Tomando como caso de estudo o projeto NEVE INSULAR, pretendo mostrar como as práticas relacionais de arte e design podem contribuir para a criatividade social e para a sustentabilidade no sentido em que vão ao arrepio da dicotomia entre inovação/tradição. Produto da narrativa histórica ocidental, a dicotomia tradição/inovação equaciona a modernidade ocidental como o telos universal e, concomitantemente, tudo o que resiste à sua conversão – os diferentes saberes ou culturas - como “não-moderno”, “tradicional”. Dentro desta narrativa, o “moderno” é concebido como a aceleração da mudança e o avanço no tempo através do anterior, e o “tradicional” como o estático, fixo no tempo. Neste contexto, a dicotomia tradição/inovação fomenta uma visão atomista do indivíduo, separado da natureza e do contexto cultural, contribuindo para a naturalização das diferenças sociais e para uma visão antropocêntrica do mundo, estando, assim, no cerne da exploração das pessoas e da natureza.
Defendo aqui que a mudança e a inovação, não implicam a ultrapassagem do tradicional pelo moderno mas que, pelo contrário, ambos constituem um fluxo que alimenta o património cultural material e imaterial enquanto parte de um processo político de reinterpretações e de criação de significado histórico.
In this article, Strandberg analyses the development of Swedish cultural policy during the last decades. In contradistinction to the first policy proposition from 1974, which emphasised the importance of counteracting the negative impact of the market, the cultural policies that have been in place for the last twenty to thirty years consider the forces of the market to be conducive to the freedom of culture and the arts. This has entailed a paradigm shift in Swedish culture that has opened up the field of cultural policy for the so-called creative industries, equated culture with creativity, and collapsed the distinction between culture and creative forms of entrepreneurship. When analysing this, Strandberg relates the modern history of Swedish cultural policy to the wider international development that has given rise to the paradigm of the creative industries and discusses how the equation of culture with creativity has made the autonomy of culture and the arts more and more difficult to uphold.
تتبنى هذه الدراسة مفهوم الانتقائية في نظرية هاليداي لاظهار طريقة عرض المعلومات المطروحة في العناوين الصحفية في الصحف الاجنبية وخصوصا ما يتعلق بموضوع الهجمات الاخيرة على غزة من قبل القوات الاسرائيلية في فلسطين. تسعى هذه الدراسة لاظهار طرق تمثيل الخبر في الصحف الاجنبية بما يتعلق بالصراع الفلسطيني-الاسرائيلي. المعلومات التي تم تحليلها بهذه الدراسة تم جمعها من عناوين صحيفة نيويورك تايمز المنشورة في الفترة من 13الى 17 ايار لعام 2021 وهي فترة الهجمات على غزة.
History of scholarship and learning. The humanities, Arts in general
The present article examines the network of contacts between German-speaking travellers in Paris at the beginning of the 18th century, using the example of the travel diary of Johann Friedrich Armand von Uffenbach, who stayed there for seven months, after arriving in the city only a few days after the death of Louis XIV. During his stay, Uffenbach meticulously records the people he meets, sees and talks to. The present study analyses the composition of this network of contacts that Uffenbach created during his voyage, focusing particularly on the network of German-speaking travellers and that of travellers and Parisians, while highlighting the advantages and disadvantages of these networks revealed in Uffenbach’s account.
Representing altered states of consciousness, even through the most phantasmal of technical images, is an inherent contradiction; once we attribute a physical body, i.e. objectivity, to mental images, we deny what Husserl considers their very essence. Jean Mitry draws from this assumption when discussing filmic access to mental states from a phenomenological perspective. The following essay reconsiders Mitry’s contribution with specific reference to the role of projection, technically and metaphorically speaking, in the cinematic technique and imagination; this, with the intention of suggesting some crucial questions for the comparison between the filmic forms of the visible and those inaugurated by the technology of the virtual.
The Harrison Horblit Collection at the Harvard University’s Houghton Library contains a remarkable daguerreotype plate by the Boston firm Southworth & Hawes. It reproduces an engraving after Raphael’s Transfiguration. Whereas reproductive printmaking normally seeks to produce multiples of a unique original, daguerreotype reproductions open a space of ambiguity between the categories of original and reproduction since daguerreotypes are unique objects. Much is lost in this translation, but what is gained? If reproduction of paintings normally renders the singular multiple, what happens when a painting is reproduced as a unique image? Why was this daguerreotype created? Southworth & Hawes specialized in portraits of celebrities and considered themselves artists. Why then did they make a daguerreotype of an engraving of a painting? And why this painting?Their image of an image of an image is at once simply duplicative and a meditation on photography itself – an expanded conception of photography that figures it as spiritual and conceptual practice, as is suggested in other conflations of image reproduction and transfiguration within Southworth & Hawes’ oeuvre as well. The logic of the Southworth & Hawes’ Transfiguration becomes less a conundrum when considered in relation to two of their other images, one of the branded hand of abolitionist Jonathan Walker, the other a self-portrait representing Southworth’s torso as a classical sculpture. Translation, transfiguration, body, soul and image are closely imbricated in all three of these daguerreotypes, each produced during the height of New England Transcendentalism. While Raphael’s Transfiguration epitomizes the intersection of the human and a divine being as Scriptural drama, The Branded Hand and Southworth as a Classical Bust allude to the spiritual realm through representation of the soul’s transcendence of the suffering body rather than direct reference to scripture. The Branded Hand detaches subject from the context of the body as a whole; Walker’s wound appears in the image as the silvery trace of the price paid for his abolitionist conviction. The portrait of Southworth separates an individual man’s identity from the more allegorical presence, while presenting suggestions of sorrow as emblems of spiritual elevation. But beyond this, the transmedial daguerreotype of the print of the Raphael announces itself as visual metonymy; the transfiguration of Christ in the painting also conveys the transfigurative power of the photographic medium itself.
W artykule omówiono tryb powoływania, kompetencje i uposażenie urzędników centralnych/dworskich Księstwa Szczecińskiego w XVI i w pierwszych dekadach XVII w. Zwrócono uwagę na urząd marszałka nadwornego i jego zastępcy — podmarszałka. Do lat siedemdziesiątych XVI w. kompetencje zbliżone do marszałkowskich miał ochmistrz dworu, którego rolę z czasem sprowadzono do opieki nad fraucymerem
księżnej. Kontrolę nad kancelarią książęcą sprawował kanclerz. Ostatnim z centralnych urzędników Księstwa Szczecińskiego był rentmistrz krajowy, prowadzący nadzór nad prywatną szkatułą władcy.
Archaeology, History (General) and history of Europe
صحيحٌ أنّ الحياة تجدد، والتّجدد سرّ الوجود، وصحيحٌ أنّ الوجود لو غاسسحب عنه التّجدد فارق الحياة، لكنّ الماضي أيضا له عبقه وحيويته ووجوده الكائن فيه، وما يحتاجه تجدد فقط ليحيا حياة ثانية، ولكيلا يَهمد ويندثر، تهدف هذه الدّراسة إلى تجدد التّراث، والتّعرف على علم الاكتناه وببلوغرافية المخطوط وأثرهما في إثراء السّاحة العلميّة والثّقافيّة، يتيح هذا المفهوم بما هو علم وفنّ فرصة الكشف عن تماثل إبداعيّ في شتّى العلوم والفنونّ، بين سالف العصور وبين الواقع الحاليّ، وأثبتت الدّراسة أنّ التّراث العربيّ الإسلاميّ عبارة عن بِساطٍ زاهٍ ثريّ، نسجته أيد وأفكار مبدعة معطاء، أفرغت طاقتها وثقافتها وأدبها فيه، وكلّ تلك القرائح المُبدعة تستحق منّا الإعزاز والإكرام، فكأين من تجربة وعلم وإبداع هما طيّ للنّسيان لولا المعول على تراث الأجداد، إذ من خلاله يمكن فهم العلائق بين ما كان وما يكون، وللعرب المشرقيين يُعزى فضل إنجاب المبدعين في شتّى المجالات، ولهم قصب السّبق للإنتاج الإبداعيّ، فهمّ أمّة ولود متنوّرة خلّفت أعظم الهامات، وأسست أهمّ العلوم كذلك الفنون، وهذا ما يُثير فينا الإعجاب والتّقصي لدراسته، والنّاظر لمسار اللّغة العربيّة وأثَر مواقع وقنوات التّواصل الثّقافيّ و(التكنلوجيا) الحديثة يرى بجلاء الخطر الماحق، والمصير المُرعب الّذي قد تنحدر إليه ثقافتنا، الّذي يجعل مصيبتنا في تراثنا ولغتنا تتصاغر دونها كلّ مصيبة، ولابدّ إذا من تضافر جهود الغيارى على التّراث الثّقافيّ والدّينيّ واللّغويّ، فيعمدون لإحياء الكتب الصّفراء الغنيّة المغمورة، والاهتمام بها، ففيها علم وفنّ زاخران، هذا وقد اعتمدنا المنهج الوصفيّ وهو ما يناسبنا في بيان أهميّة التّحقيق في رفد الثّقافة، وأبنّا مدى تأثير عمل المحقِّق سِلبا وإيجابا في إثراء التّراث.
History of scholarship and learning. The humanities, Arts in general
History in times of crisis is practical: future action depends on historical framing. Moving beyond “human scales” to include the evolutionary and the geological, and beyond humans to include other species, demands different approaches and new “archives” like ice-cores. This paper considers history in the Long Now, and particularly how museums and big public arts institutions develop new sorts of history through practical story-telling, taking seriously the notion that “the central role of museums [is] both an expression of cultural identity and … a powerful force for human development and education.” The museum has a particular value as “slow media”, deepening news stories in times of rapid change. The new epoch of Earth, the Anthropocene, where humans have become a geological force, poses challenges for exhibitions, but also reshapes museums themselves. Crucial to managing stories, collections and objects in Anthropocene times is the capacity to change course, to remain open to new developments, using performances, events and “pop-up” exhibitions alongside traditional museum offerings. New Museology regards stories as the fundamental unit of museums. Thus, the curation of stories is central work. No longer are museums defined solely by objects: the artistic and the ephemeral are all part of story-telling.
Abstract:Gaining traction in the profession is the belief that the arts are not educational. The evidence for this comes from epistemological reports. Plato drew a similar conclusion but without the meta-analysis and evidence-based pedagogical research approach that we have today. Epistemological reports state that learning in the arts is ineffective. What is effective and ineffective in teaching is subject to causal proof methodological assessments. Current knowledge-based educational thinking has assessed arts education as uncertain. Presumably, facts about artworks, art practices, art theories, art history, and human experiences that morphologize how arts education is taught have necessarily and accurately been taken into account when determining the arts as unproven. To be examined forthwith are the knowledge capabilities of arts education and the epistemological difficulties we seem to have in evaluating them.
Derek Walcott’s epic Omeros focuses on its representation of myth and history; narrates the story of St. Lucia with reference to the history of wars and slavery and relates mythical references with common people of St. Lucia. This article analyzes the politics behind the use of myth and history of Caribbean by using alternative modernity vis-a-vis Caribbean discourse. Through mythical references, Walcott revives the native history of St. Lucia as an alternative to Western modernity resulted by the history of imperialism. This research concludes that Walcott, in this epic, valorizes the rich cultural heritage of St. Lucia and highlights the significance of ancestral legacy and the need of cultural revival against the domination of Western culture.
The penal voluntary sector is highly variegated in its roles, practices and functions, though research to date has largely excluded the experiences of frontline practitioners. We argue that engaging with the narratives of practitioners can provide fuller appreciation of the potential of the sector's work. Though life story and narrative have been recognised as important in offender desistance (Maruna 2001), the narrative identities of creative arts practitioners, who are important ‘change agents’ (Albertson 2015), are typically absent. This is despite evidence to suggest that a practitioner's life history can be a significant and positive influence in the rehabilitation of offenders (Harris 2017). Using narratological analysis (Bal 2009), this study examined the narratives of 19 creative practitioners in prisons in England and Wales. Of particular interest were the formative experiences of arts practitioners in their journey to prison work. The findings suggest that arts practitioners identify with an ‘outsider’ status and may be motivated by an ethic of mutual aid. In the current climate of third sector involvement in the delivery of criminal justice interventions, such a capacity may be both a strength and a weakness for arts organisations working in this field.
ABSTRACT Anamorphosis is a procedure for drawing an image that appears distorted and indecipherable when seen frontally, the image becoming intelligible only from an eccentric viewpoint or when reflected by a properly designed mirror. In this paper we propose a journey through figurative art, history, psycho-perception and geometry, including a mathematical proof regarding the position of the observation point of anamorphoses. Finally, we discuss applications of anamorphic techniques in encryption, counterterrorism, street art and advertising. Most matter proposed in this paper is suitable for arts educators and offers an interdisciplinary approach to anamorphoses by a creative interaction between different topics, like psychology and figurative arts, geometry and advertising, street art and mathematics.
The purpose of writing this article is to present the results of research on Pencak Silat Terumbu of Banten as martial arts, which took place at Abah Minggu Tilar's Paguron as a direct descendant of Ki Terumbu. This research used descriptive analysis method. Data collection was carried out by using observation, interview, literature study, and documentation techniques. Data from this study were collected from the Banten Paguron Pencak Silat Terat located in Terumbu Village, Serang Regency, Banten Province. The findings of this study are the history of Pencak Silat Terumbu of Banten, its Choreography, and its function. Keywords—pencak silat banten; martial arts
Abstract Sporting Art is a unique genre of fine arts. This article visualizes selected works of fine art by respecting the historical context of gymnastics, sports, and games in Germany. This context opens up a specific perspective and interpretation of sport history, which differs from that of art history. However, the methodological approach of respecting and interpreting selected works of Sporting Art is hopefully an insightful mixture of both sport and art history. Sporting motifs in art history are relevant for a sport historical approach, given that the painter or artist is presumably attempting to capture and express the spirit of his subject, which he as an artist recognizes and feels subjectively. An artistic painting of sport is surely far more than a photo including sporting motifs, through the artistic construction of contemporary sporting reality – seen and created by an artist. Sporting art even, in this wider sense of the term, is just one form of various visual sources in general and artistic work on sports and games. Both are worthy of respect, in order to achieve a better understanding of the past of gymnastics, sports, and games.
The tension between referentiality and fictionality, or fictionalization, has historically been at the center of a debate concerning the function and, more importantly maybe, the reception, of three tools: the paratext, the photographical medium, and the literary genre of the graphic novel. In different contexts and from different points of view, these three elements have aroused reactions and questions about the definition of the boundaries between reality and fiction on one side, and renewed the longstanding debate over the ability of mimetic arts of being a truthful way of knowledge, on the other. By using the idea of framing as a way to define the borders between, at the same time, text and context, reality and fiction, what is seen and what is shown, the paper aims at analyzing the strategies employed in Rutu Modan’s graphic novel Ha-nekes (2013) in addressing these polarities. Some of the implications in the use of the notion of framing will be especially developed in relation to what Jan Baetens and Hugo Frey defined as “the ability of the graphic novel to work on the borderlines of first-person narrative, history-from-below, and oral history as well as to introduce fiction with historical meaning (and vice versa)” and Marianne Hirsch’s definition and use of “postmemory.”