Augmentation As Art Intervention: the New Means of Art Intervention Through Mixed Reality by Runzhou Ye
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Art Dissolves – the Afterlife
ART DISSOLVES – THE AFTERLIFE ART IS NOT FOREVER If humans lived average life spans of 1,000 years we would look at the history of art differently. The long ago would be longer ago. The memories of our childhood would expand to include remnants of the Dark Ages, the Renaissance, and the Kandinsky of 100 years ago would merely be a kid…his painterly scrawling perhaps still considered youthful exuberance and experimentation. On the other end of real life spans, we know of creatures on Earth that live mere minutes, days or weeks. Mayflies are emblematic of ephemeral beings…and our pet dogs and cats die all too quickly. We outlive them by many decades. If these animals made art objects during their short life spans, what would “they” think of it in comparison of it to the human ability to create and enjoy art for 80 or 90 years? What if Bowser could create a painting at age two, his teen years? And what if a Mayfly that expired the day after its birth could create a sculpture in the third hour of its life? Would it consider its artful effort important though it existed for a mere few hours? Would we? Would we look upon their art objects as “less meaningful” because those objects endured so briefly compared to our own more lengthy lives? And as humans who are art interested, perhaps even connoisseurs, what do we now think of human made art that exists in a physical state but briefly…art that is allowed to blow away in the wind, washed down a stream, erected for days or weeks and then dismantled? Is the fine art object that has a life span of 10 years less significant than one that endures for 100…or 1,000? Of course, part of our consideration in this regard has to do with our own memory. -
Arts & Culture
An Invitation to All Bowen Islanders Advancing ARTS & CULTURE on Bowen Island 2017 - 2027 Cultural Master Plan TABLE OF CONTENTS Executive Summary ................................................. 3 A. Introduction ......................................................... 13 B. Our Guiding Principles ....................................... 20 C. What is Bowen’s Culture? .................................. 21 D. Goals, Strategies and Actions............................ 27 E. Plan Evaluation & Review ................................... 58 F. BOWEN 2025: A Thriving Arts-and-Culture Driven Community ..................... 59 Appendix I Status Of 2004 Cultural Plan Recommendations Appendix II Successes And New Challenges Identified Appendix III BIAC Core Programs/Budget Appendix IV Arts & Cultural Survey Highlights Appendix V Groups Consulted in Developing This Plan Appendix VI Interview Questions Appendix VII 78 Communications & Publicity Appendix VIII List of Research Documents DRAFTAppendix IX List of Abbreviations Appendix X Links to 2004 Cultural Plan, Terms of Reference and Other Documents Appendix XI Master Plan Budget Page 2 Bowen Island Cultural Plan “Bowen is a place where people can become who they want to be.” – Andrea Verwey EXECUTIVE SUMMARY Introduction Why does Bowen Island need a Cultural “Master” Plan? Culture and art happen, planned or not. The motivation for developing a vision and goals along with a strategy to achieve those goals flows from the growing recognition and acknowledgment that arts are integral to our human existence. Culture engages minds, enriches the education of children, and supports lifelong learning. Culture helps define the character or identity of a community in which people feel a sense of belonging. It engages citizens in activities that help build a sense of community, resilience, and civic engagement. Finally, as the community grows, culture celebrates diversity and helps newcomers feel welcome. -
06 Thomas M. Robinson.P65
83 Thomas M. Robinson FIVE WORKS OF ART IN PLATO THOMAS M. ROBINSON Resumo: Se é possível dizer que há uma teoria da Arte em Platão, ela está relacionada à reflexão do filósofo sobre a Alma do Mundo e a Alma do Homem, seja no Timeu, na República, no Fédon ou Leis. Pretendo discutir outros aspectos desta questão atualizando o paralelismo existente entre a demiurgia da Alma do Mundo como objeto-arte e a pólis ideal como objeto-arte ambos fabricados por um intelecto que contempla o Bem. Abstract: If it is possible to say that there is a theory of Art in Plato, it is related to the reflexion of the philosopher about the World Soul and Man’s Soul, whether in the Timaeus, in Republic, Phaedon or Laws. I intend to discurs other aspects of this issues studyng the existing parallelism between the demiurges of the world soul and the ideal pólis as art-object both fashioned by an intellect that contemplates Good. Palavras-chave: arte, mimética, demiurgia, alma art, mimetic, demiurgy, soul If there is one thing that most readers of Plato (and for that matter several who have never in fact read a word of him) think they know, it is that he had a very jaundiced view of the fine arts, and as evidence they point triumphantly to large sections of two dialogues in particular, the Republic and the Laws. Not only, they add, is his view jaundiced, he even backs it with theory, and a preposterous, theory at that, in which he claims that all that passes for art appeals to the very lowest possible part of our soul, the so-called epithymetikón, and that, as far as its ontic content goes, it lies (inclusively) a full three moves away from the truly real, a shadow of a shadow of the Forms. -
Saccharomyces Cerevisiae
Novel strategies for engineering redox metabolism in Saccharomyces cerevisiae Víctor Gabriel Guadalupe Medina 2013 Novel strategies for engineering redox metabolism in Saccharomyces cerevisiae Proefschrift ter verkrijging van de graad van doctor aan de Technische Universiteit Delft, op gezag van de Rector Magnificus prof. ir. K.Ch.A.M. Luyben, voorzitter van het College voor Promoties, in het openbaar te verdedigen op maandag 14 oktober 2013 om 15:00 uur door Víctor Gabriel GUADALUPE MEDINA Magíster en Ciencias de la Ingeniería, Pontificia Universidad Católica de Chile, geboren te Rancagua, Chili. Dit proefschrift is goedgekeurd door de promotor: Prof. dr. J.T. Pronk Copromotor: Dr. ir. A.J.A. van Maris Samenstelling promotiecommissie: Rector Magnificus, voorzitter Prof. dr. J.T. Pronk, Technische Universiteit Delft, promotor Dr. ir. A.J.A. van Maris, Technische Universiteit Delft, copromotor Prof. dr. J.G. Kuenen, Technische Universiteit Delft Prof. dr. R.A.L. Bovenberg, Rijksuniversiteit Groningen / DSM Prof. dr. B.M. Bakker, Rijksuniversiteit Groningen Prof. dr. J. Förster, Technical University of Denmark / Novo Nordisk Foundation Center for Biosustainability Dr. R.A. Weusthuis, Wageningen University Prof. dr. M.C.M. van Loosdrecht, Technische Universiteit Delft, reservelid The studies presented in this thesis were performed at the Industrial Microbiology section, Department of Biotechnology, Delft University of Technology, The Netherlands and part of Program 1 ‘Yeast for chemicals, fuels and chemicals’ of the Kluyver Centre for Genomics of Industrial Fermentation, which is supported by the Netherlands Genomics Initiative. The cover of this thesis was designed by Manuel Toledo Otaegui (www.toledotaegui.com). The photograph was kindly provided by Michael Grab, rock balancing artist (www.gravityglue.com). -
These Aesthetics Are Not New
These Aesthetics Are Not New Post-Internet conditions and their effect on contemporary ideas of representation in Painting. By Callan Grecia Submitted in partial fulfillment of the requirement for Master of Fine Art at Rhodes University February 2017 Practical Supervisor: Ms. Tanya Poole Thesis Supervisor: Ms. Rat Western Abstract These Aesthetics Are Not New draws inspiration from the effect of digital technological progress on a consumer society. The Internet as a source of ubiquitous imagery reaffirms the idea that in a Post-Internet age there is nothing new, only conditions affected by a networked way of life. In this thesis I attempt to question contemporary ideas of representation and art making, specifically within the medium of oil paint, in a digitally consumed culture of instantaneous access. I interrogate the repetitive imagery that pervades our online experiences, and I speak about how I use my grasp of painterly knowledge and lexicon to replicate digital conditions in the real world to further cement my position that contemporary aesthetics, (digital, physical or both) are not new. I first introduce the reader to the idea of the Post-Internet, exploring the digital’s encroachment on our physical spaces and it’s relation to the politics of the medium of Oil Paint. I then address the concept of the Image-Object, and unpack this idea by comparing and contrasting emoji’s in relation to gestural mark making and the ascription of meaning through iconographic methods in Oil Painting. This culminates in an analysis of my physical practice in relation to these ideas, and concludes with my observations on the future of our ways of seeing, as affected by the Internet and technological progression. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
Just Above Midtown, Where David Hammons, Fred Wilson, and Others Exhibited, Received Slightly More Press Than Kenkeleba
The Black and White Show LORRAINE O’GRADY OUTSIDE, EAST SECOND STREET between Avenues B and C only by telegram. Give that boy another chance! But after in 1983 was Manhattan’s biggest open-air drug supermarket. promising two new canvases for the show, Basquiat pulled It was always deathly quiet except for the continual cries of out. Obligations to Bruno Bischofberger came fi rst. Walking vendors hawking competing brands of heroin: “3-5-7, 3-5-7” down East Second Street was like passing stacks of dreams in and “Toilet, Toilet.” From the steps of Kenkeleba, looking mounds. I asked muralist John Fekner to connect the inside across at the shooting galleries, you saw unrefl ecting win- with the outside. Downtown had a multitude of talents and dows and bricked-up facades, like doorless entrances to trends, some being bypassed by the stampede to cash in. The Hades. How did the junkies get inside? There was almost no show ended with twenty-eight artists, many still worried that traffi c. Behind the two columns fl anking Kenkeleba’s door- cadmium red cost thirty-two dollars a quart wholesale. Each way unexpectedly was a former Polish wedding palace in ele- day as I approached the block, I wondered, “Where is my gant decay owned by a black bohemian couple, Corrine mural?” On the day before the opening, it was there. John Jennings and Joe Overstreet. had done it at 4 am, when even junkies sleep. The gallery, invisible from the street, had fi ve rooms— Inside the gallery, it pleased me that, even across so many one, a cavern—plus a corridor, and dared you to use the styles, the images gave off language. -
Vol. 24, No. 3 March 2020 You Can’T Buy It
ABSOLUTELY FREE Vol. 24, No. 3 March 2020 You Can’t Buy It The NC Museum of Art in Raleigh, NC, will present Front Burner: Highlights in Contemporary North Carolina Painting, curated by Ashlynn Browning, on view in the Museum’s East Building, Level B, Joyce W. Pope Gallery, from March 7 through July 26, 2020. Work shown by Lien Truong © 2017 is I, “Buffalo”, and is acrylic, silk, fabric paint, antique gold-leaf obi thread, black salt and smoke on linen, 96 x 72 inches. I “Buffalo” was purchased by the North Carolina Museum of Art with funds from the William R. Roberson Jr. and Frances M. Roberson Endowed Fund for North Carolina Art. Photography is by Peter Paul Geoffrion. See article on Page 34. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. DONALD Weber Page 1 - Cover - NC Museum of Art - Lien Truong Page 3 - Ella Walton Richardson Fine Art Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 4 - Linda Fantuzzo / City Gallery at Waterfront Park Page 4 - Editorial Commentary & Charleston Artist Guild Page 5 - Wells Gallery & Halsey McCallum Studio Page 5 - Ella Walton Richardson Fine Art & Robert Lange Studios “Italian Sojourn” Page 6 - Kathryn Whitaker Page 6 - Meyer Vogl Gallery & City of North Charleston Page 7 - Emerge SC, Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, Page 8 - Art League of Hilton Head Reception March 6th 5-8 pm | Painting Demonstration March 7th 2-5 pm Rhett Thurman, Anglin Smith Fine Art, Halsey Institute of Contemporary Art, Page 10 - Coastal Discovery Museum, Society of Bluffton Artists & Clemson University / Sikes Hall The Wells Gallery at the Sanctuary & Saul Alexander Foundation Gallery Exhibition through April 1st, 2020 Page 12 - Clemson University / Sikes Hall cont. -
Sculpture and Installation Public Sculpture and Installaion .Pages
ARTS - 3860 Section 001 Sculpture and Installation # 67191 Public Sculpture and Installation: Methods and Practice 1:25 PM - 4:25 PM, M/W Regis Center for Art E117 Andréa Stanislav, Associate Professor [email protected] Instructor’s office hour: Mondays 12:15 PM - 1:15 PM, Room #E265 Class will meet during regularly scheduled hours in the classroom. The class will also meet outside the classroom during the scheduled class time. The class may also meet other days of the week for outside events, field trips, and guest artist and curator speakers -- these events may be scheduled on a weekly basis -- and are subject to change. There will also be a public art field trip to Chicago scheduled in April. Suggested texts: • Jane Bennet, Vibrant Matter: a political ecology of things. Duke University Press, Durham and London 2010 • Brunno Latour and Peter Weibel Making Things Public -- Atmospheres of Democracy, MIT Press, 2005 • Guy Debord, La Société du Spectacle (Society of the Spectacle),1967, Rebel Press 2004 Course Description and Objective: This course is an intermediate/advanced exploration of contemporary approaches, concepts, and practices of installation art and public art. What was, is, and will be installation art and public art? What purpose do these art practices serve? Who is the public? What effect and real changes (if any) do these practices have in the public realm and the fine art academy/ world? How are public art monuments that commemorates, honors, reminds, catalogues regarded, critiqued and transformed in the present? This project-based interdisciplinary course will focus on the development of skill sets in making, designing, critical thinking and realization of: a public artwork proposal, a public art intervention project, and an installation project. -
Confluences Between Art and Sport
Advances in Physical Education, 2019, 9, 87-102 http://www.scirp.org/journal/ape ISSN Online: 2164-0408 ISSN Print: 2164-0386 Confluences between Art and Sport Danny Shorkend WIZO School of Design, Haifa, Israel How to cite this paper: Shorkend, D. Abstract (2019). Confluences between Art and Sport. Advances in Physical Education, 9, 87-102. In this article, I present various ways of looking at sport through the lens of https://doi.org/10.4236/ape.2019.92007 art-aesthetic concepts. It is argued that indeed there are overlaps between art and sport and that this suggests a complementary pairing between the two Received: February 22, 2019 Accepted: March 19, 2019 that in turn sets in motion other such pairings, such as that between the aes- Published: March 22, 2019 thetic and the extra-aesthetic. In short: art and sport are both games within a certain defined cultural setting, but also interlink. I then conclude that since Copyright © 2019 by author(s) and there are theoretical links, there may be practical implications. Scientific Research Publishing Inc. This work is licensed under the Creative Commons Attribution International Keywords License (CC BY 4.0). Art, Sport, Movement, Physicality, Aesthetic, Games http://creativecommons.org/licenses/by/4.0/ Open Access 1. Introduction When a painter paints, there are obviously different methods, but the common fact of the matter is a movement of some sort. Some movements may be more vigorous and gestural, others more subtle and careful. But what motivates the stroke? How is it that a certain style may evolve? If the painter moves the way he/she does, he/she expresses an emotional, intellectual or primitive impulse, and then the stroke contains such energy. -
Ja Hresber Ic Ht 2 0 11
Madonna_Sixtinisch_Jahresbericht_Anzeige_210x170mm.indd 1 26. Mai – 26. August 2012 26. – Mai 26. Staatliche KunstsammlungenDresden Alte Meister, Gemäldegalerie Raffaels KultbildfeiertGeburtstag. Die SixtinischeMadonna— 500. WIRD WELT DER FRAU SCHÖNSTE DIE 09.03.12 11:34 Staatliche KunStSammlungen Dresden · Jah reSbericht 2011 2011 Kunsthalle im Lipsiusbau Semper Building at the Zwinger Schloss Pillnitz, Bergpalais Page 5 Page 18 sPEcIAL EXHIBITIONs Foreword Back on public display at last: The “Canaletto View” Page 29 Page 19 Exhibitions in Dresden, Saxony and I N FOcUs The Dream of a King. throughout Germany Dresden’s Green Vault Page 42 Page 7 Exhibitions abroad The Art of the Enlightenment Page 10 A cHANGI NG The Power of Giving INsTITUTION FROM TH E Page 12 cOLLEcTIONs On the departure of The Third Saxon State Exhibition: Prof. Dr. Martin Roth via regia – 800 Years of Mobility Page 45 and Movement Page 21 Selected purchases and donations Motivated by cultural convictions Page 14 Page 50 Heavenly Splendour: Page 23 Selected publications Raphael, Dürer and Grünewald Ten years at the Staatliche Page 53 paint the Madonna Kunstsammlungen Dresden Selected restoration projects Page 16 On the departure of Neue Sachlichkeit in Dresden. Dr. Moritz Woelk 1920s paintings from Dix to Querner Page 26 From Benedetto Antelami to Tony Cragg – Moritz Woelk in Dresden’s Albertinum Japanisches Palais Albertinum GRASSI Museum Leipzig SCIENTIFIc AN D VIsITORs NEWs I N BRI EF REsEARcH PROJ EcTs Page 77 Page 89 Page 59 The Future of Museums – youth Scientific -
Critical Point of View: a Wikipedia Reader
w ikipedia pedai p edia p Wiki CRITICAL POINT OF VIEW A Wikipedia Reader 2 CRITICAL POINT OF VIEW A Wikipedia Reader CRITICAL POINT OF VIEW 3 Critical Point of View: A Wikipedia Reader Editors: Geert Lovink and Nathaniel Tkacz Editorial Assistance: Ivy Roberts, Morgan Currie Copy-Editing: Cielo Lutino CRITICAL Design: Katja van Stiphout Cover Image: Ayumi Higuchi POINT OF VIEW Printer: Ten Klei Groep, Amsterdam Publisher: Institute of Network Cultures, Amsterdam 2011 A Wikipedia ISBN: 978-90-78146-13-1 Reader EDITED BY Contact GEERT LOVINK AND Institute of Network Cultures NATHANIEL TKACZ phone: +3120 5951866 INC READER #7 fax: +3120 5951840 email: [email protected] web: http://www.networkcultures.org Order a copy of this book by sending an email to: [email protected] A pdf of this publication can be downloaded freely at: http://www.networkcultures.org/publications Join the Critical Point of View mailing list at: http://www.listcultures.org Supported by: The School for Communication and Design at the Amsterdam University of Applied Sciences (Hogeschool van Amsterdam DMCI), the Centre for Internet and Society (CIS) in Bangalore and the Kusuma Trust. Thanks to Johanna Niesyto (University of Siegen), Nishant Shah and Sunil Abraham (CIS Bangalore) Sabine Niederer and Margreet Riphagen (INC Amsterdam) for their valuable input and editorial support. Thanks to Foundation Democracy and Media, Mondriaan Foundation and the Public Library Amsterdam (Openbare Bibliotheek Amsterdam) for supporting the CPOV events in Bangalore, Amsterdam and Leipzig. (http://networkcultures.org/wpmu/cpov/) Special thanks to all the authors for their contributions and to Cielo Lutino, Morgan Currie and Ivy Roberts for their careful copy-editing.