Journal articles: 'Intangible art'

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Figal, Günter. "Intangible Matters." Research in Phenomenology 48, no. 3 (September 27, 2018): 307–17. http://dx.doi.org/10.1163/15691640-12341398.

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Abstract This paper is on matter and on art. Based on the assumption that the everyday attitude toward the world is a kind of materialistic realism and that philosophers, from the beginning of philosophy on, have objected to the plausibility of epistemological reliance on matter, I make attempts to investigate what matter is. I suggest doing this in reference to art. In particular I discuss works of art representing kinds of matter so extraordinary that their material character even could be doubted: light and sound. An installation by James Turrell and a piece of music composed by Morton Feldman, Rothko Chapel, function as paradigms to demonstrate the material character of light and sound and also the affinity of matter to space. Having qualities, matter proves to be different from space; being amorphous, however, matter as such has no distinct appearance, but, like space, enables appearance.

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Lieto, Antonio, Rossana Damiano, and Vanessa Michielon. "Conceptual Models for Intangible Art." Mimesis Journal, no. 3, 2 (December 1, 2014): 70–78. http://dx.doi.org/10.4000/mimesis.690.

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Amselle, Jean-loup. "Intangible Heritage and Contemporary African Art." Museum International 56, no. 1-2 (May 2004): 84–90. http://dx.doi.org/10.1111/j.1350-0775.2004.00461.x.

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Zolfagharian, Mohammad Ali, and Angelica Cortes. "Motives For Purchasing Artwork, Collectibles And Antiques." Journal of Business & Economics Research (JBER) 9, no. 4 (April 12, 2011): 27. http://dx.doi.org/10.19030/jber.v9i4.4207.

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Art is disaggregated into tangible and intangible offerings. Intangible art is one-time experiences of aesthetical and nostalgic products with no post-consumption exchange value. Tangible art preserves post-consumption exchange value. While psychographics of the consumers of intangible art are well-established, consumers of tangible art are under-researched. This research identifies and measures 16 different motives that underlie the purchase of artwork, collectibles and antiques. Heavy-consumers are found to score significantly higher than light-consumers on 8 of these motives: expected price fairness (economic); social acceptability and group identification (normative); aesthetics, pleasure and immersion (hedonic); culture (intellectual); and harmony. Findings are discussed and implications and limitations are also included.

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Isaac, Joseph. "Pics or it didn’t happen: The artwork formerly known as heritage in Google Street Art." Convergence: The International Journal of Research into New Media Technologies 25, no. 3 (June 19, 2017): 374–92. http://dx.doi.org/10.1177/1354856517714169.

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In 2014, Google announced a new initiative for its Cultural Institute. Called the Street Art Project, the online database was seen by many (Google included) as a continuation of the Google Art Project, in that it sought to make street art from around the world more easily accessible to interested audiences. The company acknowledged that such art was temporary, and that, by virtue of the artwork’s eventual disappearance, it would eventually become an important record of preservation for the practice. However, in its focus on the physical artwork, the project unwittingly highlights a problematic trend in street art’s protection as intangible heritage: one where its safeguard often becomes overpowered by the tangibility of its material elements. Exploring Google Street Art through the lens of Melbourne, a city that has long negotiated with street art and graffiti as forms of cultural heritage, this article outlines the consequences of such tangibility for the intangible artwork. It argues that any protection of intangible heritage requires a tacit acknowledgement of the subjectivity which surrounds its experience: those community reactions and responses whose wide variability help define that heritage as something intangible.

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Guo, Q., and X. Li. "Integrated Conservation of the Cantonese Opera Art Museum and Intangible Cultural Heritage." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (August 12, 2015): 187–93. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-187-2015.

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Cantonese Opera, as the sole cultural heritage of Guangdong Province of China so far, which was included in the World Intangible Cultural Heritage List by the UNESCO, bears the cultural memory of the Lingnan region and as well as the overseas Chinese worldwide. Located in the core historic urban area – Enning Road of Guangzhou, the Cantonese Opera Art Museum is designed in Lingnan traditional garden manner, through going deep into the Cantonese opera culture, Lingnan traditional garden culture and Lingnan cultural spirit. The design highlights the integrated conservation of tangible and intangible cultural heritage, to protect living history and build the historical environment and place spirit for the intangible cultural heritage. The Cantonese Opera Art Museum is not only a tangible space for exhibition, study, education and display of the Cantonese Opera art, but also a cultural space with the Lingnan cultural memory, gathering the Lingnan intangible heritage and closely linked with current life of successors and ordinary people.

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Gill, Jerry H. "Art and Incarnation." Theology Today 62, no. 2 (July 2005): 181–92. http://dx.doi.org/10.1177/004057360506200204.

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Intangible qualities can be expressed or communicated only indirectly, in and through tangible qualities. I have found it helpful to speak of this indirection as the process of “mediation.” This essay explores the notion of mediation in relation to aesthetic creation and appreciation, on the one hand, and a Christian understanding of incarnation, on the other. While the experience of mediation is, in fact, quite common in a wide variety of human activities, the actual pattern or dynamic of this phenomenon generally goes unnoticed and unappreciated.

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Kuchkarova, Dilfuzaxon. "THE ART OF HALFA AS A TYPE OF INTANGIBLE CULTURAL HERITAGE." CROSSROADS OF CULTURE 4, no. 2 (April 30, 2020): 73–77. http://dx.doi.org/10.26739/2181-0737-2020-4-14.

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The article describes the history, socio-cultural significance of the art of the Khalf of Khorezm, analyzes the features of the art of the Caliph, methods of execution and scientific research of the art of the Caliph, examines the art of the Caliph as a type of intangible cultural heritage

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袁, 艳青. "Resource transformation of Intangible Cultural Heritage in Urban Public Art." Art Research Letters 10, no. 01 (2021): 7–11. http://dx.doi.org/10.12677/arl.2021.101002.

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Xasay qızı Osmanova, Asiya. "Artistic solution of aesthetic aura in the works of batik masters of modern Azerbaijan." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 154–59. http://dx.doi.org/10.36719/2663-4619/66/154-159.

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The people of Azerbaijan have created a rich and different culture, an important part of which is decorative and applied art. It can be said that the growing interest of young creative people in batik over time is the greatest support for the preservation of our national customs and traditions. Continuing the traditions of this art in their future activities is an indication that Azerbaijani national art and batik will always be in the center of attention. Considering that the art of kalagai is a UNESCO non-profit organization under the title "Traditional kalagai art and symbolism, preparation and use of women's silk headdresses". The Representative List of Intangible Cultural Heritage was included in the 9th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage in Paris on November 24-28, 2014, and therefore in modern times batik and kalagai are already of interest to local scholars as well as foreign scholars. was. As we know, the breadth of opportunities created by art in the modern era, many artists express their individual style in different ways. Among such artists there are currently working batik masters. Key words: Batik, kalagai, modernity, tradition, plot, composition, color

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Hikmatova Muqadas Nurilloevna. "Mythology in folklore and its features." Middle European Scientific Bulletin 6 (November 18, 2020): 63–66. http://dx.doi.org/10.47494/mesb.2020.6.117.

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In the article, folk art - artistic, creative-practical and amateur activity of the masses; folklore, folk music (folklore), folk theater (performing arts), folk dances (dances), puppetry, wood and wooden foot games (folk circus), folk fine and applied arts of traditional material and intangible culture information and examples of art and technical and artistic hobbies

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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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Song, Xiaoting, Yongzhong Yang, Ruo Yang, and Mohsin Shafi. "Keeping Watch on Intangible Cultural Heritage: Live Transmission and Sustainable Development of Chinese Lacquer Art." Sustainability 11, no. 14 (July 16, 2019): 3868. http://dx.doi.org/10.3390/su11143868.

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Countries all over the world have been constantly exploring ways to rescue and protect intangible cultural heritage. While learning from other countries’ protection measures, the Chinese government is also constantly exploring ways that conform to China’s national conditions. As China’s first batch of intangible cultural heritage, lacquer art boasts a brilliant history, but many people are not familiar with it today. Moreover, in the process of modernization, the lacquer art transmission is declining day by day, and it is facing unprecedented major crises such as loss and division of history into periods. Hence, it is essential to verify and reveal the challenges and dilemmas in the lacquer art transmission, and come up with corresponding protection measures around these problems. First of all, this research, through literature review, “horizontally” explores the current research status and the universal problems of lacquer art transmission from the macro level. With a view to make up for the deficiencies of the existing research and further supplement the empirical evidence, the current research, with the transmission of “Chengdu lacquer art” as an example and through in-depth interviews, tracks and investigates the whole process of transmission of Chengdu Lacquer Art Training Institute, and “vertically” analyzes the survival situation of lacquer art transmission and the core problems affecting transmission behaviors from the micro level. In the final conclusion, the research comes up with corresponding countermeasures and suggestions for the identified key problems, which is of significant reference value for facilitating the live transmission and sustainable development of Chinese lacquer art.

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Hammond, Anne. "Ansel Adams and Georgia O'Keeffe: On the Intangible in Art and Nature." History of Photography 32, no. 4 (October 3, 2008): 301. http://dx.doi.org/10.1080/03087290802315736.

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Karasov, O., and I. Chervanyov. "INTANGIBLE NATURE USE: «INFORMAL SECTOR» IN ENVIRONMENTAL SCIENCES." Ukrainian Geographical Journal, no. 2 (2021): 50–57. http://dx.doi.org/10.15407/ugz2021.02.050.

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The goal was to substantiate the concept of intangible nature use and review the methodological approaches to quantitative assessment of intangible natural resources. We reviewed a state-of-the-art body of knowledge in environmental protection and transformation of economic policy responding to the sustainable development goals. In this paper, we generalised a large research direction regarding relational values of nature – intangible nature use. This research direction has been increasingly recognised within the natural resources frameworks, as evident from the experience of intergovernmental (IPBES) and national initiatives, and a recent shift of global GDP’s structure towards intangible components. Such a research direction is fruitful in the context of reprioritisation of values of nature of industrial era towards informational industries to resolve the contradictions between the potentially endless economic growth (based on instrumental values of nature) and nature protection activities. For the first time, we demonstrate how the international academic community (using diverse terminology and methodological frameworks, and often indirectly), gradually constitutes a new research domain on intangible nature use. We also highlight the prospects for decision-making and implementation of sustainable development practises in Ukraine.

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Haskel, Jonathan, and Stian Westlake. "Capitalism without Capital: The Rise of the Intangible Economy (an excerpt)." Journal of Economic Sociology 22, no. 1 (2021): 61–70. http://dx.doi.org/10.17323/1726-3247-2021-1-61-70.

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Capitalism without Capital by Jonathan Haskel and Stian Westlake explores the changes in the types of investments that have occurred in almost all developed countries over the last forty years. If tangible investments predominated in the past, most investments are intangible at present, meaning that money is spent on buying and creating knowledgebased products, including computer software, research and development, design, works of art, market research, learning, and new business processes. The authors attempt to answer why the economy in which intangible assets are intensively used is so different from the economy where tangible assets dominate. The authors conclude that these changes are explained by the basic properties of the intangible assets and have resulted in long-lasting stagnation, lower economic growth, increasing inequality, and difficulties in public policies for economic and financial sectors. The Journal of Economic Sociology publishes the introductory chapter, ‘Valuation, the Old-Fashioned Ways: Or a Thousand Years in Essex’ from Capitalism without Capital, where the authors discuss the meaning of investments, define the distinctions between tangible and intangible assets, and explain why some basic properties of intangible assets generate such dramatic changes in the contemporary economy.

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Alvarez de Buergo, Monica. "Prefacio I." Ge-conservacion 11 (June 30, 2017): 7. http://dx.doi.org/10.37558/gec.v11i0.528.

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This special issue constitutes an excellent and representative testimony of the variety of contributions presented during YOCOCU 2016. The reader will find that the 41 papers in this special issue cover a wide range of materials (stone, gypsum, lime, mortar, ceramics, metal, paper, videos, textiles, paintings, plastics, pigments …), from different types of art and heritage: architectural and archaeological; contemporary and digital art; industrial heritage, vernacular, art caves and ethnographic heritage; museum collections, landscapes and intangible cultural heritage (CH).

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Saitaer, Xiakeer. "Brief Analysis of Traditional Uyghur Felt." Advanced Materials Research 627 (December 2012): 590–93. http://dx.doi.org/10.4028/www.scientific.net/amr.627.590.

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Intangible material culture of all ethnic groups in Xinjiang contains sizable excellent core in art and crafts, which serve as important resources available in current economic and cultural construction in Xinjiang. The long-established and traditional Uyghur handicraft of felt making has over the ages developed unique ethnic distinctives and an inheritable nature. It has value in the historical, cultural, scientific, aesthetic, and economic realms, and thus qualifies as priceless intangible cultural heritage. This paper discusses the raw material in traditional Uyghur felt handicraft and the classification of traditional Uyghur felt.

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Nafde, Dr Mrs Tanuja. "Conservation of Folk Arts." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 30, 2021): 4934–37. http://dx.doi.org/10.22214/ijraset.2021.36016.

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It is intangible wealth of knowledge that we possess but being neglected and subdued in the phase of development which is leaned on the western pattern of lifestyle and culture. The overall effect is that the wealth of knowledge is diminishing and is live only at the efforts of the government to revive it. The effluent people of the country feel proud in orienting themselves as alien to the wealth of intangible cultural heritage, affecting further in lowering the attention and focus on the folk art and culture.

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Khusnutdinova, Svetlana, Guzel Faizrakhmanova, and Rustem Khusnutdinov. "Tangible and intangible assets of city environment: architecture, city lighting and art aspects." IOP Conference Series: Materials Science and Engineering 890 (August 13, 2020): 012020. http://dx.doi.org/10.1088/1757-899x/890/1/012020.

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Headley, Jessica A., Melanie Kautzman-East, Cassandra G. Pusateri, and Victoria E. Kress. "Making the Intangible Tangible: Using Expressive Art During Termination to Co-Construct Meaning." Journal of Creativity in Mental Health 10, no. 1 (January 2, 2015): 89–99. http://dx.doi.org/10.1080/15401383.2014.938185.

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Gutiérrez Gutiérrez, Ignacio. "Intangible democracy: on the interpretation of Art. 79.3 of the German Basic Law." International Journal of Human Rights and Constitutional Studies 7, no. 4 (2020): 356. http://dx.doi.org/10.1504/ijhrcs.2020.10033750.

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Gutiérrez, Ignacio. "Intangible democracy: on the interpretation of Art. 79.3 of the German Basic Law." International Journal of Human Rights and Constitutional Studies 7, no. 4 (2020): 356. http://dx.doi.org/10.1504/ijhrcs.2020.111521.

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Broder, Josef M. "Empiricism and the Art of Teaching." Journal of Agricultural and Applied Economics 26, no. 1 (July 1994): 1–18. http://dx.doi.org/10.1017/s1074070800019106.

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“Teaching is a messy, indeterminate, inscrutable, often intimidating, and highly uncertain task.”Richard ElmoreEffective teaching is a recurring topic of faculty discussion and disagreement. The title of my address suggests that effective teaching has two components. First and increasingly important, teaching has an empirical component. The empiricism of teaching asserts that there are identifiable traits of effective teaching that can be used to improve one's teaching experience. I want to share with you some insights we have gained from recent empirical studies on teaching and the teaching evaluation process. Second, there is the art of teaching or the intangible and creative component of teaching. I will speak on how the art of teaching can be refined. This I will do by way of offering some personal teaching tips that have at least made my teaching experience more enjoyable.

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Rana, Poonam R. L. "Symbolism behind Art and Colour denoted on the Buddhist Prayer Flags." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (December 1, 2019): 54–61. http://dx.doi.org/10.3126/sirjana.v6i1.39673.

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Sacred Prayer Flags of different colours and symbols are not just decorative pieces. Symbols have more deeper meaning and the attached intangible beliefs than their mere outer creativity. Each and every colour and objects symbolizes good fortune, health, happiness, protection. The prayer flags are very sacred, because they contain texts from the holy sutras termed as 'mantras' and symbols that should be respected. Hence the painted or printed objects and colours are of great values to humanity.

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Cahyadi, Dian, and Karta Karta. "MAKASSAR HEADDRESSED PASSAPU/PADOMPE." TANRA: Jurnal Desain Komunikasi Visual Fakultas Seni dan Desain Universitas Negeri Makassar 6, no. 3 (December 2, 2019): 1. http://dx.doi.org/10.26858/tanra.v6i3.11317.

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This study aimed to identify artifacts of cultural products in the community within the Makassar ethnic scope related to various forms, characteristics (identification tools) formed from the results of intangible cultural products. The identification of cultural products is intended to make the perimeter boundaries of culture as a feature. The specific purpose of this research is to identify the form of 'Passapu' in Makassar ethnic which is known for its various names and forms, by describing the differences and reviewing the aspects and their constituent elements (Anthropology / Sociology of Art Review). The results of this research identification are expected to become scientific reference material on intangible cultural outcomes for ethnic Makassarese.

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Mani, Rama. "Women, Art and Post-Conflict Justice." International Criminal Law Review 11, no. 3 (2011): 543–60. http://dx.doi.org/10.1163/157181211x576410.

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AbstractThis article addresses the creative agency of women within the context of post-conflict or transitional justice (TJ). Specifically it seeks to underscore the diverse ways in which women in societies emerging from violent conflict and its attendant gender-based violations and atrocities use art and creative media to pursue the objectives of justice. The aims of this article are twofold: first, this article draws attention to the need for local stakeholders in war-affected communities and their international supporters to go beyond official mechanisms of transitional justice; to integrate cultural justice by recognising and encouraging aesthetic and creative means of pursuing justice after violent transitions, and women's particular capacities in this domain. Second, alongside the drive to treat women as more than victims by recognising their political agency in shaping peace and justice, this article draws attention to the need to recognise the creative agency of women and its valuable albeit intangible benefits for TJ and peacebuilding.

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Xie, Rongdong. "Intangible Cultural Heritage High-Definition Digital Mobile Display Technology Based on VR Virtual Visualization." Mobile Information Systems 2021 (July 17, 2021): 1–11. http://dx.doi.org/10.1155/2021/4034729.

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With the continuous improvement of the public’s pursuit of information contact experience, in the era of the development of VR technology, digital mobile display technology has gradually changed the traditional display habits with its unique charm and strong competitive advantage. This article aims to improve the value of art research, meet the needs of the information age, and spread the spirit of intangible cultural heritage by improving the virtual visualization of intangible cultural heritage digital display technology. This article takes Dai ceramics intangible cultural heritage as an example to discuss the modern display technology of the ceramics, using virtual reality technology to enhance the sense of reality and interaction during the exhibition. This article uses visualization technology to digitally and artistically process Dai ceramics to achieve artistic effects while ensuring the authenticity of the ceramics, giving people a different visual experience. The article compares the application of several modern technologies in digital mobile display. Among them, the virtual reality technology has a good application in the system frame structure of the display, which exceeds 25%. In the future, virtual visualization technology will be further popularized and promoted, giving intangible cultural heritage high-definition digital display more opportunities and development space.

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최은희 and Lee Jin-Ho. "Research on intangible landmark through the analysis of Culture and Art industry of Busan." A Journal of Brand Design Association of Korea 11, no. 2 (May 2013): 95–104. http://dx.doi.org/10.18852/bdak.2013.11.2.95.

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Donaldson‐Briggs, Amanda, John Peters, and Richard Whitfield. "I don’t know much about art but I know what I like." International Journal of Physical Distribution & Logistics Management 32, no. 10 (December 1, 2002): 872–80. http://dx.doi.org/10.1108/09600030210455456.

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This is a case study discussion drawn from scholarly publishers Emerald, formerly MCB University Press. It discusses the unusual “supply circle” phenomenon in scholarly publishing, where authors (suppliers) are often the same people as readers (customers). It addresses this from the standpoint of trying to measure and manage performance in an area where measures are highly subjective – where, like art, performance is typically judged on “I know what I like”. The paper suggests areas for further research, and points to some steps taken by the firm to make the intangible more tangible.

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Ismail, Hassan Ahmed. "Public Art Development." Academic Research Community publication 1, no. 1 (September 18, 2017): 7. http://dx.doi.org/10.21625/archive.v1i1.139.

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Please allow me to express my interest in participating in the event; the agenda and objective are of high significance for discussing the maturity and development of a sustainable "cultural and creative infrastructure" powered by cultural policies and practices. Involvement and lobbying for such topics is essential for the cultural and creative dynamics where creative cities attract creative people.While navigating through a search engine and typing a name of a city, the first images to appear visualize the built environment of the city. For instance when you type Cairo into Google, you will be mainly looking at the Pyramids and built environment around the Nile in addition to the Old City of Cairo. If you type in New York you will find images of skyscrapers positioned around the natural landscape of the city, and so on and so forth.Thus tourism depends a lot on the built environment and the touristic standard is subject to the built environment, type and quality of tenants attracting the general public and of course the natural landscape.Arts and architecture play an important role among the built environment having both tangible and intangible economic impacts resulting from touristic attractions as well as other means; Cairo was once described as the most beautiful city in the world with the rich urban fabric and prosperity of the arts and architecture.In a country like Egypt where segmentation between the different social levels is becoming a real threat for future generations, it is crucial to work with all stakeholders including the authorities, civil society and the general public with objectives that would aim to serve all interests and gain a positive public opinion.

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Ulfstjerne, Michael Alexander. "The Wasteland of Creative Production: A Case Study of Contemporary Chinese Art." Copenhagen Journal of Asian Studies 29, no. 1 (February 28, 2013): 17–38. http://dx.doi.org/10.22439/cjas.v29i1.4019.

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With the new magnitude for the relatively unhindered production and circulation of artworks, galleries and contemporary art museums are burgeoning across the larger cities of China. This article provides an empirical example of how contemporary and avant-garde art is produced and valuated in the art communities that thrive on the recent international recognition of Chinese artworks. It addresses some of the effects that occur when art production becomes mediated by cultural entrepreneurs and propelled by resourceful investors. Challenging notions of autonomy and independence in the sphere of aesthetics and contemporary art, the article addresses some of the ways in which art becomes co-opted, not only by commercial agents, but also by official ambitions. The commercialization of the cultural sphere reveals a paradigmatic shift, giving a stronger emphasis to the intangible notion of creativity as a new driving force for economic development in China.

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Semerickaja, Olga V. "Folk Art Crafts of Russia as an object of cultural heritage." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 83–89. http://dx.doi.org/10.30725/2619-0303-2021-2-83-89.

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Folk art crafts of Russia as a phenomenon of traditional culture are an informational and valuable resource for the development of culture, so it is vitally important to include the heritage of folk-art crafts in the current culture as a source of instrumental basis for constructing social memory, which is possible only based on cultural understanding of crafts as an object of heritage. Folk art crafts are both an economic phenomenon and a form of existence of folk-art culture, representing a cultural phenomenon that reveals the laws of development and functioning of human society. For the first time, the article gives a definition of folk art crafts as an integral object of cultural heritage and analyzes its constituent elements in the form of objects of different types of heritage, presented in tangible, intangible, environmental and natural terms.

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Saitaer, Xiakeer. "The Art of Uyghur Traditional Decorative Felt Making and its Preservation." Advanced Materials Research 332-334 (September 2011): 2040–44. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.2040.

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Chinese and foreign scholars agree that felt is an important invention of ancient central asian nomads. The art of handcrafted felt is a direct product of their pastoral lifestyles. The long-established and traditional Uyghur handicraft of felt making has over the ages developed unique ethnic distinctives and an inheritable nature. It has value in the historical, cultural, scientific, aesthetic, and economic realms, and thus qualifies as priceless intangible cultural heritage. Felt products with decorative designs are the most precious of the felt products. This paper discusses in detail the process of crafting traditional Uyghur decorative felt, and sets forth suggestions for its preservation.

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Buzila, Varvara. "THE ART OF THE BLOUSE WITH EMBROIDERY ON THE SHOULDER (ALTIȚĂ) – AN ELEMENT OF CULTURAL IDENTITY (proposed for the registration in the representative list of the intangible cultural heritage of humanity UNESCO)." Akademos 60, no. 1 (June 2021): 153–68. http://dx.doi.org/10.52673/18570461.21.1-60.21.

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Within the identity processes that nowadays occur in our cultural area, society invests many practical and symbolic significances in the traditional blouse with embroidery on the shoulder, which is the most representative item of the traditional costume. Its high prestige and national value served as motivation for recommending The Art of the traditional blouse with embroidery on the shoulder (altiță) – an element of cultural identity of Romania and the Republic of Moldova, for inscription on the Representative List of the Intangible Cultural Heritage of Humanity. The UNESCO perspective on the intangible cultural heritage regards the living state of elements, the responsibility assumed by bearer communities, by state institutions and civil society, offering as well new research visions for the academic communities. The paper proposes an outline of the problems of the domain from this perspective.

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Blazheva, Sandra. "Tilt Brush. The New Perspective of Art." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 209–23. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_016.

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Interpenetration of ideas, culture, economics, raw materials and etc. are causing globalization in our society. This trend is also assisted by the growing technological innovations. Society is increasingly turning to digital tools to provide fast communications, access to information and goods through the global network, especially needed during the pandemic. In terms of art, these factors contribute to shifting the range from classical means of expression to contemporary art forms focused on digital media. Historically, the discovery of photography in the 19th century radically changed art. Painting frees itself from the function of reflecting objective reality and seeks new means of expression and meaning. In the early 20th century, new trends in the avant-garde art seek to depict intangible things away from visible reality such as the inner world of the artist, emotions, symbols, music, time and more. One of the brightest trends - Cubism is a typical example. It seeks a way to show objects rationally from several sides simultaneously - three-dimensional, but unfortunately it is limited by the means of expression - the two-dimensional surface of the canvas. Digital technologies today have a solution to this problem. They provide digital tools that completely change painting. The canvas no longer exists in the familiar way in which the artist works. It is becoming history. With the invention of VR glasses, the boundaries of visible reality and imagination in art have been removed to enter a new virtual world. Tilt Brush technology goes one step further, giving the opportunity to the artist to create 3D images with a brush in hand while moving in the virtual world he creates. Canvas doesn’t exist, it is a virtual digital world three-dimensional arising from the imagination of the artist and existing only through the eyes of the pink VR glasses. Here comes the question, will technology displace the artist's hand? Keywords: Digital Art, Art, Virtual Reality (VR), Tilt Brush, Technological Innovations, Net Art, Non-Fungible Tokens (NFT), Artificial Intelligence

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신은희 and Yoon Jae Eun. "A Study on the Characteristics of Realizing Performance Art Exhibition Space for Intangible Cultural Heritage." Journal of Korea Intitute of Spatial Design 12, no. 3 (June 2017): 233–43. http://dx.doi.org/10.35216/kisd.2017.12.3.233.

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Lu, Bin, and Gang Zheng. "Digital protection and reflection on Tibetan ghee sculpture art of intangible cultural heritage in China." Journal of Physics: Conference Series 1732 (January 2021): 012005. http://dx.doi.org/10.1088/1742-6596/1732/1/012005.

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Prieto, Andrés José, Juan Manuel Macías-Bernal, Ana Silva, and Pilar Ortiz. "Fuzzy Decision-Support System for Safeguarding Tangible and Intangible Cultural Heritage." Sustainability 11, no. 14 (July 20, 2019): 3953. http://dx.doi.org/10.3390/su11143953.

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In the current world economic situation, the maintenance of built heritage has been limited due to a lack of funds and accurate tools for proper management and implementation of these actions. However, in specific local areas, the maintenance and conservation of historical and cultural heritage have become an investment opportunity. In this sense, in this study, a new tool is proposed, for the estimation of the functional service life of heritage buildings in a local region (city of Seville, South Spain). This tool is developed in Art-Risk research project and consists of a free software to evaluate decisions in regional policies, planning and management of tangible and intangible cultural heritage, considering physical, environmental, economic and social resources. This tool provides a ranking of priority of intervention among case studies belonging to a particular urban context. This information is particularly relevant for the stakeholders responsible for the management of maintenance plans in built heritage.

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Jin, Lianghui. "New Technology and New Shadow Play: New Media's Technical Promotion of Shadow Play." E3S Web of Conferences 236 (2021): 05065. http://dx.doi.org/10.1051/e3sconf/202123605065.

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Shadow Play is an ancient traditional folk art, which has been included in the Representative List of the Intangible Cultural Heritage of Humanity at present. Different forms of entertainment sources have appeared one after another with the rapid development of society. Because of its lack of competitiveness, Shadow Play has disappeared from the public's eye increasingly. In the meanwhile, different digital media technologies are used in a wide range of all aspects of life and entertainment. It’s also a particular fine opportunity for Shadow Play to develop itself again. This article attempts to discuss the application of digital media art in the content and stage of Shadow Play and combine digital media art with the stage presentation of Shadow Play. There is some advice that is come up for the development of Shadow Play in the contemporary society, which also provides a better conservation for traditional art and hands it down.

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Hasibuan, Rizki Ananda, and Saefur Rochmat. "Ulos as Batak Cultural Wisdom Towards World Heritage." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 4, no. 2 (April 22, 2021): 853–64. http://dx.doi.org/10.33258/birle.v4i2.1865.

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Ulos as one of Indonesia's intangible cultural heritages is the fruit of thought and the result of high quality art as an ancestral heritage that must be preserved. The sacred value of ulos is a picture of the inner world of the Batak people. Each ulos has a meaning and purpose between the giver and recipient of ulos. The stipulation of ulos as an intangible cultural heritage of Indonesia is a new hope to move towards a world heritage. The purpose of writing this article is to describe ulos as a Batak cultural identity that has been established as an intangible cultural heritage of Indonesia accompanied by efforts to become a world heritage, in addition to increasing literacy about Ulos. The method used in this paper is descriptive method, by describing the existing phenomena and collecting literature study data. Under the auspices of UNESCO as the world organization that houses cultural heritage, every country is obliged to report and propose new cultural heritage to become world heritage on a regular basis. With this step, Ulos under the auspices of the Aceh BPNB (Cultural Value Conservation Center) continues to strive and strive to be registered in accordance with the requirements of a cultural heritage to become a world heritage.

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Aragon, Lorraine V. "Copyrighting Culture for the Nation? Intangible Property Nationalism and the Regional Arts of Indonesia." International Journal of Cultural Property 19, no. 3 (August 2012): 269–312. http://dx.doi.org/10.1017/s0940739112000203.

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AbstractThis article analyzes how intangible cultural expressions are re-scripted as national intellectual and cultural property in postcolonial nations such as Indonesia. The mixing of intellectual and cultural property paradigms to frame folkloric art practices as national possessions, termed “intangible property nationalism,” is assessed through consideration of Indonesia's 2002 copyright law, UNESCO heritage discourse, and the tutoring of ASEAN officials to use intellectual and cultural property rhetoric to defend national cultural resources. The article considers how legal assumptions are rebuffed by Indonesian regional artists and artisans who do not view their local knowledge and practices as property subject to exclusive claims by individuals or corporate groups, including the state. Producers' limited claims on authority over cultural expressions such as music, drama, puppetry, mythology, dance, and textiles contrast with Indonesian officials' anxieties over cultural theft by foreigners, especially in Malaysia. The case suggests new nationalist uses for heritage claims in postcolonial states.

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Herasymenko, I., and S. Maksymov. "PROBLEMATIC ISSUES OF CULTURAL HERITAGE VALUATION OF MONUMENTS." Criminalistics and Forensics, no. 65 (May 18, 2020): 477–85. http://dx.doi.org/10.33994/kndise.2020.65.47.

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The article analyzes the current state of the regulatory framework governing the valuation of cultural monuments, in particular, the Monetary Valuation of Monuments approved by the Cabinet of Ministers of Ukraine dated September 26, 2002 No. 1447. The classification of conservation categories by a monument (national and local significance) and types of monuments (archeology, history, monumental art, architecture and urban planning, landscape gardening art, historical landscape, science and technology) is given. The main problem in determining the value of monuments is to take into account not only the material factors of the monuments and its degree of wear, but also the consideration of its intangible factors, such as its historical, social, artistic value, the presence of objects of decorative art. That is, the cost of buildings-monuments of cultural heritage is formed: – due to the cost of the material “carrier” (land with improvements in the form of buildings, structures, small forms, etc.); – due to the value of the contribution of the intangible asset to the carrier. The article also describes the main problems that arise when assessing such objects (the presence of a monument’s status, the lack of an information base on market transactions, high operating costs, the need for restoration work, and high investment risks). The factors raising and lowering the value of a cultural heritage monument are characterized. Based on the analysis of the current regulatory framework, it was decided to develop practical recommendations for determining the value of real estate – monuments of architecture and urban planning, in particular built-in premises.

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Meyer, V., N. Becker, V. Markantonis, R. Schwarze, J. C. J. M. van den Bergh, L. M. Bouwer, P. Bubeck, et al. "Review article: Assessing the costs of natural hazards – state of the art and knowledge gaps." Natural Hazards and Earth System Sciences 13, no. 5 (May 29, 2013): 1351–73. http://dx.doi.org/10.5194/nhess-13-1351-2013.

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Abstract. Efficiently reducing natural hazard risks requires a thorough understanding of the costs of natural hazards. Current methods to assess these costs employ a variety of terminologies and approaches for different types of natural hazards and different impacted sectors. This may impede efforts to ascertain comprehensive and comparable cost figures. In order to strengthen the role of cost assessments in the development of integrated natural hazard management, a review of existing cost assessment approaches was undertaken. This review considers droughts, floods, coastal and Alpine hazards, and examines different cost types, namely direct tangible damages, losses due to business interruption, indirect damages, intangible effects, and the costs of risk mitigation. This paper provides an overview of the state-of-the-art cost assessment approaches and discusses key knowledge gaps. It shows that the application of cost assessments in practice is often incomplete and biased, as direct costs receive a relatively large amount of attention, while intangible and indirect effects are rarely considered. Furthermore, all parts of cost assessment entail considerable uncertainties due to insufficient or highly aggregated data sources, along with a lack of knowledge about the processes leading to damage and thus the appropriate models required. Recommendations are provided on how to reduce or handle these uncertainties by improving data sources and cost assessment methods. Further recommendations address how risk dynamics due to climate and socio-economic change can be better considered, how costs are distributed and risks transferred, and in what ways cost assessment can function as part of decision support.

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Pluszyńska, Anna. "Copyright Management by Contemporary Art Exhibition Institutions in Poland: Case Study of the Zachęta National Gallery of Art." Sustainability 12, no. 11 (June 2, 2020): 4498. http://dx.doi.org/10.3390/su12114498.

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The mission of cultural institutions is the expression of sustainable development, which assumes a specific social order based on respect for the right of access to culture and care for the common good which is cultural heritage, in order to preserve it for future generations. To best implement its social mission, the essence of museum activities is not only collecting resources but also promoting the collection. In addition, promotion in accordance with the principle of openness and the conviction that cultural heritage is a common good, which is why it should be available to the widest possible public. Copyright in artworks often stands in the way of implementing an open approach to the dissemination of collections. Contemporary museums and galleries of art are in a special situation; their collections are not yet in the public domain, and so they cannot be freely distributed. The undertaken research problem explores how cultural institutions in Poland manage the copyright of collections in order to carry out their mission in a sustainable way. In this context, copyright is treated as an important intangible resource of a cultural institution. The case study was used as the research strategy in order to understand the subject. Activities implemented at the Zachęta National Gallery of Art in Warsaw were described.

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Koroleva, Alina. "Interpretation of cultural heritage. The case of Andalusia." Cuadernos Iberoamericanos, no. 4 (December 28, 2018): 57–61. http://dx.doi.org/10.46272/2409-3416-2018-4-57-61.

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The article touches upon the elements of the “competitive identity” of Spain – culture and tourism. Representation of a cultural heritage provides the image and development of Spain. Cultural heritage includes tangible and intangible culture, that are inherited from past generations, maintained in the present and preserved for the benefit of future generations. The public of cultural tourism is growing/ The art of interpretation of cultural heritage is not just to give information, but to connect emotionally with its public.

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Zabulis, Xenophon, Carlo Meghini, Nikolaos Partarakis, Cynthia Beisswenger, Arnaud Dubois, Maria Fasoula, Vito Nitti, et al. "Representation and Preservation of Heritage Crafts." Sustainability 12, no. 4 (February 15, 2020): 1461. http://dx.doi.org/10.3390/su12041461.

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This work regards the digital representation of tangible and intangible dimensions of heritage crafts, towards craft preservation. Based on state-of-the-art digital documentation, knowledge representation and narrative creation approach are presented. Craft presentation methods that use the represented content to provide accurate, intuitive, engaging, and educational ways for HC presentation and appreciation are proposed. The proposed methods aim to contribute to HC preservation, by adding value to the cultural visit, before, and after it.

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Khan, Mazlina Pati, Andika Aziz Hussin, and Khairul Azhar Mat Daud. "Safeguarding Intangible Cultural Heritage Through Documentation Strategy at Cultural Heritage Institutions: Mak Yong’s Theater Performing Art." Advanced Science Letters 23, no. 8 (August 1, 2017): 7890–94. http://dx.doi.org/10.1166/asl.2017.9602.

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Jiang, Xiaowei. "Research on the Path of Inheriting Intangible Cultural Heritage in Northeast China through College Art Education." IOP Conference Series: Earth and Environmental Science 693, no. 1 (March 1, 2021): 012121. http://dx.doi.org/10.1088/1755-1315/693/1/012121.

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Lovtsova, Irina Vladimirovna, Lyudmila Aleksandrovna Burovkina, and Anna Sergeevna Sheshko. "Preservation of the intangible cultural heritage through the implementation of additional general education programs in the field of fine arts." Revista Tempos e Espaços em Educação 14, no. 33 (June 23, 2021): e15929. http://dx.doi.org/10.20952/revtee.v14i33.15929.

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The problem of preserving the traditions of academic art and folk culture as part of the intangible cultural heritage of the country is becoming more urgent every year. One of the solutions to this problem is the transfer of knowledge and technology using additional general education programs. Implementation of additional general education programs reveals the practical possibilities of children’s creativity and shows the effectiveness of forms and methods for preserving the intangible cultural heritage through the practical development of techniques and technologies of artistic creation by children, which are based on academic or folk traditions. This, in the authors’ opinion, introduces the scientific novelty of this study. The theoretical basis of pedagogical mastery is studied and the need for a competency-based approach in the implementation of additional education programs on the example of the experience of children’s art schools is shown. In addition, the study substantiates the need for the effective construction of educational and methodological support for educational programs, the actualization and development of teacher’s competencies, as well as the preservation and development of methods containing the basic principles and technologies of the academic foundations of fine arts and folk crafts. Proposals to organize support for the implementation of additional general education programs in the field of fine and decorative arts and folk crafts are made.

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Journal articles on the topic 'Intangible art'

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