Artistic Creativity
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Collecting and Conserving Net Art
Collecting and Conserving Net Art Collecting and Conserving Net Art explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies. Viewing net art as a process rather than as a fixed object, the book considers how this is influenced by and executed through other systems and users. Arguing that these processes and networks are imbued with ambiguity, the book suggests that this is strategically used to create suspense, obfuscate existing systems and disrupt power structures. The rapid obsolescence of hardware and software, the existence of many net artworks within restricted platforms and the fact that artworks often act as assemblages that change or mutate, make net art a challenging case for conservation. Taking the performative and interpretive roles conservators play into account, the book demonstrates how practitioners can make more informed decisions when responding to, critically analyzing or working with net art, particularly software-based processes. Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software. Annet Dekker is Assistant Professor Media Studies: Archival and Information Studies at the University of Amsterdam in the Netherlands, and Visiting Professor and co-director of the Centre for the Study of the Networked Image at London South Bank University, UK. -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
Photography As Metaphor and Material Object in Victorian Culture
"MIRROR WITH A MEMORY": PHOTOGRAPHY AS METAPHOR AND MATERIAL OBJECT IN VICTORIAN CULTURE Sarah Worman A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2017 Committee: Piya Pal-Lapinski, Advisor Kim Coates © 2017 Sarah Worman All Rights Reserved iii ABSTRACT Piya Pal-Lapinski, Advisor In the Victorian period, photography was associated with the ghosts of history, con artists in the streets of London, and cultural anxieties about the future of Victorian society. The Victorian practice of photographing ghosts, or spirit photography, showed how Victorians viewed the past, present, and future. By examining the cultural artifact of Georgiana Houghton’s Chronicles of the Photographs of Spiritual Beings (1882), it becomes clear how photography affected Victorian literature as well as Victorian culture. In the short stories, “Oke of Okehurst” (1886) and “A Wicked Voice” (1887), Vernon Lee compared Victorian produced art to art from history. For Lee, the fast paced and highly commercialized art, which was influenced by photography, was not as powerful as art with historical context. An earlier work, Thomas Hardy’s A Laodicean: A Story of To-Day (1881), also showed the connections between photography, history, and uncertainty. The characters try to use photography to try and preserve a crumbling medieval castle, but their attempts end in failure. While technology like telegraphs gives Paula a sense of power, the novel leaves her wishing she had a more stable connection to the past and the future. These examples of Victorian literature show that photography affected Victorian culture at a deeper level than previously thought. -
Miljøvurdering Af Fællesaftalen for Skagen
FÆLLESAFTALE OM KYSTBESKYT- TELSE PÅ STRÆKNINGEN SKA- GEN MILJØVURDERING Miljøvurdering af fællesaftalen KOLOFON Titel: Miljøvurdering af fællesaftalen for kystbeskyttelse Skagen Udgiver: Kystdirektoratet, Kystbeskyttelse - Drift og anlæg Forfatter: Rambøll År: 2020 Rambøll Hannemanns Allé 53 DK-2300 København S T +45 5161 1000 F +45 5161 1001 www.ramboll.dk | 1/99 MILJØVURDERING AF FÆLLESAFTALEN KYSTBESKYTTELSE VED SKAGEN INDHOLD 1. INDLEDNING 3 2. IKKE-TEKNISK RESUMÉ 6 3. BESKRIVELSE AF FÆLLESAFTALENS INDHOLD 9 4. MILJØVURDERINGENS INDHOLD OG METODE 12 5. FORHOLD TIL ANDEN PLANLÆGNING 14 6. ALTERNATIVER 18 7. LANDSKAB 20 8. KYSTDYNAMIK, STRØMNING OG SEDIMENTATION 32 9. VAND 38 10. LUFT 42 11. KLIMA 45 12. JORD 49 13. MARIN BUNDFAUNA 52 14. FISK 58 15. HAVPATTEDYR, HAVFUGLE, BESKYTTEDE MARINE OMRÅDER OG BILAG IV- ARTER 62 16. NATUR PÅ LAND 70 17. KULTURARV OG HISTORISKE INTERESSER 77 18. MATERIELLE GODER 82 19. TURISME OG REKREATION 85 20. BEFOLKNING OG MENNESKERS SUNDHED 89 21. KUMULATIVE EFFEKTER 94 22. AFVÆRGETILTAG 97 23. SAMMENFATTENDE VURDERING 98 24. OVERVÅGNING 99 | 2/99 MILJØVURDERING AF FÆLLESAFTALEN KYSTBESKYTTELSE VED SKAGEN 1. INDLEDNING 1.1 Baggrund for fællesaftalen Siden 1982 har kystbeskyttelsesindsatsen på den 4,4 meter lange strækning ved Skagen været fastlagt på grundlag af et- og femårige fællesaftaler mellem staten, daværende Nordjyllands Amt og Frederikshavn Kommune. Fællesaftalen mellem Frederikshavn Kommune og staten, som gæl- der i perioden 2020-2024, er en forlængelse af den forrige femårige aftale for perioden 2014- 2018(19). Den nye fællesaftale mellem Frederikshavn Kommune og staten omfatter perioden 2020-24 og består af en økonomisk ramme, hvor det overordnede formål er, at kysten så vidt muligt bevares som den er i dag. -
2017-08-19 Copenhagen Liberty
Copenhagen Liberty Sunday, August 20 We had a couple hours between flights and went to Huxley's for an English Breakfast. We both had opened the box breakfast British Airways offered about an hour and a half before landing... and we closed the boxes back up. Then we cleared the checkpoint for through passengers and had time to catch up before our connecting flight to Copenhagen. Liz had salmon eggs Benedict and I had eggs, English bacon and a banger, grilled tomato, and baked beans. The banger was less than tasty and my stomach began acting up, either from the curried chicken the night before or the banger this morning. I was uncomfortably cramped. We walked through the terminal to catch the transfer train to our gate. They had a standing, woman shaped screen which almost seemed like a hologram and, depending which language had been selected, spoke to passersby to tell them how to use the train. It was quite clever and very realistic. We followed her guidance and made our way to Gate 62 in A Terminal. The two hour flight passed quickly and we were immediately met at luggage claim by our guide to the hotel. There were six people in our ride but later that day we would be joined by another 19 people on the On Line Vacation extension. When we arrived at the Trivoli Hotel and Convention Center we were 121 surprised to see Olivier, our London hotel guide from last year. He would coordinate our booking and then go on to Stockholm later in the week. -
Symbolism of Surface and Depth in Edvard
MARJA LAHELMA want life and its terrible depths, its bottomless abyss. to hold on to the ideal, and the other that is at the same Lure of the Abyss: – Stanisław Przybyszewski1 time ripping it apart. This article reflects on this more general issue through Symbolist artists sought unity in the Romantic spirit analysis and discussion of a specific work of art, the paint- Symbolism of Ibut at the same time they were often painfully aware of the ing Vision (1892) by Edvard Munch. This unconventional impossibility of attaining it by means of a material work of self-portrait represents a distorted human head floating in art. Their aesthetic thinking has typically been associated water. Peacefully gliding above it is a white swan – a motif Surface and with an idealistic perspective that separates existence into that is laden with symbolism alluding to the mysteries of two levels: the world of appearances and the truly existing life and death, beauty, grace, truth, divinity, and poetry. The Depth in Edvard realm that is either beyond the visible world or completely swan clearly embodies something that is pure and beautiful separated from it. The most important aim of Symbolist art as opposed to the hideousness of the disintegrating head. would then be to establish a direct contact with the immate- The head separated from the body may be seen as a refer- Munch’s Vision rial and immutable realm of the spirit. However, in addition ence to a dualistic vision of man, and an attempt to separate to this idealistic tendency, the culture of the fin-de-siècle the immaterial part, the soul or the spirit, from the material (1892) also contained a disintegrating penchant which found body. -
The Seven Deadly Sins
Contact: Karen Schwarz Bruce Museum (203)413-6735 [email protected] SEVEN MUSEUMS, SEVEN SINS First-time Exhibition Slated for 2015 May 5, 2015—The Seven Deadly Sins, a groundbreaking series of exhibitions with openings through July, will be presented by seven arts institutions, all members of the Fairfield/Westchester Museum Alliance (FWMA), located in Fairfield County, CT, Westchester County, NY, and the New York City borough of the Bronx. The seven cultural institutions are: The Aldrich Contemporary Art Museum; Bruce Museum; Hudson River Museum; Hudson Valley Center for Contemporary Art; Katonah Museum of Art; Neuberger Museum of Art; and, Wave Hill. The Seven Deadly Sins represents the first collaboration among the FWMA museums. FWMA museums formed an alliance in 2009 to share resources to promote cultural life in the region and offer reciprocal benefits to their members. The Seven Deadly Sins, FWMA’s inaugural exhibition, is offered to the public at large; the members of FWMA institutions are admitted free to Seven Deadly Sin exhibitions and programs. Each of the FWMA institutions explores one of the seven deadly sins — a hardcore group of despised actions that for centuries defined what humans must not do to live good lives. The litany of sins is as familiar to us now as to past generations — Envy, Gluttony, Greed, Lust, Pride, Sloth, and Wrath —and, each sin is often contrasted with a contrary virtue: Kindness, Temperance, Charity, Chastity, Humility, and Diligence, whose practice protects us from the ever present temptation to sin. The “Deadly Seven,” the favorite subject of painters and poets over centuries, is woven into the warp and weft of the Western world’s cultural allusions. -
Letter from the Education and Public Engagement Department
Letter from the Education and Public Engagement Department A team of artists, art historians, educators, interns, librarians, and visitor relations staff comprise the award-winning Education and Public Engagement Department at The San Diego Museum of Art. We work with staff from within the Museum as well as with colleagues from cultural and educational institutions throughout the world to provide programs that enhance the exhibitions presented. Through lectures, tours, workshops, music, film, events for educators, and art-making programs for visitors of all ages, we invite you to inspire your creativity and to learn about art and its connection to your life. We hope you find yourself appreciating the wide array of art culture that is presented within the Museum and its encyclopedic collection. Whether you are new to art, or a long-time member who visits the Museum frequently, we invite you to bring your family, grandchildren, and friends, and to participate at The San Diego Museum of Art. We look forward to meeting you and hearing about any ideas you may have about the Museum and our programming efforts. We hope to see you often! The Education and Public Engagement Department The San Diego Museum of Art SDMArt.org Young visitors are participating in a Museum camp program. THE SAN DIEGO MUSEUM OF ART Learning through the Museum The San Diego Museum of Art first opened its doors on February 28, 1926, as the Fine Arts Gallery of San Diego, and since that time has been building an internationally renowned permanent collection that includes European, North American, Modern Mexican, Asian, Islamic and contemporary art. -
The Historian-Filmmaker's Dilemma: Historical Documentaries in Sweden in the Era of Häger and Villius
ACTA UNIVERSITATIS UPSALIENSIS Studia Historica Upsaliensia 210 Utgivna av Historiska institutionen vid Uppsala universitet genom Torkel Jansson, Jan Lindegren och Maria Ågren 1 2 David Ludvigsson The Historian-Filmmaker’s Dilemma Historical Documentaries in Sweden in the Era of Häger and Villius 3 Dissertation in History for the Degree of Doctor of Philosophy presented at Uppsala University in 2003 ABSTRACT Ludvigsson, David, 2003: The Historian-Filmmaker’s Dilemma. Historical Documentaries in Sweden in the Era of Häger and Villius. Written in English. Acta Universitatis Upsalien- sis. Studia Historica Upsaliensia 210. (411 pages). Uppsala 2003. ISSN 0081-6531. ISBN 91-554-5782-7. This dissertation investigates how history is used in historical documentary films, and ar- gues that the maker of such films constantly negotiates between cognitive, moral, and aes- thetic demands. In support of this contention a number of historical documentaries by Swedish historian-filmmakers Olle Häger and Hans Villius are discussed. Other historical documentaries supply additional examples. The analyses take into account both the produc- tion process and the representations themselves. The history culture and the social field of history production together form the conceptual framework for the study, and one of the aims is to analyse the role of professional historians in public life. The analyses show that different considerations compete and work together in the case of all documentaries, and figure at all stages of pre-production, production, and post-produc- tion. But different considerations have particular inuence at different stages in the produc- tion process and thus they are more or less important depending on where in the process the producer puts his emphasis on them. -
Seven Deadly Sins Art Scavenger Hunt - Vocabulary
Seven Deadly Sins Art Scavenger Hunt - Vocabulary 1. Use the definitions from the Merriam-Webster’s Online Dictionary below to aid in your hunt for pieces of art that exemplify each sin. Lust - romantic desire especially if strong or uncontrolled Gluttony - the act or habit of eating or drinking too much Greed - selfish desire for food, money, or possessions over and above one's needs Sloth - the quality or state of being lazy Wrath - 1: violent anger; 2: punishment for sin or crime Envy - painful or resentful awareness of an advantage or possession enjoyed by another and the desire to possess the same thing Pride - too high an opinion of one's own ability or worth: a feeling of being better than others 2. In the space below, brainstorm how each of the sins might look in a piece of artwork. Use simple pictures, nouns and adjectives. Lust Gluttony Greed Sloth Wrath Envy Pride 3. Use the following terms to describe the pieces of art you identify for each sin on your “Works of Art” page. Here we have used the most famous painting in the world, the Mona Lisa, as an example. Title of work- the full name of the work in italics | The Scream Date of work- around when the work is believed to be completed. You may sometimes see a small “c.” in front of the date which stands for circa and means “around”. | 1893 Artist (if known) - give the name of the artist or group that is recognized for the work. If there is no artist known, write unknown | Edvard Munch Current location- list the name of where the work is currently housed | The National Gallery, Oslo, Medium- what materials were used to create the work of art | Oil on cardboard Dimensions- what is the size of the work of art in feet and/or inches*you must convert centimeters over| (36 in × 28.9 in) How it represents a deadly sin- explain what images you see in the work of art that let’s you know that the sin is present. -
Appendix 7 Investment in Independent Production
APPENDIX 7 INVESTMENT IN INDEPENDENT PRODUCTION ABRIDGED Appendix 7 - Expenditures on Programming and Development on Independent Productions in Quebec (Condition of licence 23) CBC English Television 2019-2020 SUMMARY Programming Expenditure* All Independents* Quebec independents Percentage 131,425,935 5,895,791 4.5% Development Expenditures All Independents Quebec independents Percentage #### #### 8.5% Note: * Expenses as shown in Corporation's Annual Reports to the Commission, line 5 (Programs acquired from independent producers), Direct Operation Expenses section. Appendix 7-Summary Page 1 ABRIDGED APPENDIX 7 - CANADIAN INDEPENDENT PRODUCTION EXPENDITURES - DETAILED REPORT CBC English Television 2019-2020 Program Title Expenditures* Producer / Address Producer's Province A Cure For What Hails You - 2013 #### PYRAMID PRODUCTIONS 1 INC 2875 107th Avenue S.E. Calgary Alberta Alberta Digging in the Dirt #### Back Road Productions #102 – 9955 114th Street Edmonton Alberta Alberta Fortunate Son #### 1968 Productions Inc. 2505 17TH AVE SW STE 223 CALGARY Alberta Alberta HEARTLAND S 1-7 #### Rescued Horse Season Inc. 223, 2505 - 17th Avenue SW Calgary Alberta Alberta HEARTLAND S13 #### Rescued Horse Season Inc. 223, 2505 - 17th Avenue SW Calgary Alberta Alberta HEARTLAND X #### Rescued Horse Season Inc. 223, 2505 - 17th Avenue SW Calgary Alberta Alberta HEARTLAND XII #### Rescued Horse Season Inc. 223, 2505 - 17th Avenue SW Calgary Alberta Alberta Lonely #### BRANDY Y PRODUCTIONS INC 10221 Princess Elizabeth Avenue Edmonton, Alberta Alberta Narii - Love and Fatherhood #### Hidden Story Productions Ltd. 347 Sierra Nevada Place SW Calgary Alberta T3H3M9 Alberta The Nature Of Things - A Bee's Diary #### Bee Diary Productions Inc. #27, 2816 - 34 Ave Edmonton Alberta Alberta A Shine of Rainbows #### Smudge Ventures Inc. -
Fear, Greed, and Financial Crises: a Cognitive Neurosciences Perspective Andrew W
23 Fear, Greed, and Financial Crises: A Cognitive Neurosciences Perspective Andrew W. Lo Abstract Historical accounts of financial crises suggest that fear and greed are the common denominators of these disruptive events: periods of unchecked greed eventually lead to excessive leverage and unsustainable asset-price levels, and the inevitable collapse results in unbridled fear, which must subside before any recov- ery is possible. The cognitive neurosciences may provide some new insights into this boom/bust pattern through a deeper understanding of the dynamics of emotion and human behavior. In this chapter, I describe some recent research from the neu- rosciences literature on fear and reward learning, mirror neurons, theory of mind, and the link between emotion and rational behavior. By exploring the neuroscien- tific basis of cognition and behavior, we may be able to identify more fundamental drivers of financial crises, and improve our models and methods for dealing with them. 23.1 Introduction In March 1933, unemployment in the United States was at an all-time high. Over 4,000 banks had failed during the previous two months. Bread lines stretched around entire blocks in the largest cities. The country was in the grip of the Great Depression. This was the context in which Franklin Delano Roosevelt delivered his first inaugural address to the American people as the 32nd president of the United States. He began his address not by discussing economic conditions, nor by laying out his proposal for the “New Deal”, but with a powerful observation that still resonates today: “So, first of all, let me assert my firm belief that the only thing we have to fear is fear itself – nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert retreat into advance”.