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The Hong Kong Polytechnic University Subject Description Form
Form AS 140 The Hong Kong Polytechnic University Subject Description Form Please read the notes at the end of the table carefully before completing the form. Subject Code CBS1A20 Subject Title Self-representation in New Media Credit Value 3 Level 1 Pre-requisite / Exclusion Co-requisite/ GEC1A05W Self-representation in New Media Exclusion GEC1A05 Self-representation in New Media CBS1A20M Self-representation in New Media Objectives This subject aims to examine how the emergence of different new media has mediated the conception and production of the self, identity, and autobiography by visual and verbal means. The complex human conditions behind such self-representation from different cultures will be investigated. Intended Learning Upon completion of the subject, students will be able to: Outcomes (a) enhance students’ literacy skills in reading and writing; (Note 1) (b) identify the mediated personal narratives embedded in different types of self-representation in new media; (c) pinpoint the boundary and difference between mere self-expression and performing/advertising the self in new media; (d) analyze how embodied self-expression in new media has transcended traditional means of communication; (e) evaluate critically the merit and limitation of specific forms of self- representation in new media. Subject Synopsis/ 1. Overview about Interpreting Life Narratives in Different Media (1 Indicative Syllabus lecture) (Note 2) 2. Self-representation in Self-portraiture: Identity Construction (2 lectures) Vermeer, Velasquez, Rembrandt, Kathe Kollwitz, Courbet, Cèzanne, Van Gogh, Toulouse Lautrec, Charlotte Salomon, Picasso, Dali, Magritte, Egon Schiele, Frida Kahlo, Francis Bacon, Orlan, Ana Mendieta, Adrian Piper, Yu Hong, Fang Lijun, & Yue Minjun, Song Dong & Wilson Shieh 3. -
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Blood, Sweat and Tears. The Martyred Body in Chinese Performance Art Tania Becker When we speak of offending images in the context of contemporary Chinese art, some of us may remember articles that were published in , voices of outrage in reaction to Zhu Yu’s performance Eating People: Is it art when a man eats a dead baby? london — My God, what kind of society do we live in? A Chinese man eats a dead baby on TV and actually claims it’s art! The announcement alone unleashed one of Great Britain’s hottest debates on the freedom of the media, the press, and art: the British tv Channel wanted to broad- cast the documentary Beijing Swings, which includes photographs of Chinese artist Zhu Yu apparently eating a dead baby. According to Zhu, the corpse is from a miscarriage. In one of the photographs, he’s washing the body in a sink. Another photo shows him biting into a dismembered body part. Zhu has said that the pictures were taken during a perfor- mance titled »Eating Humans« in his house in Beijing. Yesterday, Zhu Yu claimed that as an artist, it’s his job to initiate debates over morality and art. His work involves exploring whether boundaries still exist. It does not, however, seem to bother anyone when this »artist« transgress- es these boundaries. Not even the guardians of the law — because de- spite the fact that artists using human body parts for their art can be sentenced to ten years in prison, nothing happened [...]. Tania Becker - 9783846763452 Downloaded from Brill.com09/28/2021 03:24:39AM via free access , After the images made the rounds in the Internet, the shocking act of consum- ing a fetus met with reactions worldwide. -
Blossom Gardens
+91-8048361355 Blossom Gardens https://www.indiamart.com/blossomgardens/ Blossom Gardens is a highly renowned firm and acknowledged in the market as service provider and wholesale trader of wide diversity of Garden Planter, Water Fountains, Garden Ornament, Gardening Machinery, Lawn Grass and many more. About Us Established in 1999, Blossom Gardens is a highly prominent company betrothed in wholesale trading and service providing of Garden Planter, Water Fountains, Garden Ornament, Gardening Machinery, Lawn Grass, Roadside Tree, Gardening Accessories, Gazebo Construction Services, Landscape Consultancy Services, Landscape Maintenance Service and Lawn Plantation Contract Service. Our offered products and services are extensively valued and esteemed in the market for their characteristics such as reasonable rate, reliability, long life, consistency and on-time delivery. As we hold high indulgent in this arena, our provided products and services are also accessible in personalized options too. All our obtainable products are quality verified by our highly accomplished professionals on numerous quality constraints. We are supported by a crew of talented and knowledgeable employees, who are strength of our company. Our team is includes with the extremely interested, expert and assiduous workers, who perform their assigned tasks with full honesty. These staffs quickly understand the business and work with little information. With the high level of capability of our team, we have been able to endlessly provide these products and services as -
Garden and Park Structures Listing Selection Guide Summary
Garden and Park Structures Listing Selection Guide Summary Historic England’s twenty listing selection guides help to define which historic buildings are likely to meet the relevant tests for national designation and be included on the National Heritage List for England. Listing has been in place since 1947 and operates under the Planning (Listed Buildings and Conservation Areas) Act 1990. If a building is felt to meet the necessary standards, it is added to the List. This decision is taken by the Government’s Department for Digital, Culture, Media and Sport (DCMS). These selection guides were originally produced by English Heritage in 2011: slightly revised versions are now being published by its successor body, Historic England. The DCMS‘ Principles of Selection for Listing Buildings set out the over-arching criteria of special architectural or historic interest required for listing and the guides provide more detail of relevant considerations for determining such interest for particular building types. See https://www.gov.uk/government/publications/principles-of- selection-for-listing-buildings. Each guide falls into two halves. The first defines the types of structures included in it, before going on to give a brisk overview of their characteristics and how these developed through time, with notice of the main architects and representative examples of buildings. The second half of the guide sets out the particular tests in terms of its architectural or historic interest a building has to meet if it is to be listed. A select bibliography gives suggestions for further reading. This guide looks at buildings and other structures found in gardens, parks and indeed designed landscapes of all types from the Middle Ages to the twentieth century. -
Zhang Peili: Negotiating a Space for Contemporary Art in China with Video
30 x 30 (Detail), single-channel video, CRT monitor, 36:49mins, 1988. 《30 x 30》 (细节),单频录像,阴极射线管显示器,36分49秒,1988年。 Zhang Peili: Negotiating a space for contemporary art in China with video John Clark The context for contemporary art The arrival of video art in China cannot be seen in a vacuum. The ground was prepared by changes in exhibition organisation; new generations of post–Cultural Revolution artists, including Zhang Peili; general shifts in art education; and the opening of the economy (and, with that, changes in the organs of cultural control, or at least changes in their manner of operation). Much of the background is covered in an increasingly voluminous literature on Chinese contemporary art in the 1980s and 1990s, which is often articulated around the caesura of the ‘Beijing Incident’ in June 1989, preceded as it was by the China/Avant-Garde exhibition in February 1989.1 In a sense, the art world opened up and established its autonomy during 1985–89, but was then held back sharply in the two years after the ‘Incident’.2 It reopened irreversibly, it appears, after the visits of Deng Xiaoping to Shenzhen in 1992, and his associated speeches.3 95 ZHANG PEILI: FROM PAINTING TO VIDEO The residues of 1989 are many. Principally there was and is an official antipathy for disturbing events or artworks that are socially unexpected, uncontrolled or deliberately shocking. Of course, current taste defines ‘shock’, but the state applies a shifting criterion of public acceptability, some of whose parameters it changes disingenuously or without notice. Radical art or experimental practice outside the academy no longer has any direct connection with formalist avant- gardism, but certainly during the 1990s a socially disturbing quality was attributed to performance art and, to a lesser degree, to installation art. -
Danbury (Connecticut, USA) Moving Online Auction - Birch Rd
09/30/21 07:42:12 Danbury (Connecticut, USA) Moving Online Auction - Birch Rd. Auction Opens: Thu, Jul 7 6:00pm ET Auction Closes: Thu, Jul 14 7:00pm ET Lot Title Lot Title 0310 Broyhill Wardrobe - C 0344 Sectional Sofa With Queen Sized Sleeper - C 0311 Wicker Trunk - B 0345 Metal Legged Glass Topped Coffee Table - C 0312 Broyhill Wardrobe - C 0347 Bev Doolittle Print - A 0314 Four Pieces Of Artwork - A 0348 Wall Ornaments - B 0315 Bridge Arm Floor Lamp - A 0349 Dining Room Table - C 0316 Headboard And Frame - C 0350 Eight Stools - B 0317 Lamp, Side Table And Bin - A 0351 Sterling And Silverplated Spoons - A 0318 Black Framed Beveled Glass Mirror - B 0352 Pots, Pans, Bins, Plates, Salad Tosser-A 0319 Full Sized Sleeper Sofa - C 0353 Coffeemaker and Toaster Oven - A 0320 Black Swivel Computer Chair - B 0354 Prayer For The Wild Things By Bev Doolittle - 0321 Secretary Desk - C A 0322 Two Matching Night Tables - B 0355 Eagle Weather Vane With Side Table - B 0323 Two Matching Lamps - B 0356 A Gathering Of Angels By Dona Mares - A 0324 Headboard, Frame And Boxspring - C 0357 Sideboard - C 0325 Framed Signed And Numbered Print - A 0358 Two Phones - A 0326 Dresser - C 0359 Outdoor Table - C 0327 Plant, Jensen CD Player, Sculptures - A 0360 Six Outdoor Chairs With Cushions - B 0328 Metal Etagere - B 0361 Outdoor Umbrella With Base - B 0329 Dresser - C 0362 Suncast Outdoor Storage Box - C 0330 Samsung Flat Screen HDTV - A 0364 Framed And Numbered Signed Print - A 0331 Threshold Ottoman - B 0365 Sleeper Sofa - C 0332 Hammered Metal Beveled Glass -
Fine Garden Ornaments and Architectural Stonework
Fine garden ornaments and architectural stonework Haddonstone Ltd, The Forge House, East Haddon, Northampton NN6 8DB, England. Telephone: 01604 770711 Fax: 01604 770027 [email protected] Haddonstone (USA) Ltd, Telephone: 856 931 7011 Fax: 856 931 0040 [email protected] Haddonstone (USA) Ltd, 32207 United Avenue, Pueblo, CO 81001, USA. Telephone: 719 948 4554 Fax: 719 948 4285 [email protected] www.haddonstone.com Fine garden ornaments and architectural stonework ISBN: 978-0-9563891-2-1 Issue date: January 2015 ISBN: 978-0-9563891-2-1 Back cover images: Copyright © 2014 Haddonstone Ltd. All rights Designs recently reserved. Except as allowed by law, no part replicated in partnership of this publication may be reproduced in with the Sir John Soane’s any form without the written permission of Museum, see pages 8-10. Haddonstone Ltd. Please note also that much of Haddonstone’s garden ornamentation, architectural stonework and related Tech Sheets and computer programs are subject to registered design, copyright and similar proprietary protections under the laws of various jurisdictions. No pieces contained in this catalogue, or supplied by Haddonstone, should be copied or modified without first consulting the company in writing for permission. Violators of such proprietary rights are subject to severe civil and criminal penalties under law. The terms “HADDONSTONE”, “TECSTONE”, “HADDON-TECSTONE”, “TECCAST”, “TECLITE”, “STONEAGE”, “TECHNISTONE”, Editor: Simon Scott “HADDONCRAFT”, “ARCADIAN” and “PENNINE STONE” and the stylised forms of Artwork: Miranda Eldridge these terms are, and in certain instances are Principal photographers: registered as, trademarks and service marks Hugh Palmer & Robin Teall of Haddonstone Ltd. INTRODUCTION Welcome to the Haddonstone catalogue, containing the world’s most comprehensive collection of fine ornamental and architectural cast stone. -
Arbor, Trellis, Or Pergola—What's in Your Garden?
ENH1171 Arbor, Trellis, or Pergola—What’s in Your Garden? A Mini-Dictionary of Garden Structures and Plant Forms1 Gail Hansen2 ANY OF THE garden features and planting Victorian era (mid-nineteenth century) included herbaceous forms in use today come from the long and rich borders, carpet bedding, greenswards, and strombrellas. M horticultural histories of countries around the world. The use of garden structures and intentional plant Although many early garden structures and plant forms forms originated in the gardens of ancient Mesopotamia, have changed little over time and are still popular today, Egypt, Persia, and China (ca. 2000–500 BC). The earliest they are not always easy to identify. Structures have been gardens were a utilitarian mix of flowering and fruiting misidentified and names have varied over time and by trees and shrubs with some herbaceous medicinal plants. region. Read below to find out more about what might be in Arbors and pergolas were used for vining plants, and your garden. Persian gardens often included reflecting pools and water features. Ancient Romans (ca. 100) were perhaps the first to Garden Structures for People plant primarily for ornamentation, with courtyard gardens that included trompe l’oeil, topiary, and small reflecting Arbor: A recessed or somewhat enclosed area shaded by pools. trees or shrubs that serves as a resting place in a wooded area. In a more formal garden, an arbor is a small structure The early medieval gardens of twelfth-century Europe with vines trained over latticework on a frame, providing returned to a more utilitarian role, with culinary and a shady place. -
Dangerous Art
EXPERIMENTAL EMERGING ART ISSUE 3, 2018 DANGEROUS ART JURIJ KRPAN / ALEX ADRIAANSENS / ROY ASCOTT / DALILA HONORATO / ********** ********** / MARNIX DE NIJS / JULIAN BLAUE / CATHRINE KRAMER / ZACK DENFELD / ZORAN TODOROVIĆ / MARKO MARKOVIĆ / ALEXANDRA MURRAY-LESLIE EE ISSUE 3, 2018 ISSUE 3 INDEX 05 06 10 EE III: DANGEROUS ART TOP 10 - THE MOST CURATING DANGERS Stahl Stenslie DANGEROUS ARTWORKS Jurij Krpan 18 24 28 DANGEROUSLY UNSTABLE CONSCIOUSNESS IN Alex Adriaansens DANGER Roy Ascott 34 40 42 STRUCTURAL VIOLENCE TABOO - TRANSGRESSION ART OF FEAR AS ART - TRANSCENDENCE Marnix de Nijs EE - EXPERIMENTAL EMERGING ART Julian Blaue Dalila Honorato Independent Art Magazine ISSUE 3, 2018: DANGEROUS ART This issue is published by TEKS Publishing WWW.EEJOURNAL.NO ISSN: 2464-448X 46 50 54 FEEDING DANGEROUS IDEAS HUMAN GOURMET EATING YOURSELF © 2018 EE Cathrine Kramer Zoran Todorović Marko Marković Contact: [email protected] and Zack Denfeld EE ISSUE 3 is supported and financed by TEKS - TRONDHEIM ELECTRONIC ART CENTRE WWW.TEKS.NO 60 64 66 FASHIONABLY DANGEROUS EE TATTOO WARNING - UPCOMING Alexandra Murray-Leslie EDITORIAL EE ISSUE 3, 2018 EDITORS LETTER EE III : DANGEROUS ART The EE #3 issue researches dangerous but works so poorly done that it offends works of art and artistic ideas, presenting both qualified as well as uninterested some of the most dangerous contemporary audiences? Such as Fellesskapsprosjektet’s artists, thinkers and actors in art. recent monument in Kvam, Norway? Where a single work of art, a trash-like sculpture Dangerous? What is really dangerous art? made from locally found material, divided Physically threatening performances such the Kvam community into antagonistic a SRL - Survival Research Laboratories- fractions, threatening to tear the social putting the audience’s safety at stake while bonds apart. -
Inha Itsverzeichnis Einleitung Teil A:Die Kunsthistorische Einordnung
Inha Itsverzeichnis Einleitung 10 Teil A:Die kunsthistorische Einordnung derPerformance 1. Performance Art und ihre kunsthistorischen ursprunge 14 1.' Der Begriff Performance '4 1.2 Performative Handlungen im Futurismus ,6 l.3 Dada und seine Foigen ,8 1.4 Vom Bild zur Handlung '9 '.5 Gutai - Performative Aktionen 22 '.6 Happening und Fluxus 26 Teil B: Fragen zum Bildbegrijf und zum Forschungsstand der Bildwissenschajt 2. Grundfragen zum Bildbegriff und zum Forschungsstand der Bildwissenschaft 32 3.Der Bildbegriff in der Performance Art Teil C:Begrijflichkeiten und Definitionen 4. Zeitlichkeit und Wahrnehmung 62 4.1 Zeitlichkeit und Dauer 62 4.2 Wahrnehmung 70 S. Erinnerungsraume und Korperlichkeit 79 5.' Was ist Erinnerung? 79 5.2 korper und Prasenz 85 5.3 Schwellenerfahrung und Katharsis 92 6. Performative Asthetik, Performanz und das Ritual 97 6.' Performative Asthetik und Performanz 97 6.2 Aspekte des Rituellen in der performativen Asthetik 104 6.3 Performative Asthetik in Performance Art, im Theater und im Sport rn Tell D: DerSchmerz alsPhiinomen 11. Schmerz als Mittel fur poli 11.1 Kannibalismus und Aufl: 7. Schmerz - Ein menschliches Phanornen 124 11.2 Humanismus als Grenzu 7.1 Der Schmerz aus medizinischer und neurologischer Sicht 124 11.3 Poesie und Ekel- Zhang 7.2 Schmerzentstehung im Korper 125 1104 Leiden als Krlsenlosung 7.3 Schmerz als philosophisches Phanornen 127 11.5 Der Eiserne Vorhang - P€ 8. Die Universalltat des Schmerzes - Geschichte und Kultur des Leidens 145 12. Schmerz als Todesmetaph 8.1 Die Geschichte des Schmerzes 151 12.1 Tod, vergangllchkelt und 8.2 Heilige und Martyrer - Der Heilige Sebastian und Ron Athey 157 Dan McKereghan 8.3 Der Schmerz der Anderen - Wege der Kommunikation 161 12.2 Verwahrlosung und Den Boris Nieslony Ieii E: Schmerzhajte Bilder in der Performance Art 12.3 Massenmorder und die ~ g. -
Abstracts 2012
100TH ANNUAL CONFERENCE L O S A N G E L E S FEBRUARY 22–25, 2012 ABSTRACTS ABSTRACTS 2012 100th Annual Conference, Los Angeles Wednesday, February 22–Saturday, February 25, 2012 50 Broadway, 21st Floor New York, NY 10004 www.collegeart.org College Art Association 50 Broadway, 21st Floor New York, NY 10004 www.collegeart.org Copyright © 2012 College Art Association All rights reserved. Printed in the United States of America. Sessions are listed alphabetically according to the name of the chair. Abstracts 2012 is produced on a very abbreviated schedule. Although every effort is made to avoid defects, information in this book is subject to change. CAA regrets any editorial errors or omissions. We extend our special thanks to the CAA Annual Conference Committee members responsible for the 2012 program: Sue Gollifer, University of Brighton, vice president for Annual Conference, chair; Sharon Matt Atkins, Brooklyn Museum of Art; Peter Barnet, The Metropolitan Museum of Art; Brian Bishop, Framingham State University; Connie Cortez, Texas Tech University; Ken Gonzales-Day, Scripps College; and Sabina Ott, Columbia College Chicago. Regional Representatives: Stephanie Barron, Los Angeles County Museum of Art, and Margaret Lazzari, University of Southern California. We also thank all the volunteers and staff members who made the conference possible. Cover: Photograph provided by Security Pacific National Bank Collection, Los Angeles Public Library. Design: Ellen Nygaard CAA2012 FEBRUARY 22–25 3 Contents CAA International Committee 11 Concerning the Spiritual in Art: Kandinsky’s 19 Confrontation in Global Art History: Past/Present; Pride/ Radical Work at 100 Prejudice Surrounding Art and Artists Chairs: Susan J. -
A SMALL MAP PIECE of PERFORMANCE ART in CHINA a Study Room Guide by Adele Tan June 2008
A SMALL MAP PIECE OF PERFORMANCE ART IN CHINA A study room guide by Adele Tan June 2008 Let me begin with a fruit. The fruit in this instance is Grapefruit, Yoko Ono´s visionary 1964 book of art- making instructions for everyone. The Chinese word for fruit is guo (果)and like the English word it too means the result or reward of work or activity such as in the word jie guo ( 结果 ). So how does one begin to look at performance art in China in the selection of material available in the Live Art Development Agency library and make it a productive (fruitful) endeavour without taking the exploratory fun out of it? The history of performance art in China is still in the making and so we might do well not to make it too conclusive. With this in mind, we could perhaps play a version of Yoko Ono’s Map Piece from the summer of 1962… Draw an imaginary map. ●Carla Kirkwood, Chinese Performance Artists - Redrawing the Map of Chinese Culture, 2004, A0119 / P0519 ●Li Wei, Li Wei, 2005, P0191 ●Li Wei, Performance Video Works 2001–2004, D0113 ● Zhu Ming, 1994-2006 Art Works, 2007, P089 ●Zhu Ming, Performance Art Works, 1994-2004, 2004, D0265 ●Zhu Ming, Resume, Articles and Major Works – pictures, D0103 ●Zhu Ming, Unknown Area, July 2003, D0104 Kirkwood’s essay in TheatreForum provides an easy entry point into the performance art scene in China since its initial flourish in the late 1980s. She gives a concise history of its development over the past two decades but makes clear to us that from the get-go, performance art is to be taken in China as socio- politically engaged, critically antagonistic and at the forefront of experimental contemporary Chinese art by virtue of a habitual mode of operating in the margins.