Cultural Heritage, no. 8 (December 20, 2019): 139–50. http://dx.doi.org/10.35784/odk.1075.
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The article deals with an interesting debate following a project that started with the question raised by the press: “Why not overpaint or reconstruct the missing parts of a famous wall painting?” and concluded with a panel discussion that conveyed a better understanding of restoration theories on the part of both the press and the parish. Moreover, part of the project featured an exhibition to communicate the basis of our restoration theories and understanding, whilst requesting a dialogue with the priest and the parish; so, they might communicate their intentions and opportunely discuss theological interpretations with regard to the missing part in the wall-painting, which was important for us in reaching an understanding of the principles behind their ideas.
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Atkinson, Marea. "A Universe on which to dwell." Proceedings of the International Astronomical Union 5, S260 (January 2009): 291–93. http://dx.doi.org/10.1017/s1743921311002419.
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AbstractThe artworks The Cosmic Garden and To Dwell Upon the Universe created for the exhibition Astronomical Inspirations, at the Salle Miró, UNESCO Headquarters, for the launch of the International Year of Astronomy reflect upon the unfolding human perception and relationship with the cosmos and speculate on the nature of space expressed in printmaking via a study of astronomical phenomena, symbolism in visual and scientific artefacts and theories. The work overlaps between the printed image, the constructed print, the artist book and installation.
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Berryman, Jim. "Art as document: on conceptual art and documentation." Journal of Documentation 74, no. 6 (October 8, 2018): 1149–61. http://dx.doi.org/10.1108/jd-01-2018-0010.
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Purpose The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art. Design/methodology/approach This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from document theory and art history and criticism, it examines several of Siegelaub’s key exhibition catalogues and books. Findings Siegelaub’s theories of information have much in common with the documentalist tradition. Siegelaub’s work is important, not just for its potential to contribute to the literature of document theory. It also provides a point of dialogue between art history and information studies. Originality/value To date, the common ground between art and documentation has been explored almost exclusively from the perspective of art history. This paper is among the first to examine conceptual art from the perspective of document theory. It demonstrates potential for cross-disciplinary collaboration.
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Gifreu-Castells, Arnau, Richard Misek, and Erwin Verbruggen. "Editorial." Non-fiction Transmedia 5, no. 10 (December 31, 2016): 1. http://dx.doi.org/10.18146/2213-0969.2016.jethc108.
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Editorial to the issue on "Non-Fiction Transmedia". Over the last years, interactive digital media have greatly affected the logics of production, exhibition and reception of non-fiction audiovisual works, leading to the emergence of a new area called ‘interactive and transmedia non-fiction’. While the audiovisual non-fiction field has been partially studied, a few years ago emerged a new field focusing on interactive and transmedia non-fiction narratives, an unexplored territory that needs new theories and taxonomies to differentiate from its audiovisual counterpart.
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Kisin, Eugenia, and Fred R. Myers. "The Anthropology of Art, After the End of Art: Contesting the Art-Culture System." Annual Review of Anthropology 48, no. 1 (October 21, 2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.
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We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.
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Putra, Umar Maya. "THE ANALYSIS OF PROGRAM IMPLEMENTATION INSTITUTIONAL ENTREPRENEUR COMMUNITY TANGAN DI ATAS (TDA) AGAINST INCREASED REVENUE LOCAL ECONOMY IN MEDAN." Quantitative Economics Journal 8, no. 2 (September 15, 2019): 53. http://dx.doi.org/10.24114/qej.v8i2.23615.
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This study aims to analyze the Program of Institutional Entrepreneur Community Tangan Di Atas (TDA) Against Increased Revenue Local Economy in Medan. The problem in this research is to see the extent to which the opportunities of independent variables such as entrepreneurship education, capital, selling price, the amount of labor, marketing through the exhibition of entrepreneurship of the dependent variable is the income of Small Enterprises assisted Institutional Tangan Di Atas (TDA) of Medan. The data used is primary data with the primary form of questionnaires to the small enterprises patronage of TDA Medan with observation period in 2013 s.d. 2015. While the methods of analysis used for primary data is Probit with analysis software program E Views 6 and secondary data obtained on a general overview of the small enterprises patronage of TDA Medan and the results of the study of literature (Library Research) to support his theories relevant to the research. From the results of this study indicate that there is a positive correlation and significant between entrepreneurship education, capital, selling price, the amount of labor and marketing aspects through the exhibition of entrepreneurship opportunity of increased revenue Small Enterprises Patronage TDA Medan otherwise there is a positive relationship and not significant among the workforce to an increased chance the small enterprises patronage of TDA revenue Medan. TDA Medan can be able to focus in increasing entrepreneurship education, marketing aspects through the exhibition of entrepreneurship, product selling prices, capital and to concentrate in the amount of labor professionally to get the result maximally to an increased chance the small enterprises patronage of TDA revenue Medan.
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Marchand, Marie-Ève. "L’impossible « chambre des horreurs » du Museum of Ornamental Art : une archéologie du design criminel." RACAR : Revue d'art canadienne 39, no. 1 (August 14, 2014): 40–51. http://dx.doi.org/10.7202/1026201ar.
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In 1852, the Museum of Ornamental Art, today the Victoria and Albert Museum, opened its doors to the public. Taking part in a general reform of the British art and design education system, the museum sought to instill what were considered good design principles. To do so, a museographic strategy that proved to be as popular as it was controversial was chosen: the exhibition gallery entitled “Decorations on False Principles,” which immediately became known as the “Chamber of Horrors.” This gallery, a dogmatic expression of the functionalist conception of ornament advocated by the museum, referred through its nickname to another then famous Chamber of Horrors, the one in Mme Tussaud’s wax museum. In this paper, I will first argue that the Museum of Ornamental Art’s Chamber of Horrors is an early example of the association of ornament with crime that reappears in later design theories. Second, by examining the means taken to transmit the idea of the criminalization of ornaments designed after “bad principles,” I demonstrate why the concept of the Chamber of Horrors is in itself doomed to failure. I thus analyze this uncommon exhibition as a manifestation of the museum’s aesthetic philosophy and mechanisms at a time when the institution’s modalities were still in the process of elaboration.
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Oramus, Dominika. "The Art of Un-Making: Nagasaki, Eniwetok, Mururoa, and J.G. Ballard." Open Cultural Studies 3, no. 1 (January 1, 2019): 553–62. http://dx.doi.org/10.1515/culture-2019-0049.
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Abstract This paper analyzes one kind of Ballardian landscape, wastelands created by nuclear explosions, and aims at interpreting them as a study of the un-making of the human-made world. Cityscapes of ruins, crumbling concrete concourses and parking lots, abandoned barracks and military stations, radiation and mutations make Nagasaki, Eniwetok and Mururoa wasteland snap-shots of the future. In the minds of the protagonists, the un-made landscape is strangely soothing; they are attracted by the post-nuclear imagery and gladly embrace the upcoming catastrophe. Nagasaki, Eniwetok and Mururoa are the harbingers of a future where one can experience the nirvana of non-being. In this paper, I discuss the Ballardian un-making of the world and, hopefully, point to the subliminal meaning of atomic explosions in his works. To do this, I first discuss the references to the atomic bomb in Ballard's non-fiction (A User's Guide to the Millennium, J.G.Ballard Conversations). Then, I isolate and describe the subsequent stages of the un-making of the world using his depictions of Nagasaki (Empire of the Sun, The Atrocity Exhibition); Eniwetok (The Atrocity Exhibition, The Terminal Beach), and Mururoa (Rushing to Paradise). Finally, I suggest a hypothesis explaining the subliminal meaning of nuclear bombs with reference to Freud's theories.
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Becker, Natasha. "In The Wake of Okwui Enwezor." Nka Journal of Contemporary African Art 2021, no. 48 (May 1, 2021): 14–22. http://dx.doi.org/10.1215/10757163-8971257.
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This article takes a critical and intimate look at Okwui Enwezor’s work in South Africa during the 1990s and asserts that the international exhibition he curated in Johannesburg in 1997—the Second Johannesburg Biennale, Trade Routes: History and Geography—is an important lens through which to explore Africa’s entangled histories. Trade Routes mattered as much for the discourse it produced as for the artworks it presented. The exhibition checklist features extraordinary works that were made between 1989 and 1997 by artists whose critical acclaim we take for granted today but who were at that time still underappreciated or emerging. Trade Routes not only challenged the status of the existing canon on African art but also proposed a new counter-canon. Additionally, Trade Routes and Enwezor’s concept of the meeting of worlds might have greater analytical potential as a metaphor for the meeting point of two indecipherable South Africas. Under apartheid, Johannesburg was two “countries,” and people lived in two different realities, depending on one’s history, geography, race, ethnicity, class, gender, culture, education, and opportunities. Enwezor constantly confronted the legacy of racism in small and big ways in South Africa. He was at the center of critical debates about race and representation. While there are all kinds of practical guidelines for how to talk about racism within the larger culture, we still do not have one for talking about racial inequality and racism in institutions, exhibition histories, curatorial practice, and the commercial art world. Instead, we have Okwui Enwezor to accompany us on our quest and to remind us to keep consulting both histories and imaginaries, theories and practices, and to continue to interrogate how cycles are reproduced or radically ruptured.
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frisk, henrik, and miya yoshida. "new communications technology in the context of interactive sound art: an empirical analysis." Organised Sound 10, no. 2 (August 2005): 121–27. http://dx.doi.org/10.1017/s1355771805000762.
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in this article we discuss the notion of ‘interaction’, ‘participation’ and ‘the public’ in artistic work, specifically within the context of the exhibition the invisible landscapes (curated by miya yoshida, malmö konstmuseum, 2003) and ethersound (created by henrik frisk), a sound installation displayed in that exhibition. in this work the audience is invited to participate in the creation of new sound events by sending text messages from their mobile phones. thus, our discussion is focused on the space and the mode of participation opened up by new communication technology. based on our experiences of that project, we introduce and explain what we believe are relations of creative production and a different kind of creativity that may emerge from active interaction. we also attempt to describe what we believe an implementation of active public participation can lead to.we are combining two modes of thinking in this article; one is inspired by a discourse of cultural theories and the other by reflection on our experience of the event. the latter is, by definition, rather subject centred and expansive based on individual observation. we examine and analyse the phenomenon of ‘participation’ whilst playing ethersound as a process of creative production, and seek to reflect upon the power of the co-operative practice and its relation to participation and creativity.
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Francis, Samuel. "‘A Marriage of Freud and Euclid’: Psychotic Epistemology in The Atrocity Exhibition and Crash." Humanities 8, no. 2 (May 14, 2019): 93. http://dx.doi.org/10.3390/h8020093.
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The writings of J.G. Ballard respond to the sciences in multiple ways; as such his (early) writing may productively be discussed as science fiction. However, the theoretical discipline to which he publicly signalled most allegiance, psychoanalysis, is one whose status in relation to science is highly contested and complex. In the 1960s Ballard signalled publicly in his non-fiction writing a belief in psychoanalysis as a science, a position in keeping with psychoanalysis’ contemporary status as the predominant psychological paradigm. Various early Ballard stories enact psychoanalytic theories, while the novel usually read as his serious debut, The Drowned World, aligns itself allusively with an oft-cited depiction by Freud of the revelatory and paradigm-changing nature of the psychoanalytic project. Ballard’s enthusiastic embrace of psychoanalysis in his early 1960s fiction mutated into a fascinatingly delirious vision in some of his most experimental work of the late 1960s and early 1970s of a fusion of psychoanalysis with the mathematical sciences. This paper explores how this ‘Marriage of Freud and Euclid’ is played out in its most systematic form in The Atrocity Exhibition and its successor Crash. By his late career Ballard was acknowledging problems raised over psychoanalysis’ scientific status in the positivist critique of Karl Popper and the work of various combatants in the ‘Freud Wars’ of the 1990s; Ballard at this stage seemed to move towards agreement with interpretations of Freud as a literary or philosophical figure. However, despite making pronouncements reflecting changes in dominant cultural appraisals of Freud, Ballard continued in his later writings to extrapolate the fictive and interpretative possibilities of Freudian and post-Freudian ideas. This article attempts to develop a deeper understanding of Ballard’s ‘scientific’ deployment of psychoanalysis in The Atrocity Exhibition and Crash within the context of a more fully culturally-situated understanding of psychoanalysis’ relationship to science, and thereby to create new possibilities for understanding the meanings of Ballard’s writing within culture at large.
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Harrison, Victoria S., Anna Bergqvist, and Gary Kemp. "Introduction." Royal Institute of Philosophy Supplement 79 (October 2016): 1–12. http://dx.doi.org/10.1017/s1358246116000047.
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Museums have traditionally been understood as places where carefully selected objects are categorized and put on display so that they can be known through observation. So-called ‘world-museums’, such as the British Museum, were designed to provide the public with access to the wider world through the knowledge they could acquire simply by observing the objects put forward for their inspection. This understanding of what museums do has been increasingly called into question due to changing views of knowledge-acquisition. New understandings of museums are emerging that seek to be responsive to more complex epistemological theories, and philosophers, as evidenced by the essays in this volume, are taking a lively interest in this development. As the essays in this volume further show, specific aspects of museum practices—especially concerning collection and curation, as well as exhibition—also invite philosophical scrutiny.
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Dingemans, T. J., L. A. Madsen, N. A. Zafiropoulos, Wenbin Lin, and E. T. Samulski. "Uniaxial and biaxial nematic liquid crystals." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 364, no. 1847 (August 21, 2006): 2681–96. http://dx.doi.org/10.1098/rsta.2006.1846.
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The unusual exhibition of a biaxial nematic phase in nonlinear thermotropic mesogens derived from the 2,5-oxadiazole biphenol (ODBP) core is placed in a general context; the uniaxial nematic phase of the prototypical rod-like mesogen para -quinquephenyl does not follow the classical mean-field behaviour of nematics, thus questioning the utility of such theories for quantitative predictions about biaxial nematics. The nuclear magnetic resonance spectra of labelled probe molecules dissolved in ODBP biaxial nematic phases suggest that a second critical rotation frequency, related to the differences in the transverse diamagnetic susceptibilities of the biaxial nematic, must be exceeded in order to create an aligned two-dimensional powder sample. Efforts to find higher viscosity and lower temperature biaxial nematics (with lower critical rotation rates) to confirm the above conjecture are described. Several chemical modifications of the ODBP mesogenic core are presented.
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Choi, Jeong Eun. "A Study on the Exhibition《Women_Independence Movement_Gimhae》from a Psychoanalytic Feminist Point of View: Based on the Theories of L. Irigaray and J. Kristeva." Korean Arts Association of Arts Management 55 (August 31, 2020): 155–84. http://dx.doi.org/10.52564/jamp.2020.55.155.
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Gschrey, Raul. "Borderlines. Surveillance, Identification and Artistic Explorations along European Borders." Surveillance & Society 9, no. 1/2 (November 30, 2011): 185–202. http://dx.doi.org/10.24908/ss.v9i1/2.4146.
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Borderlines are increasingly hard to grasp they no longer follow the territorial outlines of nation states and are developing into mobile interlinked structures. The borderlines experience an increasing automation, reach into our cities, along the spaces of transit and, with the help of biometric techniques, zoom in on our bodies. These structures of inclusion and exclusion, of surveillance and control have different impacts on people, according to their status and nationality. This altered state of our borders and its appearance in artistic and academic positions will be discussed. This goes along with an analysis of theories and practices of surveillance and control in relation to the restriction of movement and the construction of spaces. The focus lies on irregular migration and movement in the European arena. Most of the works that are presented were part of the exhibition “grenzlinien” (borderlines) which was shown in Mainz and Frankfurt/Main, Germany in 2010 and which will be completed by a publication and further shows in 2011/12.
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Retzlaff, Steffen. "Drei Haselnüsse für Aschenbrödel." Zeitschrift für Slawistik 63, no. 2 (June 1, 2018): 301–29. http://dx.doi.org/10.1515/slaw-2018-0021.
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Summary‚Three Wishes for Cinderella‘ (Tři oříšky pro Popelku / Drei Haselnüsse für Aschenbrödel) is one of the most successful fairy tale films in Czech and German TV. Produced in 1973, it is shown up to now regularly around Christmas in both countries. Every year around the same time, at Moritzburg Castle near Dresden, which has been chosen as place of the ball in the movie, one can see a special Cinderella exhibition. In his paper the author investigates the question of the success of this film. He presents the conditions of the Czech-German joint production during the time of the so called normalisation after the Prague Spring. He compares the story and figures with its literary models (Božena Němcová, Brothers Grimm), and discusses some theories about the modernity of characters, especially of Cinderella as a modern emancipated woman. The core of the paper is the analysis of the narrative structure itself, which may be considered as the secret to the success of the movie.
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McKenna, Christopher J. "An invisible operational mortar." AILA Review 34, no. 1 (September 9, 2021): 102–21. http://dx.doi.org/10.1075/aila.20010.mck.
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Abstract The contribution seeks to apply the principles of J. L. Austin’s speech-act theories to the study of local business segregation in the Jim Crow South. In particular, it borrows the notions of illocutionary and perlocutionary force when examining the seemingly bland and prosaic statements that are often used to normalise segregation within the business of commercial entertainment. For purposes of expanding the complexity of typical Manichaean (i.e., Black vs White) ethnic studies, this analysis was developed within the context of tri-racial segregation as applied to rural moviegoing within Robeson County, North Carolina during the first half of the twentieth century. Notably, the development of Robeson’s historical cinema-exhibition spaces eventually resulted in a highly unusual venue – i.e., the three-entrance theatre – whose physical architecture reflected tensions between local ethnic demographics and desired social hierarchies. Yet even in the face of these unusual physical constructs, this study contends that seemingly everyday objective/descriptive and non-demonising language remained an essential component in enforcing segregation.
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Wood, Jamie. "‘On or about December 1910’: F. T. Marinetti's Onslaught on London and Recursive Structures in Modernism." Modernist Cultures 10, no. 2 (July 2015): 135–58. http://dx.doi.org/10.3366/mod.2015.0106.
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Many accounts of the formative years of English modernism rely on Futurism's own questionable record of F. T. Marinetti's visit to London in the spring of 1910 as the catalyst for an avant-garde revolution in Anglo-American literature that led through Roger Fry's revolutionary Post-Impressionist exhibition to Imagism, and onto Vorticism. New evidence presented here, however, supports the position advanced by a number of scholars that Marinetti did not visit until after Fry's exhibition. We can now quite precisely date Marinetti's important ‘Futurist Speech to the English’ to Tuesday 13 December 1910, rather than to the spring of that year as previously thought. Close examination of the content and context of this lecture, to an audience of Suffragettes at the Lyceum Club for Women, highlights the sheer extent of Marinetti's propaganda drive between 1908 and 1910, as he attempted to garner support for his movement and neutralise the satirical attitude of the mainstream English press. Moreover, Futurism, it appears, actively altered the historical record in order to genealogically prioritise itself. Such a process finds itself recursively working back into modernist studies, through a process in which theories of British historical and cultural decline or inferiority, alongside a presupposition of the continental avant-garde's guiding influence, tend to unconsciously take root in studies of literature of this period. In contrast and as illustration, we can find in one of Wyndham Lewis's early essays – previously considered imitative of, but now clearly an influence upon, Marinetti – the extent to which ‘on or about December 1910’ British society and culture was already in the process of radicalizing itself.
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Baldock, Janine. "Science is... at the Birmingham Museum of Science and Industry." Public Understanding of Science 4, no. 3 (July 1995): 285–98. http://dx.doi.org/10.1088/0963-6625/4/3/006.
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Science interpretation in museums has, until now, largely focused on the products of science—the technological artefacts of our scientific past and the scientific phenomena presented in hands-on galleries. Little, if anything, is said about the process of science—what it is, how it's done, who does it, and why. For this reason, the Birmingham Museum of Science and Industry is planning a new gallery based on science itself. Science is... will interpret science from a cultural perspective by looking at how culture affects science, and how changes in scientific thought have changed our own views of ourselves and the world around us. The objectives of the exhibition are: to raise awareness that science is a key part of our culture; to increase understanding of the method, history and philosophy of science and the scientific community; and to promote realistic images of science and scientists. Using the example of the Copernican Revolution, part of the gallery will focus on changing ideas in science, how change is affected by culture, and the consequences of accepting new scientific theories.
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Phan, Lào. "Water Pollution foundation Detection and Localization Based on Wireless Sensor Networks." Pollution Engineering 50, no. 1 (October 26, 2020): 01–02. http://dx.doi.org/10.17762/pe.v50i1.35.
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Water contamination cause recognition is the prerequisite of water contamination foundation restriction. In belowmagazine, the resource identification issues of the system are proposed. To take care of the identification issues of static and dynamic contamination cause, the speculation investigation technique is applied. To make up the deficiencies of the smutty contamination source confinement calculation and the restriction techniques dependent on the dispersion models in water, a contamination source limitation calculation dependent on focus form is likewise projected. In the strategy for recognition, the related parallel theories, test measurements and the particular assessment strategies are given. In recreation analyzes, the source discovery strategies are tried. In strategy for restriction, the area of the source is gotten by the mathematical design highlight of the form. The outcomes show that the exhibition of the proposed calculation is better than different strategies when the focus shape is axis-symmetric. What's more, in contamination source location of the hub if the quantity of tests can be guaranteed, the less perception times might be more useful to get high discovery precision.
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Carbon, Claus-Christian. "Art Perception in the Museum: How We Spend Time and Space in Art Exhibitions." i-Perception 8, no. 1 (January 2017): 204166951769418. http://dx.doi.org/10.1177/2041669517694184.
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Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors ( N = 225; 126 female, M(age) = 43.3 years) while perceiving a series of six Gerhard Richter paintings of various sizes (0.26–3.20 sq. m) in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s ( Mdn = 25.4 s). We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship ( r2 = .929) between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m ( M = 1.72 m). We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research ( M = 50.5 s, Mdn = 43.0 s). Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.
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Volz, Kirsty, and Heather Faulkner. "Dark Rooms." idea journal 16, no. 1 (February 6, 2018): 182–95. http://dx.doi.org/10.37113/ideaj.vi0.23.
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In the 2015 exhibition, Cloud Land, for the Museum of Brisbane, Robyn Stacey transformed hotel rooms into dark rooms that captured a unique series of portraits of Brisbane in Australia. These portraits enfold conditions of interiority and exteriority as well as spaces that resemble the past and the present. The collapsing of time and space found in Stacey’s work is central to the analysis presented in this paper. Anthony Vidler’s reading of Deleuze’s concept of ‘the fold’ informs the analytical framework of Stacey’s work. Vidler uses the camera obscura to describe the theories presented in The Fold and he also presents a critical view on how designers have previously read and applied Deleuze’s theories to ‘architectural space.’ This paper also draws from Vidler’s concept of ‘dark space,’ described as the unconscious way we are forced to engage with the often confusing spatial experiences of contemporary built environments. This confusion leads to our experiences of the city being largely unseen.
The works presented by Stacey in Cloud Land are, for the most part, informed by her experiences of living in Brisbane during Sir Joh Bjelke-Petersen’s authoritarian government (1968-1987). This recent history of the city is hardly present today, but Stacey finds the visible traces of the oppression experienced by many during this period through the camera obscura. Stacey’s work proffers a way to consciously engage with the city and the unseen histories that are embedded into its fabric. Additionally, through Stacey’s work we consider the placeless and benign spatial quality of contemporary hotel rooms and spaces—an example of Vidler’s ‘dark space.’
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Wulandari, Sari. "Pendekatan Parodi, Simbolik dan Metafora pada Karya Seni Jogja International." Humaniora 4, no. 1 (April 30, 2013): 465. http://dx.doi.org/10.21512/humaniora.v4i1.3455.
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Ngayogyakarta Negari Exhibition 2012 is part of the Festival of Arts 2012 Ngayogyakarta Hadiningrat Negari held in commemoration of the 2.5-century founding of Ngayogyakarta and 100 years of the birth of Sri Sultan Hamengkubuwono IX, followed by 124 artists Yogyakarta, both painting, photography, sculpture, audio visual, and installation as well which displayed the works of Sri Sultan Hamengkubuwono IX and Yogyakarta themed. Jogja International work sculpture by sculpture artist, Dunadi, is one of the few works of sculpture on display in this activity, similar to superhero Spider-Man but wearing blangkon and sarong. In addition to its large size and white color, which makes it interesting sculpture to be observed, studied and discussed is this artwork has conveyed symbolic, metaphoric, and typical parodik messages of Yogyakarta people. This discussion was done through art criticism and aesthetic theory in which the implementation of theories is very broad in the domain art and design. Although the artwork discussed did not pertain directly to the the domain of Visual Communication Design, sensitivity to social issues, creative approach, and beautiful execution Dunadi artist was expected to add experience and insight into the art of the artists and designers in Indonesia.
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YAMALIDOU, MARIA. "PETER HARMAN and SIMON MITTON (eds.), Cambridge Scientific Minds. Cambridge: Cambridge University Press, 2002. Pp. viii+343. ISBN 0-521-78612-6. £14.95 (paperback). DAVID MILLAR, IAN MILLAR, JOHN MILLAR and MARGARET MILLAR, The Cambridge Dictionary of Scientists. Second edition. Cambridge: Cambridge University Press, 2002. Pp. xii+428. ISBN 0-521-00062-9. £14.95, $20.00 (paperback)." British Journal for the History of Science 37, no. 4 (December 2004): 466–67. http://dx.doi.org/10.1017/s000708740421617x.
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Peter Harman and Simon Mitton (eds.), Cambridge Scientific Minds and David Millar, Ian Millar, John Millar and Margaret Millar, The Cambridge Dictionary of Scientists. By Maria Yamalidou 466Maria Michela Sassi, The Science of Man in Ancient Greece. By Laurence M. V. Totelin 467H. L. L. Busard, Johannes de Tinemue's Redaction of Euclid's Elements, the So-called Adelard III Version. Volume I: Introduction, Sigla and Descriptions of the Manuscripts, Editorial Remarks, Euclides, Elementa. Volume II: Conspectus Siglorum, Apparatus Criticus, Addenda. By Jackie Stedall 468Gerhard W. Kramer, The Firework Book: Gunpowder in Medieval Germany. By Simon Werrett 469Robert Crocker (ed.), Religion, Reason and Nature in Early Modern Europe. By Scott Mandelbrote 470Rienk Vermij, The Calvinist Copernicans: The Reception of the New Astronomy in the Dutch Republic, 1575–1750. By Owen Gingerich 471Rina Knoeff, Herman Boerhaave (1668–1738): Calvinist Chemist and Physician. By Georgette Ironside 472J. Christiaan Boudri, What was Mechanical about Mechanics: The Concept of Force between Metaphysics and Mechanics from Newton to Lagrange. By Niccolò Guicciardini 473Ken Alder, The Measure of All Things: The Seven-Year Odyssey that Transformed the World. By Graeme Gooday 474Berit Pedersen (ed.), A Guide to the Archives of the Royal Entomological Society. By J. F. M. Clark 476Richard Yeo, Science in the Public Sphere: Natural Knowledge in British Culture 1800–1860. By Leigh D. Bregman 477Louise Purbrick (ed.), The Great Exhibition of 1851: New Interdisciplinary Essays. By Nick Fisher 478Hermione Hobhouse, The Crystal Palace and the Great Exhibition: Art, Science and Productive Industry. A History of the Royal Commission for the Exhibition of 1851. By Sophie Forgan 479Michael Worboys, Spreading Germs: Disease Theories and Medical Practice in Britain, 1865–1900. By Kenneth F. Kiple 480Greta Jones, ‘Captain of All these Men of Death’: The History of Tuberculosis in Nineteenth and Twentieth Century Ireland. By Juliana Adelman 481Christopher Herbert, Victorian Relativity: Radical Thought and Scientific Discovery. By Hazel Hutchison 482Paul Ziche (ed.), Monismus um 1900: Wissenschaftskultur und Weltanschauung. By Peter Zigman 484Maggie Mort, Building the Trident Network: A Study of the Enrollment of People, Knowledge, and Machines. By Sean Johnston 485A. M. Moulin and A. Cambrosio (eds.), Singular Selves: Historical Issues and Contemporary Debates in Immunology/Dialogues entre soi: Questions historiques et débats contemporains en immunologie. By Pauline M. H. Mazumdar 486Ioan James, Remarkable Mathematicians: From Euler to von Neutmann. By Claire Jones 487Joseph W. Dauben and Christoph J. Scriba (eds.), Writing the History of Mathematics: Its Historical Development. By Adrian Rice 488Jill Ker Conway, Kenneth Keniston and Leo Marx (eds.), Earth, Air, Fire, Water: Humanistic Studies of the Environment. By Leigh Clayton 490Steven Weinberg, Facing Up: Science and Its Cultural Adversaries. By Steven French 491
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O’Reilly, Daragh, Kathy Doherty, Elizabeth Carnegie, and Gretchen Larsen. "Cultural memory and the heritagisation of a music consumption community." Arts and the Market 7, no. 2 (October 2, 2017): 174–90. http://dx.doi.org/10.1108/aam-08-2016-0014.
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Purpose The purpose of this paper is to explore how music consumption communities remember their past. Specifically, the paper reports on the role of heritage in constructing the cultural memory of a consumption community and on the implications for its identity and membership. Design/methodology/approach Drawing upon insights from theories of cultural memory, heritage, and collective consumption, this interpretive inquiry makes use of interview, documentary, and artefactual analysis, as well as visual and observational data, to analyse an exhibition of the community’s popular music heritage entitled One Family – One Tribe: The Art & Artefacts of New Model Army. Findings The analysis shows how the community creates a sense of its own past and reflects this in memories, imagination, and the creative work of the band. Research limitations/implications This is a single case study, but one whose exploratory character provides fruitful insights into the relationship between cultural memory, imagination, heritage, and consumption communities. Practical implications The paper shows how consumption communities can do the work of social remembering and re-imagining of their own past, thus strengthening their identity through time. Social implications The study shows clearly how a consumption community can engage, through memory and imagination, with its own past, and indeed the past in general, and can draw upon material and other resources to heritagise its own particular sense of community and help to strengthen its identity and membership. Originality/value The paper offers a theoretical framework for the process by which music consumption communities construct their own past, and shows how theories of cultural memory and heritage can help to understand this important process. It also illustrates the importance of imagination, as well as memory, in this process.
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Soma - Alwin S. Sombu, Clarissa Jesslyn. "ADAPTATION AND CONSERVATION OF THE SRI MANGANTI HALL AT YOGYAKARTA’S KERATON PALACE COMPLEX." Riset Arsitektur (RISA) 2, no. 01 (June 4, 2018): 35–52. http://dx.doi.org/10.26593/risa.v2i01.2819.35-52.
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Abstract - Yogyakarta’s Keraton palace forms part of the Special Region of Yogyakarta (DIY) that has architectural values of high standing. Apart from this, the hall called Sri Manganti takes specific pride of place in this palace. The purpose of this research project is to reveal these architectural aspects through establishing their cultural significance, meaningful architectural elements and the conservational measures applied to this particular hall. The theories employed for this piece of research include the Capon theory, the Orbasli theory, the Feilden theory, the Forsythe theory, and finally the Javanese Tradition Architectural theory. The methods used consist of the descriptive and the qualitative method along with the architectural approach to the matter of the building’s form and function, and the local conservation of the various cultural meanings. The cultural significance of the Sri Manganti hall lies in the application of the Javanese architectural concept of Joglo Mangkurat (referring to the roof’s steep upper section) along with the hanging structure known as Lambung Gantung, aesthetic appreciation of Javanese culture and tradition and exhibition and performance of Javanese art. The architectural and aesthetic values can be discerned in its architectural components consisting of the fundament, floor, poles/pillars, supporting and upper wooden beams called ander & molo, ceiling, roof, various decorations and the general lay-out. A valuable building like this has apparently suffered from loss of quality in the components of its construction. This decline in quality could have been caused by the impact of the tropical climate, faulty maintenance and certain questionable human measures taken. On the other hand, it turns out that the change of function into an exhibition venue for art has actually brought added value in terms of the building’s usefulness.This building falls under the essential buildings that make up the Keraton palace, so its general condition needs to be properly maintained, both with the measures taken to adapt and conserve it for the future.Keywords: architectural value, aesthetic value, conservation, adaptation, preservation
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Hjorth Christensen, Line. "Dansk på stedet - skitse til en omgivelsesforankret læringsmetode." Dansk Universitetspædagogisk Tidsskrift 7, no. 13 (September 1, 2012): 27–40. http://dx.doi.org/10.7146/dut.v7i13.6129.
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Ud fra en konkret undervisnings- og udstillingscase på Københavns Universitet Amager undersøger artiklen, hvordan det nære fysiske miljø på uddannelsesstedet kan indgå som ressource i en konkret danskfaglig læringssammenhæng. Der tages afsæt i det forhold, at de fysiske omgivelser er et undervurderet aspekt i læringssammenhænge og i en forståelse af, at kunsten bevæger sig frit på tværs af forskellige medier, hvor litteratur og sprog altid er i dialog med andre bevidst formgivne udtryk af ikke-sproglig karakter. Der redegøres for den konkrete case, for kursets og den specifikke øvelses faglige mål, såvel de museologisk danskfaglige som de fagdidaktiske samt for de teoretiske inspirationer og overvejelser, der ligger til grund for at arbejde med udstillingsmediet i danskundervisningen. På den baggrund redegøres der for de studerendes reaktioner på lyrikprojektet i forhold til fagfaglige og didaktiske mål; afslutningsvist opsummerer artiklen med sigte på metodens relevans for danskundervisningen og på humaniora.The article explores how physical and professional surroundings within a university frame can work as an active learning space and learning ”material” in relation to an MA course in museology. The course took place in 2009 at Dept. of Scandinavian Studies and Linguistics, University of Copenhagen, part of the course being coordinated in relation to the cultural event Kulturnatten (Copenhagen Cultural Night). Based on a specific case study of a curatorial exercise, that of installing a poetry exhibition and authoring an exhibition catalogue, the survey sets out to illuminate learning potentials held within combined tactile and textual mediating processes. In particular interacting with text and objects, turning curatorial strategies into didactic processes and working product orientated with a view to an actual audience is being stressed as a way of expanding traditional academic learning methods. The article draws on aesthetic, experiential learning theories, and museology, stating the necessity of joining what David A. Kolb has described as “the simple perception of experience’ with students” reciprocal action and independent positioning.
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Leander, Anna. "Composing Collaborationist Collages about Commercial Security." Political Anthropological Research on International Social Sciences 1, no. 1 (July 11, 2020): 61–97. http://dx.doi.org/10.1163/25903276-bja10004.
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This article is an argument about why it is worth taking the trouble to work with feminist, new materialist approaches inspired by Haraway, Mol, Stengers and others, when studying IR questions. It introduces and exemplifies one specific analytical strategy for doing so, namely one of “composing collaborationist collages”, focusing first on the main building blocks of the approach and then on the (dis-)advantages of working with it. In terms of the building blocks, I underline that composing makes it possible to join the heterogeneous and unlikely, that collaging accentuates the scope for playing with heterogeneity and that collaborating is a necessary part of this process as a well as a helpful check on one’s positionality. I then proceed by focusing on the (dis-)advantages of composing collaborationist collages, making the arguments that this research strategy directs attention to (dis-)connections and to the temporal politics of emergence. It also requires a willingness to face the uncertainties associated with creative academic work. The article introduces composing collaborationist collages as a research strategy. It does so working with material from feminist new materialism, practice theories, the exhibition War Games featuring installations by Hito Steyerl and Martha Rosler and my own work on the politics of commercial security.
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Hanink, Emily Anne, Andrew Koontz-Garboden, and Emmanuel-moselly Makasso. "Property concepts in Basaá and the ontology of gradability across category." Semantics and Linguistic Theory 29 (December 9, 2019): 201. http://dx.doi.org/10.3765/salt.v29i0.4606.
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Theories of gradability and comparison (e.g., Kamp 1975, Cresswell 1977 and many following) have been developed with data from familiar languages like English with adjectives at their core. In many languages, however, the main predicate in truth-conditionally equivalent constructions -- the property concept (PC) (cf. Dixon 1982) -- is of a different category: that of a nominal, which is predicated through possession cross-linguistically. Francez and Koontz-Garboden (2017) argue for a semantics for such nouns as mereologically and size-ordered sets of abstract portions, a treatment that keeps with their exhibition of mass noun behavior, with possessive predications and comparatives involving these nouns built on such a semantics. A semantics of this kind is not standardly assumed for adjectives and constructions built on them in familiar languages, however, raising the question whether the truth-conditional equivalence of the constructions with nouns in languages that have them and the constructions with adjectives in languages that have them should be model-theoretically represented, a position assumed by Menon and Pancheva (2014), or whether this equivalence should be captured in some other way. Based on data from modification, degree questions, subcomparatives, and equatives in Basaá (Bantu; Cameroon), we show that adjectives and the have+PC noun construction must in fact have a type-theoretically identical semantics.
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Bencherki, Nicolas, and Alaric Bourgoin. "Property and Organization Studies." Organization Studies 40, no. 4 (December 7, 2017): 497–513. http://dx.doi.org/10.1177/0170840617745922.
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Property is pervasive, and yet we organization scholars rarely discuss it. When we do, we think of it as a black-boxed concept to explain other phenomena, rather than studying it in its own right. This may be because organization scholars tend to limit their understanding of property to its legal definition, and emphasize control and exclusion as its defining criteria. This essay wishes to crack open the black box of property and explore the many ways in which possessive relations are established. They are achieved through work, take place as we make sense of signs, are invoked into existence in our speech acts, and travel along sociomaterial networks. Through a fictionalized account of a photographic exhibition, we show that property overflows its usual legal-economic definition. Building on the case of the photographic exhibit, we show that recognizing the diversity of property changes our rapport with organization studies as a field, by unifying its approaches to the individual-vs.-collective dilemma. We conclude by noting that if theories can make a difference, then whoever controls the assignment of property – including academics who ascribe properties to their objects of study – decides not only who has or who owns what, but also who or what that person or thing can be.
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Llorente, Jaime. "Del exceso óptico a la mirada cautiva: la imagen pictórica como “visible saturado” en la fenomenología del ídolo de Jean-Luc Marion." Investigaciones Fenomenológicas, no. 11 (January 29, 2021): 185. http://dx.doi.org/10.5944/rif.11.2014.29540.
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El propósito del presente artículo es mostrar el modo en el cual la hermenéutica del ídolo de Jean-Luc Marion, es decir, su fenomenología de la imagen pictórica, supone un paso adelante en la consideración de la teoría fenomenológica de la intuición. Las nociones de “admiración”, “detención de la mirada” o “mostración de lo invisto” cumplen, en este sentido, la función de poner de manifiesto cómo el cuadro logra mostrarse como un elemento visible en cuyo interior tiene lugar el acontecimiento de la apoteosis absoluta de la visión. Tal grado supremo de la mirada implica un cuestionamiento “estético” de las teorías metafísicas acerca del fenómeno artístico, a la vez que un desarrollo de las iniciales posiciones husserlianas en referencia a la constitución del objeto fenoménicamente dado.The aim of this paper is to show the way in which Jean-Luc Marion´s hermeneutics of the idol (that is, his phenomenology of pictorial image) involves a step forward in the consideration of phenomenological theory of intuition. The concepts of “admiration”, “pause of the gaze” or “exhibition of the unseen” accomplish, in this sense, the role of showing how a painting manages to appear as a visible element in whose interior the event of the absolute apotheosis of visión takes place. This supreme degree of the gaze implies an “aesthetical” questioning of metaphysical theories about artistic phenomenon and, at the same time, a development of the first husserlian positions in reference to the constitution of the phenomenomenically given object.
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Hermina, Utin Nina. "MARKETING STRATEGY TO INCREASE TOURIST VISITS ON NATURE TOURISM OF MEMPAWAH MANGROVE PARK IN THE PASIR VILLAGE OF MEMPAWAH REGENCY." JURNAL TERAPAN MANAJEMEN DAN BISNIS 5, no. 2 (June 11, 2020): 51. http://dx.doi.org/10.26737/jtmb.v5i2.1772.
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Nature tourism is one of the tourism that is trending and loved both local and foreign tourists. It is expected to bring an impact on improving the region's economy, and the community around the tourist attractions can be actively involved in there. Mempawah Regency is one of the regencies in West Kalimantan, one of its natural attractions is "Mempawah Mangrove Park", a mangrove (Mangrove forest) tourist spot. The purpose of this research is to find a marketing strategy through the marketing mix of tourism products, promotions, and prices that can affect the increasing visiting of tourists who visit the natural tourism of Mangrove Park in the Pasir village of Mempawah Regency. The research method used surveys using questionnaires as the method of data retrieval. Samples selected with a non-probability sampling method of purposive sampling. The analytical tools used in this study were descriptive verification. Collecting the results of a questionnaire that was further emulated and scripted based on analysis and study of existing theories. The results of this research showed that the product in the mangrove tourism does not affect the tourists, and the promotion is not done because there is no special promotion from the related service or from the exhibition of tourism that presents information about the nature tourism of Mangrove Park, but for the price, they agree if the entrance price of the tour is to be said as per the facilities provided in the nature tourism.
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Di Giovanni, Gianni. "Design and construction of the thin vault for the reinforced concrete ceiling of the Public Hall of the Cassa di Risparmio Bank headquarters in L’Aquila." VITRUVIO - International Journal of Architectural Technology and Sustainability 5, no. 1 (June 12, 2020): 83. http://dx.doi.org/10.4995/vitruvio-ijats.2020.13687.
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The present article wants to report on the technological and constructive aspects related to the realization of the thin reinforced concrete vault for the reinforced concrete ceiling of the Cassa di Risparmio Bank Public Hall of L'Aquila; this work was carried out in the early 1950s on the occasion of the enlargement of the bank headquarters, built in the nineteenth-century . The intervention is seen peculiar because it can be considered representative of the application of the reinforced concrete technique to realize a small structural thickness reinforced concrete ceiling. In particular, the use of complex-shaped vaulted systems in reinforced concrete, in the post-war Italian period, was substantially reserved for the construction of road bridges in the post-war reconstruction context of the infrastructure system, less used in civil construction. The application of such construction systems, in architectural works, refers to buildings with a predominantly tertiary use, such as offices and exhibition halls. Among these, although of minor importance, there is the Public hall of the Cassa di Risparmio of L'Aquila which testifies that some reinforced concrete works, demanding from the constructive point of view, were carried out in the peripheral territorial areas as well, like the provincial ones. In particular, from the analysis of the archive sources, the re-enactement of the project phases as well as the construction ones, confirms the use of a building technique, which in that particular historical period, saw the transition from the structural calculation theories to the construction site practice and, its application not only in large Italian cities, but also in minor contexts.
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Pavlov, A. V., and Y. V. Erokhina. "Images of Modernity in the 21st Century: Altermodernism." Russian Journal of Philosophical Sciences 62, no. 2 (May 12, 2019): 7–25. http://dx.doi.org/10.30727/0235-1188-2019-62-2-7-25.
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The article discusses an actual problem of the contemporary social theory – a problem of post-postmodernism that is the answer to the question: what comes to replace the supposedly outdated postmodernism. Post-postmodernism in an umbrella term that brings together various concepts like digimodernism, automodernism, metamodernism, hypermodernism, supermodernism, etc. One of the replacing postmodernism theories is the French curator and art theorist Nicolas Bourriaud’s concept that was called “altermodern” or “other modernism.” In his previous books Bourriaud proposed to rewrite modernism and, as the result, developed a new theory. The concept appeared in 2009 when Bourriaud presented the exhibition in London, timed to the publication of his manifesto Altermodern, and edited and published the book of collected papers of the same title. Globalization, which opened borders for art, is a central concept of the altermodernism theory. The main terms of altermodern are heterochrony (time diversity) and viatorisation (nomadism). The main social subject of the alternodern era is a free travelling artist, who interprets the meanings of “rewritten” art for the public. They are “rewritten” because Bourriaud proposes to use phenomena and products of past ages to make them work in a new way. However Bourriaud’s concept should be considered critically, as it was formerly done by several researchers. The article proposes a critical review that answers to the question: to what extent the idea of altermodern is heuristic and therefore it could compete with other concepts that abolish postmodern. The author gives a negative answer to this question first of all because altermodern just borrows a lot of elements of the language and apparatus of postmodernism and actually does not offer anything new.
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Stratigakos, Despina. "Women and the Werkbund: Gender Politics and German Design Reform, 1907-14." Journal of the Society of Architectural Historians 62, no. 4 (December 1, 2003): 490–511. http://dx.doi.org/10.2307/3592499.
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In this article, I explore the gender of everyday design in the Werkbund discourse. The German Werkbund, an alliance of artists, critics, and business-people, sought to restore harmony to German culture through the aesthetic transformation of daily life. Analyzing new sources that introduce the voices of women and expand the category of texts hitherto used for Werkbund scholarship, I examine the role of gender in the organization's efforts to impose a new aesthetic discipline. In the first section, I address attitudes toward women as consumers, sellers, and producers of everyday commodities. Whether seeking to portray women as agents of reform or to dismiss them as lovers of kitsch, women and men in the Werkbund employed gender norms in formulating their notions of good design and in devising strategies for its implementation. In the second section, I focus on how contemporary theories of gender, and particularly the idea of a female aesthetic lack, contributed to shaping the Werkbund's central design values of quality and Sachlichkeit. In the concluding section, I track the convergence of these issues at the Haus der Frau, the women's pavilion at the 1914 Werkbund exhibition in Cologne. I discuss how the organizers of the Haus der Frau attempted to feminize Werkbund design values in their conception and presentation of female-designed spaces and objects. The pavilion's critical reception reflects deeply divided beliefs on gender and modern design. By bringing together these elements, I seek to demonstrate that the Werkbund's discipline, which promised a new spiritual and aesthetic unity in Germany, was grounded in conflicting assumptions about gender roles in modern society.
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Palumbo, Carmen. "A opção terceiro-mundista de Mário Pedrosa." Arteriais - Revista do Programa de Pós-Gradução em Artes 4, no. 6 (July 31, 2018): 131. http://dx.doi.org/10.18542/arteriais.v4i6.5967.
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ResumoO capítulo chileno do exílio de Mário Pedrosa, terminado abruptamente em 1973 com o golpe ao governo Allende, e o subsequente exílio francês marcaram a passagem do crítico do europeísmo para a defesa de uma posição terceiro-mundista. Na França, Pedrosa escreveu o Discurso aos Tupiniquins e Nambás (1975), ponto de partida para uma reflexão sobre a América Latina que resultará, em 1978, em um verdadeiro projeto de descolonização do pensamento eurocêntrico a partir da arte ameríndia: a exposição (não realizada) Arte de viver, Arte de criar. Tendo como foco a década de 1970, último período de atuação política e intelectual do crítico, este trabalho tem como objetivo apresentar a opção terceiro-mundista de Pedrosa na vertente das teorias do “pensamento liminar”, voltadas a reveindicar para o Brasil um lugar não mais de colônia, mas de locus de enunciação das narrativas historicamente subalternizadas.AbstractThe Chilean chapter of Mário Pedrosa’s exile, finished abruptly in 1973 with the coup to the Allende government, and the subsequent French exile, marked the critic’s crossing from Europeanism to the defense of a third-world position. In France, Pedrosa wrote the “Discurso aos Tupiniquins e Nambás”, starting point for a reflection on Latin America, that will result, in 1978, in a true project of decolonization of the Eurocentric thought from Amerindian art: the exhibition (not accomplished) “Arte de viver, Arte de criar”. Focusing on the 1970s, the last period of political and intellectual activity of the critic, this paper aims to insert Pedrosa’s third-world option in the liminary thinking theories, aimed at revealing to Brazil a place no longer a colony, but a “locus” of enunciation of historically subalternized narratives.
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Lokugamage, Amali U., Tharanika Ahillan, and S. D. C. Pathberiya. "Decolonising ideas of healing in medical education." Journal of Medical Ethics 46, no. 4 (February 6, 2020): 265–72. http://dx.doi.org/10.1136/medethics-2019-105866.
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The legacy of colonial rule has permeated into all aspects of life and contributed to healthcare inequity. In response to the increased interest in social justice, medical educators are thinking of ways to decolonise education and produce doctors who can meet the complex needs of diverse populations. This paper aims to explore decolonising ideas of healing within medical education following recent events including the University College London Medical School’s Decolonising the Medical Curriculum public engagement event, the Wellcome Collection’s Ayurvedic Man: Encounters with Indian Medicine exhibition and its symposium on Decolonising Health, SOAS University of London’s Applying a Decolonial Lens to Research Structures, Norms and Practices in Higher Education Institutions and University College London Anthropology Department’s Flourishing Diversity Series. We investigate implications of ‘recentring’ displaced indigenous healing systems, medical pluralism and highlight the concept of cultural humility in medical training, which while challenging, may benefit patients. From a global health perspective, climate change debates and associated civil protests around the issues resonate with indigenous ideas of planetary health, which focus on the harmonious interconnection of the planet, the environment and human beings. Finally, we look further at its implications in clinical practice, addressing the background of inequality in healthcare among the BAME (Black, Asian and minority ethnic) populations, intersectionality and an increasing recognition of the role of inter-generational trauma originating from the legacy of slavery. By analysing these theories and conversations that challenge the biomedical view of health, we conclude that encouraging healthcare educators and professionals to adopt a ‘decolonising attitude’ can address the complex power imbalances in health and further improve person-centred care.