DOCSLIB.ORG

March/April 2015 Volume 14, Number 2 Inside

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
March/April 2015 Volume 14, Number 2 Inside MARCH/A P R I L 2 0 1 5 VOLUM E 14, NUM BER 2 INSI DE Panel Discussion: Going to the Country Why Do We Still Need Museums? 10th Shanghai Biennale Artist Features: FX Harnoso, Tintin Wulia, Wanxin Zhang Exhibitions: San Francisco, Ithica, Manchester US$12.00 NT$350.00 P R INTED IN TAIWAN 6 VOLUME 14, NUMBER 2, MARCH/APRIL 2015 CONTENTS 2 Editor’s Note 37 4 Contributors 6 Going to the Country: Reconsidering Chinese Art Practices and Participation in the Rural Context Orianna Cacchione and Mia Yu 28 The Paradoxes of Autonomy: A Site of Critique Nikita Yingqian Cai 66 37 Why Do We Still Need Museums? An Interview with Hou Hanru, Artistic Director of MAXXI, National Museum of the 21st Century Arts, Rome Yu Hsiao Hwei 51 Pursuing Subjectivity: The 10th Shanghai Biennale—Social Factory Julie Chun 66 Expressions of Chinese Ethnicity and Cultural Heritage in Contemporary Indonesian 82 Art: FX Harsono and Tintin Wulia Lisa Catt 82 New Boundaries of Contemporary Art from Taiwan Yu-chieh Li 95 Against Rigour in Art: Landscape: the virtual, the actual, the possible? Brian Karl 106 106 Wanxin Zhang: Totem Erica Mohar 112 Relics, Memory, and Nostalgia in Harmonious Society Alexandra Lily Mitchell 121 Chinese Name Index 112 Cover: Huang Yongping, Bâton de Serpent, 2014, aluminum. Photo: Musacchio and Lanniello. Courtesy of the artist, Red Brick Art Museum, Beijing, and Fondazione MAXXI, Rome. We thank JNBY Art Projects, D3E Art Limited, Chen Ping, Mr. and Mrs. Eric Li, and Stephanie Holmquist and Mark Allison for their generous contribution to the publication and distribution of Yishu. Vol. 14 No. 2 1 Editor’s Note YISHU: Journal of Contemporary Chinese Art PRESIDENT Katy Hsiu-chih Chien LEGAL COUNSEL Infoshare Tech Law Office, Mann C. C. Liu FOUNDING EDITOR Ken Lum Museums and cultural institutions are subjects Yishu has explored in past issues. The first three EDITOR-IN-CHIEF Keith Wallace MANAGING EDITOR Zheng Shengtian texts in Yishu 67 continue that exploration with a EDITORS Julie Grundvig panel discussion organized by Orianna Cacchione Kate Steinmann Chunyee Li and Mia Yu on projects that have taken place in EDITORS (CHINESE VERSION) Yu Hsiao Hwei non-urban contexts, a reflection by Nikita Yingqian Chen Ping Cai on institutional critique within mainland China, Guo Yanlong and an interview with Hou Hanru by Yu Hsiao Hwei CIRCULATION MANAGER Larisa Broyde that provides one of the most succinct insights into WEB SITE EDITOR Chunyee Li his curatorial practice as well as his perspective ADVISORY BOARD on the relevance of museums in terms of their Judy Andrews, Ohio State University Melissa Chiu, Hirschhorn Museum and Sculpture Garden publicness. John Clark, University of Sydney Lynne Cooke, Museo Reina Sofia The Shanghai Biennale, now in its tenth year Okwui Enwezor, Critic and Curator Britta Erickson, Independent Scholar and Curator and in its second manifestation at the massive Fan Di’an, Central Academy of Fine Arts Shanghai Power Station, is examined by Julie Fei Dawei, Independent Critic and Curator Gao Minglu, University of Pittsburgh Chun not only with respect to the curatorial Hou Hanru, MAXXI, Rome premise and the artwork, but also, how this major Hu Fang, Vitamin Creative Space and the shop Asian event and the institution that supports it Katie Hill, University of Westminster Claire Hsu, Asia Art Archive might be wanting in its publicness. Martina Köppel-Yang, Independent Critic and Historian Sebastian Lopez, Critic and Curator Lu Jie, Long March Space Lisa Catt discusses two artists, FX Harsono Charles Merewether, Director, ICA Singapore and Tintin Wulia, whose work addresses the Apinan Poshyananda, Ministry of Culture, Thailand troubled historical context of people of Chinese Philip Tinari, Ullens Center for Contemporary Art Chia Chi Jason Wang, Independent Critic and Curator descent in Indonesia, an area within the vast Wu Hung, University of Chicago Chinese diaspora that until recently has been little Pauline J. Yao, M+, West Kowloon Cultural District researched. Yu-Chieh Li reviews an exhibition PUBLISHER Art & Collection Group Ltd. at Cornell University, one of the few group 6F. No. 85, Section 1, Chungshan N. Road, exhibitions of contemporary art from Taiwan to Taipei, Taiwan 104 be seen outside of Taiwan, and questions why Phone: (886)2.2560.2220 internationally, and compared to work from the Fax: (886)2.2542.0631 E-mail: [email protected] rest of greater China, so little attention is given to the distinct art that has emerged from VICE GENERAL MANAGER Jenny Liu Alex Kao this island. MARKETING MANAGER Joyce Lin CIRCULATION EXECUTIVE Perry Hsu We close with three more exhibition reviews. Betty Hsieh Two of the exhibitions, one with Wanxin Zhang, PRINTING Chi Wei Colour Printing Ltd. who makes large-scale ceramic sculpture, and WEB SITE http://yishu-online.com the other a group exhibition of international WEB DESIGN Design Format artists dealing with landscape, took place in ISSN 1683 - 3082 San Francisco, a city that has long been home Yishu is published bi-monthly in Taipei, Taiwan, and edited to Chinese artists and that has a distinguished in Vancouver, Canada. The publishing dates are January, March, May, July, September, and November. All subscription, history of exhibiting their work. The third exhibition, advertising, and submission inquiries may be sent to: Harmonious Society, was a component of the Asia Yishu Editorial Office Triennial Manchester, an event initiated in 2008 200–1311 Howe Street that with each iteration is gaining a greater profile Vancouver, BC, Canada within the growing list of biennials and triennials V6Z 2P3 Phone: 1.604.649.8187 focused on Asian art. Fax: 1.604.591.6392 E-mail: offi[email protected] Yishu mourns the passing away on February SUBSCRIPTION RATES 1, 2015, of Ni Tsai Chin (1955–2015), a highly 1 year (6 issues): $84 USD (includes airmail postage) 2 years (12 issues): $158 USD (includes airmail postage) respected artist and professor at Tunghai 1 Year PDF Download (6 issues): $49.95 USD (http://yishu-online.com) University, Taiwan, and one of our long standing Advisory Board members. DESIGN AND PRODUCTION Leap Creative Group CREATIVE DIRECTOR Raymond Mah ART DIRECTOR Gavin Chow DESIGNER Philip Wong Keith Wallace No part of this journal may be reprinted without the written permission from the publisher. The views expressed in Yishu are not necessarily those of the editors or publisher. Yishu: Journal of Contemporary Chinese Art 典藏國際版(Yishu)創刊於 2002年5月1日 典藏國際版‧第14卷第2期‧2015年3–4月 社 長： 簡秀枝 法律顧問： 思科技法律事務所 劉承慶 創刊編輯： 林蔭庭（Ken Lum） 2 編者手記 總 策 劃： 鄭勝天 主 編： 華睿思 (Keith Wallace) 編 輯： 顧珠妮 (Julie Grundvig) 4 作者小傳 史楷迪 (Kate Steinmann) 黎俊儀 6 到農村去！—鄉村語境中的中國 網站編輯： 黎俊儀 當代藝術實踐與參與 中文編輯： 余小蕙 小歐 (Orianna Cacchione)∕于渺 陳 萍 郭彥龍 行 政： 藍立杉 (Larisa Broyde) 28 自治的悖論：一個批判的場域 蔡影茜 顧 問： 王嘉驥 田霏宇 (Philip Tinari) 安雅蘭 (Judy Andrews) 37 我們為什麼還需要美術館？ 巫 鴻 林似竹 (Britta Erickson) 訪談羅馬二十一世紀美術館（MAXXI） 范迪安 藝術總監侯瀚如 招穎思 (Melissa Chiu) 余小蕙 洛柿田 (Sebastian Lopez) 胡 昉 侯瀚如 51 觀者的主體性：評第十屆上海雙年展— 徐文玠 (Claire Hsu) 姜苦樂 (John Clark) 「社會工廠」 姚嘉善 (Pauline J. Yao) Julie Chun 高名潞 費大爲 楊天娜 (Martina Köppel-Yang) 盧 杰 66 當代印尼藝術中華人種族與文化傳統 Lynne Cooke 的表現：胡豐文與Tintin Wulia Okwui Enwezor Lisa Catt Katie Hill Charles Merewether Apinan Poshyananda 82 「界」: 台灣當代藝術展 出 版： 典藏雜誌社 李雨潔 副總經理： 劉靜宜 高世光 行銷總監： 林素珍 發行專員： 許銘文 95 藝術不求嚴謹 謝宜蓉 ─評展覽「風景：實像、幻像或心像？」 社 址： 台灣台北市中山北路一段85號6樓 Brian Karl 電話: (886) 2.2560.2220 傳真：(886) 2.2542.0631 電子信箱：[email protected] 106 張萬新：「圖騰」 國際版編輯部：Yishu Editorial Office Erica Mohar 200-1311 Howe Street, Vancouver, BC, V6Z 2P3, Canada 電話: (1) 604.649.8187 112 「天下無事」中的遺物、記憶與懷舊 傳真：(1) 604.591.6392 電子信箱: offi[email protected] Alexandra Lily Mitchell 訂閱、投稿及廣告均請與國際版編輯部聯系。 121 中英人名對照 設計製作： Leap Creative Group, Vancouver 創意總監： 馬偉培 藝術總監： 周繼宏 設 計 師： 黃健斌 印 刷： 台北崎威彩藝有限公司 本刊在溫哥華編輯設計，台北印刷出版發行。 一年6期。逢1、3、5、7、9、11月出版。 網 址： http://yishu-online.com 管 理： Design Format 國際刊號： 1683-3082 售價每本12美元。 封面： 黃永砯，蛇杖，2014，鋁，Musacchio 訂 閲： 一年84美元，兩年158美元 和 Lanniello 攝影，藝術家、北京紅磚美術館和 （含航空郵資）。 羅馬二十一世紀美術館基金會提供。 網上下載： 一年49.95美元 網上訂閱： http://yishu-online.com 感謝JNBY、D3E Art Limited、 陳萍、 李世默夫婦、Stephanie Holmquist 和Mark Allison 版權所有，本刊內容非經本社同意不得翻譯和轉載。 對本刊出版與發行的慷慨支持 本刊登載內容並不代表編輯部與出版社立場。 Contributors Orianna Cacchione is currently Research Arts (Museums and Collections) from the Fellow for Contemporary East Asian Art at the Australian National University. Her final Art Institute of Chicago. She is also completing research project explored expressions of her dissertation at the University of California, Chinese identity in contemporary Indonesian San Diego. Her current research analyzes the art. During her studies, Catt worked as an globalization of contemporary Chinese art assistant curator at the National Museum through the translation and circulation of of Australia and curatorial intern at the foreign art history in China after the Cultural National Gallery of Australia. Currently she is Revolution. Her writing has been published working at the Art Gallery of New South Wales. in The Journal of Art Historiography, Yishu, and FlashArt. Julie Chun is an independent art historian and lecturer who has been based in Shanghai Nikita Yingqian Cai lives and works in since 2011. She currently serves as the Art Guangzhou and is currently curator at Convener of the Royal Asiatic Society, Guangdong Times Museum, Guangzhou. China, where she delivers monthly lectures The exhibitions she has curated there include at museums and galleries to widen public A Museum That is Not (2011), Jiang Zhi: If understanding of artistic objects, past and This is a Man (2012), and You Can only Think present. She holds an M.A. in art history about Something if You Think of Something from San Jose State University and B.A. in Else (2014); she is also editing a series of economics from the University of California publications based on the annual seminar at the at Irvine.
Load more

Recommended publications
  • Performance Art
    (hard cover) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Master of Arts Fine Arts 2006 LASALLE-SIA COLLEGE OF THE ARTS (blank page) PERFORMANCE ART: MOTIVATIONS AND DIRECTIONS by Lee Wen Submitted in Partial Fulfillment of the Degree Master of Arts (Fine Arts) LASALLE-SIA College of the Arts Faculty of Fine Arts Singapore May, 2006 ii Accepted by the Faculty of Fine Arts, LASALLE-SIA College of the Arts, In partial fulfillment of the requirements For the degree Master of Arts (Fine Arts). Vincent Leow Studio Supervisor Adeline Kueh Thesis Supervisor I certify that the thesis being submitted for examination is my own account of my own research, which has been conducted ethically. The data and the results presented are the genuine data and results actually obtained by me during the conduct of the research. Where I have drawn on the work, ideas and results of others this has been appropriately acknowledged in the thesis. The greater portion of the work described in the thesis has been undertaken subsequently to my registration for the degree for which I am submitting this document. Lee Wen In submitting this thesis to LASALLE-SIA College of the Arts, I understand that I am giving permission for it to be made available for use in accordance with the regulations and policies of the college. I also understand that the title and abstract will be published, and that a copy of the work may be made available and supplied to any bona fide library or research worker. This work is also subject to the college policy on intellectual property.
    [Show full text]
  • September/October 2016 Volume 15, Number 5 Inside
    SEPTEMBER/OCTOBER 2016 VOLUME 15, NUMBER 5 INSI DE Chengdu Performance Art, 2012–2016 Interview with Raqs Media Collective on the 2016 Shanghai Biennale Artist Features: Cui Xiuwen, Qu Fengguo, Ying Yefu, Zhou Yilun Buried Alive: Chapter 1 US$12.00 NT$350.00 PRINTED IN TAIWAN 6 VOLUME 15, NUMBER 5, SEPTEMBER/OCTOBER 2016 C ONT ENT S 23 2 Editor’s Note 4 Contributors 6 Chengdu Performance Art, 2012–2016 Sophia Kidd 23 Qu Fengguo: Temporal Configurations Julie Chun 36 36 Cui Xiuwen Patricia Eichenbaum Karetzky 48 Propositioning the World: Raqs Media Collective and the Shanghai Biennale Maya Kóvskaya 59 The Good, the Bad, and the Ugly Danielle Shang 48 67 Art Labor and Ying Yefu: Between the Amateur and the Professional Jacob August Dreyer 72 Buried Alive: Chapter 1 (to be continued) Lu Huanzhi 91 Chinese Name Index 59 Cover: Zhang Yu, One Man's Walden Pond with Tire, 2014, 67 performance, one day, Lijiang. Courtesy of the artist. We thank JNBY Art Projects, Chen Ping, David Chau, Kevin Daniels, Qiqi Hong, Sabrina Xu, David Yue, Andy Sylvester, Farid Rohani, Ernest Lang, D3E Art Limited, Stephanie Holmquist, and Mark Allison for their generous contribution to the publication and distribution of Yishu. 1 Editor’s Note YISHU: Journal of Contemporary Chinese Art PRESIDENT Katy Hsiu-chih Chien LEGAL COUNSEL Infoshare Tech Law Office, Mann C. C. Liu Performance art has a strong legacy in FOUNDING EDITOR Ken Lum southwest China, particularly in the city EDITOR-IN-CHIEF Keith Wallace MANAGING EDITOR Zheng Shengtian of Chengdu. Sophia Kidd, who previously EDITORS Julie Grundvig contributed two texts on performance art in this Kate Steinmann Chunyee Li region (Yishu 44, Yishu 55), updates us on an EDITORS (CHINESE VERSION) Yu Hsiao Hwei Chen Ping art medium that has shifted emphasis over the Guo Yanlong years but continues to maintain its presence CIRCULATION MANAGER Larisa Broyde WEB SITE EDITOR Chunyee Li and has been welcomed by a new generation ADVERTISING Sen Wong of artists.
    [Show full text]
  • Downloaded from Brill.Com09/28/2021 03:24:39AM Via Free Access ,    
    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.
    [Show full text]
  • The Pennsylvania State University
    The Pennsylvania State University The Graduate School SOUTH KOREAN ENTRY-LEVEL JOBSEEKERS’ ENGLISH-LANGUAGE LEARNING IN THE NEOLIBERAL JOB MARKET A Dissertation in Applied Linguistics by Miso Kim © 2020 Miso Kim Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2020 ii The dissertation of Miso Kim was reviewed and approved by the following: Suresh Canagarajah Edwin Erle Sparks Professor of Applied Linguistics, English, and Asian Studies Dissertation Advisor Chair of Committee Celeste Kinginger Professor of Applied Linguistics Mari Haneda Associate Professor of Education and Applied Linguistics Matthew E. Poehner Professor of Education and Applied Linguistics Robert Schrauf Professor of Applied Linguistics Department Head iii ABSTRACT The dissertation examines South Korean entry-level white-collar jobseekers’ negotiation of neoliberal employment requirements, reasons for studying English, and use of tools and resources for English learning. Although previous studies have problematized neoliberalism and English in South Korea (J. S.-Y. Park, 2009, 2010, 2011, 2018; J. S.-Y. Park & Wee, 2015; Piller & J. Cho, 2013), relatively few studies have considered how Korean jobseekers who have to develop English skills to enhance their competitiveness in the job market negotiate the demands of neoliberalism. There is even less research on how to provide appropriate educational support for them. To this end, I designed and implemented an eight-week exploratory program that aimed at developing jobseekers’ English skills using their own tools and resources based on an ecological perspective (van Lier, 2000, 2004). The study addressed the following research questions: 1. How do the Korean jobseekers interpret and negotiate the neoliberal norms of employability in the job market? 2.
    [Show full text]
  • 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.
    [Show full text]
  • The Current Situation of Youth Cultural
    2018 3rd International Conference on Society Science and Economics Development (ICSSED 2018) ISBN: 978-1-60595-031-0 The Current Situation of Youth Cultural Exchange between China and Japan from the Perspective of Japanese Catchwords Fang Zhao Arts and Information Engineering College of Dalian Polytechnic University, Zip Code: 116103 Key words: Japanese catchwords; youth cultural exchange between China and Japan; current situation Abstract: The catchwords are written in Japanese as 「流行語」, and refer to a phrase that is frequently used in a certain period of time. Whether in Japan or in China, the existence of catchwords is not long, but reflects the social life of a certain period of time. The cultural exchanges between China and Japan are becoming more and more frequent, and Chinese catchwords have entered into Japan, which has played an important role in promoting the youth cultural exchange between China and Japan. 1. Introduction Japan's "Excessive Wording" magazine introduced the top ten Chinese catchwords in 2013, mainly include "Chinese dream", "clear your plate", "Tuhao", "weirdo", "forced", "counterattack", "tough girl", "MicroBlog", "thumb up" and "big V", While introducing these popular words, they also spread a large number of Chinese culture, especially in explaining the cultural connotation of "Chinese dream", it gives a more detailed description of China's historical culture and contemporary national conditions. In addition, the catchwords used in China in recent years "kawaii", "cutee adorable", "indoors woman" also come from Japan. Therefore, the Chinese and Japanese catchwords have promoted the youth cultural exchange between China and Japan to some extent, stimulated the interest of Chinese youth in learning Japanese, and promoted cultural innovation.
    [Show full text]
  • British Journal of Chinese Studies, Vol. 9 (2), July 2019 ISSN 2048-0601 © British Association for Chinese Studies
    British Journal of Chinese Studies, Vol. 9 (2), July 2019 ISSN 2048-0601 © British Association for Chinese Studies Bad Citizens and Symbolic Subjects: Wang Jin, Zhou Tiehai, and the Art of (In)Civility Ros Holmes The University of Manchester Abstract This article illuminates the relationship between contemporary art and visual representations of civility in postsocialist China. Focusing on a close visual analysis of two works of art: Wang Jin’s Ice-96 Central Plain (1996) and Zhou Tiehai’s Fake Cover (1996), it examines how artists sought to reject the binary terms with which civility is commonly constructed: between model and shameful forms of deportment, good and bad, spiritual and material, civil and uncivil. Directly challenging the social and political role of civility as it is shaped, imagined and “imaged” in China, it explores how civility plays a pivotal role in making and unmaking citizens and argues that these artists offer a redefinition of civility not as a “discourse of lack” but as a surplus quality, an embodied excess, something which could be performed, parodied or publicly cast off. It therefore stands as an argument for considering the vexed and contested parameters of civility as artists sought to navigate the fraught terrain between ideology and market reforms, consumer citizenship and the exigencies of globalisation. Keywords: China, contemporary art, civility, citizenship, globalisation, public conduct, visibility. On January 28, 1996, a crowd began to gather at the heart of Erqi Square in downtown Zhengzhou. Braving sub-zero temperatures, they arrived cocooned in hats and scarves, down jackets and padded coats. The mood was one of jubilant expectation, heightened by the promise of a commercial spectacle whose much anticipated unveiling had been insistently announced in a flurry of flyers and promotional banners, monopolising the city’s billboards and airwaves, its television screens and newspaper columns in the preceding weeks.
    [Show full text]
  • Arouse the Creativity of a Generation of Millenial Doctrines with the Media Learning Physics and Innovative Eco-Friendly
    ISSN 2597-5250 Volume 2, 2019 | Pages: 331-335 EISSN 2598-232X Arouse the Creativity of a Generation of Millenial Doctrines with the Media Learning Physics and Innovative Eco-Friendly Nurhidayati1, Syifa Fauzia2, Al Lu’lu Ul Maknun3 1Physics Education, 2Physics, 3Chemical Education, Faculty of Science and Technology, UIN Sunan Kalijaga Jl. Marsda Adisucipto No 1 Yogyakarta 55281, Indonesia. Tel. + 62-274-540971, Fax. + 62-274-519739 1Email: [email protected] Abstract. Learning media is an auxiliary tool effectively which can be used by teachers to achieve the desired goals. Learning media usage in the process of teaching and learning can evoke desire and renewed interest, evoking motivation and stimulation of learning activities, even bringing the influences of Psychology against the students. Learning Media research already done by observing the learning achievements before and after using the media. On the research of Alamsyah Noerseelha with the title of "research learning media use power point" in SMK N 1 learning achievements acquired Sumedang of 68.57 before using media and 80.00 after using media. With the name and title of the same study at Junior High School N 1 Cimanggung obtained amounted to 61.90 before using media and 80.95 after using media. and in Junior High School N 1 Pamulihan of 67.74 before using media and 83.33 after using media. The main factors that can enhance the learning achievements and arouse the creativity of learners, namely the media and education. While the hallmark of a generation of millennial doctrines which tend to be deeply affected by the technology make it quickly bored with the monotonous thing.
    [Show full text]
  • The Global Performance Art Network: How the Net Works
    The Global Performance Art Network: How the Net Works Author Clunn, Rebecca Published 2014 Thesis Type Thesis (PhD Doctorate) School Griffith Business School DOI https://doi.org/10.25904/1912/2414 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366836 Griffith Research Online https://research-repository.griffith.edu.au The Global Performance Art Network: How the Net Works Business School Department of Employment Relations & Human Resources Rebecca Clunn B. Music Performance – Queensland Conservatorium, Griffith University B. Creative Industries (2A Hons) – Queensland University of Technology Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy August 2013 Abstract ABSTRACT As a performance artist, I have experienced a strong synergy connecting performance artists, the work they make, the network they create and inhabit, and the trust that binds them together. I wanted to discover how that network operated. Therefore, this doctoral research project focuses on the question, “What is the operation of the global performance art network? ” Network theory forms the overarching theoretical framework, with the additional concepts of trust, community, social capital, and performance art playing a key part in the analysis. With no known research into the global performance art network to date, the research will contribute to theory development and practical perspectives in relation to performance art. In addressing the research question, I acknowledge my personal ontology and self-interest in the subject matter. This duality of researcher / participant has allowed for a conscious ethnographic approach to this research. I have adopted a pragmatist paradigm in approaching this research question, which encourages a mixed methods strategy, combining quantitative and qualitative research methods, allowing for triangulation of data.
    [Show full text]
  • The Technosocial Subject: Cities, Cyborgs and Cyberspace
    The Technosocial Subject: Cities, Cyborgs and Cyberspace Ph.D. dissertation submitted to MANIPAL UNIVERSITY by Nishant Shah CENTRE FOR THE STUDY OF CULTURE & SOCIETY (Affiliated to Manipal University) BANGALORE—560061 March 2012 Bangalore 2012 1 Declaration I, Nishant Shah, do hereby declare that this dissertation titled The Technosocial Subject: Cities, Cyborgs and Cyberspace contains original research work done by me in fulfilment of the requirements for my Ph.D. degree in Cultural Studies from the Centre for the Study of Culture and Society and that this report has not previously formed the basis for the award of any degree or diploma in this or any other institution. This work has not been sent anywhere for publication or presentation purpose. Nishant Shah Bangalore 2012 2 Centre for the Study of Culture and Society (Affiliated to Manipal University) 29th Main, Poornaprajna HBCS Layout, Uttarahalli Bangalore 560061 Certificate Certified that this dissertation titled The Technosocial Subject: Cities, Cyborgs and Cyberspace, is a record of bonafide study and research carried out by Mr. Nishant Shah under my supervision and guidance. The report has not been submitted by her for any award of degree or diploma in this or in any other university. Dr.S.V. Srininvas (Supervisor) Ashish Rajadyaksha (Member, Ph.D. Committee, Director, CSCS) 3 Acknowledgements I owe much emotional and intellectual gratitude, to many people scattered over geographies and lifestyles, without whom, this dissertation would not have been possible. The list is long, and much labour expended by many people shall remain invisible here. But I hope that the people I name will realise what a crucial role they have played in my life, and the people I don‘t will know that I appreciate their presence in my life, beyond formal acknowledgements.
    [Show full text]
  • Major Trends in the Development of Contemporary Chinese Art
    MAJOR TRENDS IN THE DEVELOPMENT OF CONTEMPORARY CHINESE ART Li Xianting The art concepts utilised in this discussion are largely derived from the aesthetic and conceptual language of 20th century Western Modernism. This is an acknowledgement of the fact that the language of Modernism has become the international language of art. To a large degree, this reality has dictated the development of modern Chinese art. Yet there is another vitally important phenomenon that has shaped the development of Chinese art in the 20th century, and which explains the qualities of Chinese contemporary art which are different from Western art. Since the end of the Qing dynasty (1644-1911), when China's doors were "blown" wide open by the West, China has undergone three major cultural and aesthetic transitions marked by a rejection of an established cultural and aesthetic system and the adoption of a new one, always based on a modern Western system. In the course of this process of adoption and adaptation, the Western system underwent various levels of transformation, so that in the end there has been, enacted on Chinese soil, a cultural dialectic between China and the West marked by a pattern of mutual influence and change. It is the phenomenon of these transitions and the cultural dialectic that they have engendered which sets the evolution of China's contemporary art apart from that of the West. The first of these transitional periods began in the early part of this century, when the May Fourth movement [launched in 1919] raised the flag of anti-feudalist revolt and advocated the use of modern Western cultural ideas as a means of building a new culture for China.
    [Show full text]
  • The Pennsylvania State University the Graduate School COMPARING TWO GENERATIONS of CHINESE INTERNATIONAL STUDENTS STUDYING in TH
    The Pennsylvania State University The Graduate School COMPARING TWO GENERATIONS OF CHINESE INTERNATIONAL STUDENTS STUDYING IN THE UNITED STATES A Dissertation in Lifelong Learning and Adult Education and Comparative and International Education by Xiaoqiao Zhang © 2020 Xiaoqiao Zhang Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2020 ii The dissertation of Xiaoqiao Zhang was reviewed and approved by the following: Adnan Qayyum Assistant Professor of Education Dissertation Co-Adviser Co-Chair of Committee Craig Campbell Assistant Professor of Education Dissertation Co-Adviser Co-Chair of Committee Wei-Fan Chen Associate Professor of Information Sciences and Technology Roger Shouse Associate Professor of Education Emeritus Susan Land Director of Graduate Studies Department of Learning and Performance Systems iii ABSTRACT This study is an exploratory multiple case study that compares two different generations of Chinese international students in the United States and describes their experiences. This research investigates three questions: How do acculturation stresses differ between the two generations of Chinese international students? How do individuals create their social networks? How do individuals learn from their social networks to cope with these acculturation stresses? The eight participants in this study represent two generations of Chinese international students. Four of the participants were born in the 1950s, 五零后, and studied in the United States after the China economic reform policy was implemented in 1978. The other four participants were born in the 1990s, 九零后, and studied in the United States during the peak period of globalization and international education in China. Situated learning is used to analyze and understand the path from the stressors students encounter to the final coping strategies the students deploy.
    [Show full text]