Academic literature on the topic 'Imaginary gallery'

When we inquire into the nature of works of art we can see at a glance that there is a good deal of evidence against aesthetic idealism, the view that artworks are, in the final analysis, imaginary objects in the minds of their creators. We believe, for instance, that the National Gallery not only contingently but in some sense necessarily weighs more than merely the sum of the empty building, the people in it, and the assorted fixtures. This sum must also include the weight of canvases, the oils on them, carved stone and marble, and so on, all of which add up to substantially more than nothing, which is at least the approximate weight of imaginary things. We know that it takes considerably more than a verbal utterance or acoustical blast to transport an artwork, and we also know that a visit to the gallery is not going to amount to an afternoon spent with wax figures of unicorns, flying horses, present and bald kings of France or, for that matter, talking teapots. In short, intuition protests against the idealist theory that if works of art are imaginary objects, they cannot be the things we go to see in the gallery; and if they are imaginary objects then, like a waxen Peter Pan, they are surely not art. Mellon and Meinong simply have different kinds of collections.

The gallery is a space of interaction between artists and audiences. In the era of pamdemik covid, gallery space was closed due to physical distancing. Imaginary space is built by utilizing communication and information technology. Instagram as a digital platform is widely used as a space for building artistic interactions. Through the hashtag of Corona Art Museum, the writer looks for some visual works to be used as object of analysis. Verbal and visual signs in the visual content will be dissected using the classification of signs: icons, indexes, symbols from Charles S. Peirce and the system of meaning production of codes using The Five Code: Hermeunetic, Narrative, Cultural, Semantik & Symbolic from Roland Barthes. The reading of visual signs will use the Sumbo Tinarbuko Triadik in looking at aspects of visual communication. The results of reading visual signs will reveal how visual content in an imaginary space can be a space of expression and the existence of an artist / designer.

An algorithm is proposed for numerical calculation of traveling electromagnetic wave modes for solid and hollow solid state cylinders. Complex eigenvalues are defined for angular parameters characterizing emissive modes and whispering gallery modes (WG-mode). The polar component imaginary parts of the wave vectors are found for all modes, including WG modes. The calculation is carried out for the fixed cylinder sizes. The field distributions are calculated inside the cylinders. The dependence of the mode parameters on the extinction coefficients of the cylinder material was studied. The ratio of the density of energy fluxes for the radial and polar directions shows a sharp change when passage from the emissive modes to WG modes.

<p>Today museums around the world offer their content through two basic methods: a simple view of their artworks through a content viewer, or through a custom designed 2D or 3D virtual exhibition in which the pieces and the scene are static. This article describes a 3DPublish tool which represents an alternative to these<br />two static solutions thereby giving the possibility to dynamically manage a 3D virtual scenario (real or imaginary) and the artwork that composes it. This gives the user a most realistic experience through different exhibitions, using various added value methods like storytelling or virtual tours. 3DPublish will facilitate the museum curator’s daily tasks and will improve the final results for 3D virtual museum exhibitions. This article will also present the case study of the Kubo Gallery in San Sebastian (SPAIN) as an example of 3DPublish use case.</p>

Unrealized architecture is culturally significant. Although they remain imaginary, unrealized buildings happen to a community, often leaving unintended material and social traces. This article argues that unbuilt projects contribute actively to the production of locality and the meaning of neighborhoods and institutions. Drawing on theoretical investments from Appadurai and Yaneva, this article analyzes motifs of locality and globality in long-lasting controversies surrounding two unrealized Japanese-designed extension projects to European museum buildings: the Uffizi Gallery in Florence and the Institut Valencià d’Art Modern in Valencia. The analysis demonstrates that despite their spectacular confrontations, supporters and opponents in both cases shared similar notions of the affected neighborhoods and museums as meaningful social and cultural spaces. The controversies revolved around whether or not the Japanese-designed expansions would violate or reawaken perceived local energies and qualities. Engaging a little-studied dimension of cultural globalization, the article asks: what sort of locality emerges from unmaking globality-inflected monumental architecture?

The State Tretyakov Gallery hosts a significant exhibition “Laboratory of the Future. Kinetic Art in Russia”. Its significance, the influence of the artistic phenomenon of kinetic art itself on domestic art of the 20th and 21st centuries has not yet been fully determined. The exhibition emphasizes kinetic art as one of the central national trends in experimental artistic creativity of the 20th century, even as some kind of a tradition. On the one hand, the exhibition would have been impossible without the participation of the creators of the Russian avant-garde, the founders of abstract art, the creators of the first abstract sculptures and dynamic structures: V. V. Kandinsky, K.S. Malevich, El Lissitzky, V. E. Tatlin, A. M. .Rodchenko. On the other hand, recognized masters, inventors of kinetic art in the USSR in the 1960s and 1970s, creators of the synthetic works of art combining the sound, color, form, images and motion are also important: Lev Nusberg’s “Group Movement” in Moscow and “KB Prometheus” under the leadership of Bulat Galeev in Kazan, the first kinetic construction at the USSR Exhibition of Economic Achievements Francisco Infante and the dynamic installation “Atom” by Vyacheslav Koleichuk, experiments with electronic sound and acoustics of the Experimental Studio of Electronic Music of Evgeny Murzin, the Theremen Center, created by Andrei Smirnov, space projects by Vyacheslav Loktev installations with light and sound in Leningrad by August Lanin 1. One of the key figures in this artistic process was the architect, designer, researcher, inventor, constructor and teacher Vyacheslav Fomich Koleichuk (1941–2018). This imaginary dialogue is covering some of the inventions of the artist, developing the traditions of Russian kinetic art, expanding the artistic space of modern design and architecture 2.

This visual essay introduces and critically reflects on a creative research project entitled ‘Spectra on the edge of embodiment,’ undertaken as part of my Master of Fine Art study in 2017 at the College of Creative Arts, Massey University, Wellington, New Zealand. The project was motivated by several questions and concerns: What is the being that is human? How does it interact with the space it occupies? Through a work of art, is it possible to convey to a viewer the metacognitive perceptions I have propagated in connecting to my interiority and how it interfaces with the world? The work took the form of an immersive spatial installation including multiple video projections accompanied by a sound loop. Occupying a darkened room within a gallery setting, it animated uniform wall surfaces and corner spaces. The video imagery originated from textural surfaces, detritus, fluids and other such flotsam and jetsam reminiscent of interior anatomies, compelling viewers to linger and wonder what the body might look like from the inside. Such a detailed imaginary view of the body’s interior environment stems from extensive cadaver studies that I undertook as part of my training as a physiotherapist.

UNDER THE DIRECTION OF ITS FIRST EDITOR, William Maginn, Fraser’s Magazine purveyed popular images of literary life in the 1830s through its Gallery of Illustrious Literary Characters — Daniel Maclise’s engravings of contemporary literary figures accompanied by Maginn’s irreverent textual commentary — and through humorous depictions of the supposed staff meetings of “The Fraserians” themselves (figure 1), whom Miriam Thrall described as “care-free scholars, who laughed so heartily, and drank so deeply, and wrote so vehemently around their famous editorial table” (16). Composed by Maginn in imitation of Blackwood’s wildly successful Noctes Ambrosianae, which he had helped to write prior to the founding of Fraser’s in 1830, these imaginary meetings of London literati present a comic conception of authorship as a clubby activity, rebelliously bohemian and exclusively male. Patrick Leary’s 1994 essay on the actual management of Fraser’s as a literary business demonstrates just how inaccurate these highly fictitious accounts were and thereby contributes significantly to our understanding of the history of authorship in the 1830s. But if we are examining the influence Fraser’s had on its contemporary readers, then the facts of literary life which Leary discovers “beyond the imagery” of the magazine may be less important than the fictions which such representations of authorship communicated (107).

Lists of wonders have circulated for millennia. Over and over, such inventories of spectacular man made constructions have been rewritten, re-edited and reimagi-ned. Both the wonders and the lists of wonders, preferably of the seven, have had a profound and long-lasting effect, and have been abundantly imitated, copied and reworked. Renaissance creative thinking was obsessed with the seven wonders of the ancient world, and early-modern Europe experienced a surge of visual and verbal depictions of wonders. This article is about a remarkable list of seven wonders, included in one of Joachim Du Bellay’s canonical poems on Roman antiquities (Antiquités de Rome), published in Paris in 1558. Du Bellay shapes his list of wonders by exploring pat-terns of both repetition and mutability. Almost imperceptibly, he starts suggesting connections between 16th-century Rome and distant civilizations. Through the eyes of a fictive traveller and collector, the poet venerates the greatness and la-ments the loss of ancient buildings, sites and works of art, slowly developing a ver-bal, visual and open-ended gallery, creating a collection of crumbling or vanished, mainly Roman, architecture. This poetic display of ruins and dust in the Eternal City is nourished by the attraction of the inevitable destruction of past splendour and beauty. In the sonnets, Du Bellay imitates classical models and patterns. Whi-le compiling powerful images and stories of destruction, he combines techniques associated with both a modern concept of copy and more ancient theories of co-pia. In this context, this article also explores whether Pliny’s Natural History might be a source for the imaginary collection of lost sites and wonders in Du Bellay’s Antiquités.

En el artículo se aplica el análisis institucional a la cultura gallega. Éste cuestiona especialmente la existencia de una hipotélica entidad literaria en abstracto y propone, como ámbito de estudio, las prácticas discursivas específicas que operan a la vez sobre el lenguaje y sobre lo imaginario. Las distintas respuestas a la compleja situación de la cultura gallega constituyen la crónica de lo acontecido institucionalmente en la consolidación de la autonomía del discurso literario gallego a partir de 1975.

It is a half-material imaginary architecture that guides the movement of a viewer. Or takes place to stop the viewer in me creating environment. Construction visually "disturbs" the space to a minimum, but the movement of the viewer will be completely different.

This dissertation analyses Louis Kahn’s independent work until 1957 period in which he designed the Richards Medical Research Laboratories at the University of Pennsylvania. The Richards Medical Research Laboratories marks the creator’s moment par excellence where he discovers the fundamentals that will become trademark of his work and influence as well the architecture of his time. In order to understand the genesis of the Richards Medical Research Laboratories and find the underlying substrates that originate the project I have traced an imaginary section-cut to the timeline until 1957. The present thesis approach comes from two moments: the immeasurable and measurable, that is, from the world of ideas to the world of tangible objects. And from these two moments this thesis tries to open another space for the unsayable to appear in order to comprehend the significance of the Richards Medical Research laboratories in Kahn's work and in his time. Kahn’s creative process follows a path going from the incommensurable (the idea), to the measurable (the building), and goes back to the incommensurable (transcendence departing from the building). Accordingly this thesis is divided in two fundamental parts the first one titled “From the Incommensurable to the Measurable” and a second part titled “From the Measurable to the Incommensurable”. In the first part “From the Incommensurable to the Measurable” the thesis presents the relationships that builds Khan’s “imaginario” establishing connections between his ideas through Kahn’s own writings, professional relationships, trips, and the city and then relating these elements with the same period’s own and referential projects. In this first part of the thesis ideas are the real protagonists therefore texts takes over images. In the second part of the thesis “From the Measurable to the Incommensurable” the main topic centers on the Richard’s Laboratories and the Biology Laboratories. The focus of the second part will be Kahn’s Richard’s laboratories and earlier projects therefore the materiality of the architectural project becomes protagonist. In the Laboratories Kahn identifies, names, and makes clear the empty space as the organizer of architecture, structure, and installations. Through this empty space as organizer it is possible to individualize the service space with the same bluntness as the architectonic spaces through the use of monumental scale and showing how it works as if it were enormous industrial machinery. Departing from the Richards Medical Research Laboratories building Kahn discovered the fundamentals of his own work because through this building he could synthetize in a project the search of years of work and at the same time the architecture could sediment the legacy of history through his travels, relationship with his own time, and his own experience with the city. On the other hand the building works as a manifesto of Kahn’s architecture because with the Laboratories the architect sets the foundations of his work obliterating the legacy of modern architecture. Kahn will work on a solid architecture instead of a fine and diaphanous architecture offering a juxtaposition of walls and then carving them very carefully. Through this organization Kahn operates a series of almost sculptured wall opening in order to create light effect a light that will be sifted and filtered to convert it into a surreal light. The intention of this thesis is to analyze the different levels of the incommensurable and the measurable in its different approximations of the psyche to the matter and vice-versa in order to make them resonate in the incommensurable level which is the one of transcendence; a transcendence achieved through a building and its impact through time making the building itself the embodiment of Louis Kahn legacy to his time and the history of architecture.
El presente trabajo se desarrolla en el periodo inicial de la obra independiente de Louis Kahn hasta el año 1957, cuando realizó el edificio Richards Medical Research Laboratories en la Universidad de Pensilvania. Este edificio marca el momento creador por excelencia, donde descubre ciertos fundamentos que se repetirán luego en su obra posterior y en otros proyectos de su tiempo. Por este motivo se establece un corte en la línea del tiempo hasta el 1957, para entender cómo se gesta la obra y encontrar los substratos subyacentes que conforman el proyecto. La aproximación viene desde dos momentos, que son lo inconmensurable y lo mensurable, es decir desde el mundo de las ideas hasta lo tangible, intentando abrir otro espacio para que lo indecible aparezca y podamos comprender la trascendencia del este edificio en la obra de Kahn y en su tiempo. De esta forma, el trabajo se divide en dos momentos importantes, que se instauran a partir de las palabras de Kahn al referirse al proceso creativo en su trabajo. Este proceso es el paso de lo inconmensurable (la idea), a lo mensurable (el edificio), para volver a ser inconmensurable (trascendencia a partir del edificio). De esta forma abordamos el trabajo en dos partes fundamentales, una denominada de lo ‘inconmensurable a lo mensurable’, y la otra de lo ‘mensurable a lo inconmensurable’. En el primer caso, de lo inconmensurable a lo mensurable, aparecen relaciones que construyen el imaginario de Kahn desarrollando puentes entre sus ideas a través de sus escritos, relaciones profesionales, viajes, la ciudad, relacionándolos con sus proyectos que trabaja en este tiempo y los proyectos que cita como referentes de su obra. En este momento los textos poseen mayor extensión que las imágenes, siendo el ámbito de las ideas las que tendrán protagonismo. Ya en la parte de lo mensurable a lo inconmensurable, tratara principalmente del proyecto de los laboratorios Richards y el laboratorio de Biología que aparecen como extensión del primero. En esta etapa el análisis de los proyectos anteriores, y fundamentalmente del los laboratorios será lo primordial, por este motivo, el proyecto ahora tendrá mayor preeminencia que el texto. En este edificio identifica, nombra y hace explícito el espacio vacío como articulador de la arquitectura, la estructura y las instalaciones. De esta forma, fue posible la individualización de los espacios de servicio con la misma contundencia que aparecen los espacios arquitectónicos, a una escala monumental y mostrando su funcionamiento, como si se tratara de una enorme máquina industrial. Creemos que a partir del edificio Richards, Kahn descubrió el fundamento de su obra, ya que pudo sintetizar en el proyecto, toda la búsqueda de años de trabajo, así como, al mismo tiempo, pudo sedimentar el legado de la historia por medio de sus viajes, las relaciones con su tiempo, y su experiencia con la ciudad. Por otro lado este edificio funciono como un manifiesto de su propia arquitectura, ya que funda las bases de su trabajo, obliterando el aporte de la arquitectura moderna. Kahn va a trabajar una arquitectura solida en vez de una arquitectura diáfana y fina, proponiendo una yuxtaposición de camadas de muros sucesivos, trabajando cuidadosamente la horadación de los mismos. Por medio de esta disposición, opera una serie de procedimientos de apertura del muro de forma casi escultórica, para conseguir efectos de luz, la cual al ser tamizada y filtrada, se convierte en una luz irreal. Lo que se pretende es que del análisis de las esferas de lo inconmensurable y de lo mensurable, en sus diversas aproximaciones de la psique a la materia o vice versa, es que logren resonar la ultima esfera inconmensurable, que es la trascendencia a partir del edificio y sus impactos en su tiempo, siendo este el gran legado de Louis Kahn a su tiempo y a la historia de la arquitectura

This chapter traces the origins of the first Chicano arts organizations and explores how they combine art and commerce, two areas previously considered distinct and contradictory. Focusing on the period 1969–1978, the chapter illustrates how the earliest ventures operated with complex and nuanced views about commerce, politics, community, and the arts. It challenges notions in Chicana/o studies that dismiss commerce as antithetical to Chicano movement or community politics, and it finds that Mechicano Art Center and Goez Art Studios and Gallery exceed notions of civic and cultural engagement, inaugurated pedagogies now central in Chicana/o studies and arts institutions, and mapped a decolonial imaginary for Los Angeles.

‘What are monuments for? Possible landmarks on the urban map: Paris and London’ is the title of a performance script that Himid wrote to accompany London and Paris Guidebooks, a mixed-media work she created in 2009 and which is the subject of this chapter. ‘When I was in Paris a few months ago, I came across a delightful little guide book about London’, her imaginary narrative begins. ‘It lists nearly 300 places of interest. These, it claims, range from the National Gallery to “gruesome” Old St Thomas’s operating theatre and from ancient Charterhouse to modern Canary wharf’. Losing no time in communicating her subversive and satirical message, she relies on biting irony to declare that ‘I was glad to see the publishers had included most of the important landmarks, signalling the contribution made by Africans of the Black diaspora to this great and crazy city’. Clearly, this ‘delightful little guide book’ has succeeded in mapping ‘nearly 300 places of interest’ only to fail to memorialise the ‘contributions made by Africans of the Black diaspora’: a failure Himid takes to task by creating her own radically revisionist and Black-centric tourist guides. As works of social, moral and political reparation, Himid deliberately borrows from jingoistic nationalist language in her newly conceptualised London and Paris Guidebooks in order to decode and destabilise the ideological, political and cultural stranglehold exerted by celebratory narratives that trade only in white supremacist ‘landmarks’. Working across pictorial and textual modes, she endorses strategies of editing, collaging, insertion and juxtaposition to re-present as well as represent the missing ‘contribution made by Africans of the Black diaspora’. With Himid rather than nationalist apologists as our guide, we experience a very different London and Paris. Here she equips her audiences with a radical and revolutionary ‘narrative’ in which these ‘guide books’ texts’ and ‘a random selection of some of the monuments’ visibilise rather than invisi- bilise ‘The living/ The dead/ The ancestors/ The descendants’.

In this paper, numerical simulations are performed to investigate the effects of different configurations of dielectric SiO2 particles on the improvement of light absorption in 2-μm single crystal silicon photovoltaic solar cells. The numerical model is developed on the basis of the FDTD solution of the transient Maxwell equations and checked with analytical solutions for simple configurations and against experimental measurements of light absorption in bare Si films. The numerical model is also checked for mesh sensitivity such that the computed data are approximately mesh-insensitive. Computed results are analyzed and the short circuit current of the Si films is used as a measure of the efficiency for light trapping in Si films. Results show that with SiO2 nanoparticles closely packed atop the Si film, good improvement in light absorption efficiency is achieved if the particle is 700 nm in diameter. This is considered to be attributed to the anti-reflection effect of the particle layer and the whispering gallery mode of SiO2 particles excited by the incident light. If the closely arranged SiO2 nanoparticles are embedded half-way into a Si film through its top surface, the light absorption is enhanced by ∼120%, approaching to the Yablonovitch limit. The structured surface of the Si film can almost realize 100% anti-reflection of incident, because the use of the half embedded SiO2 particles in the top layer of the Si film creates a graded transition of the effective refractive index along the direction of incident; and as a result almost all the light with the wavelength below or near 500nm are absorbed due to the higher imaginary part of the refractive index. The improvement in light absorption with the wavelength greater than 500nm comes, however, from the resonance behavior of the SiO2 nanoparticles. Experiments are now planned and measurements of light absorption will be conducted with a photospectrometer to validate the above calculations.