Representing Johannesburg in transformation: urban experience, imageries, and the work of art by David Koloane, Jo Ractliffe and Anthea Moys

2021 ◽  
Vol 13 (3) ◽  
pp. 286-304
Author(s):  
Fiona Siegenthaler
Keyword(s):  
Work Of Art ◽  
Urban Experience

PERLINDUNGAN HUKUM TERHADAP KARYA SENI BATIK YANG BELUM TERDAFTAR MENURUT UNDANG-UNDANG NOMOR 28 TAHUN 2014 TENTANG HAK CIPTA

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Inggrit Fernandes
Keyword(s):  
Intellectual Property ◽  
Property Rights ◽  
Cultural Heritage ◽  
Intellectual Property Rights ◽  
Rapid Growth ◽  
Economic Value ◽  
Legal Protection ◽  
Property Law ◽  
Market Demand ◽  
Work Of Art

Batik artwork is one of the treasures of the nation's cultural heritage. Batik artwork is currently experiencing rapid growth. The amount of interest and market demand for this art resulted batik artwork became one of the commodities in the country and abroad. Thus, if the batik artwork is not protected then the future can be assured of a new conflict arises in the realm of intellectual property law. Act No. 28 of 2014 on Copyright has accommodated artwork batik as one of the creations that are protected by law. So that this work of art than as a cultural heritage also have economic value for its creator. Then how the legal protection of the batik artwork yaang not registered? Does this also can be protected? While in the registration of intellectual property rights is a necessity so that it has the force of law to the work produced

Exploring Potentials for Culinary Tourism through a Food Festival: The Case of Thessaloniki Food Festival

2016 ◽  
Vol 4 (2) ◽  
pp. 110-125
Author(s):  
George Chatzinakos
Keyword(s):  
Strategic Planning ◽  
Planning Tool ◽  
Urban Experience ◽  
Local Networks ◽  
Culinary Tourism ◽  
Complex Process ◽  
New Destination ◽  
Structural Networks ◽  
The City ◽  
Culinary Culture

This paper seeks to conceptualize the way Thessaloniki is promoting culinary tourism, whilst supporting and building upon local networks; engaging and co-creating an urban experience with its citizens and visitors. The aim of the paper is to suggest a potential framework that can be used as a strategic planning tool for the promotion of culinary tourism in Thessaloniki. In this direction, a food festival is being investigated. The last, is conceived by the organizers as the foundation of the idea of culinary tourism in the city. However, the findings indicate that there is a lack of active participation by the locals and not enough communication among various assets that are associated with the culinary identity of the city. In general, Thessaloniki seems to embody the ongoing struggle of a new destination, which is dealing with the complex process of branding and marketing without having the proper tools and the vital required collaboration between its structural networks. Accordingly, the research provides a lens through which the culinary culture of Thessaloniki can be used as a strategic pillar for stimulating a sustainable way of “consuming” and promoting the city’s identity; enhancing Thessaloniki’s appeal as a culinary destination.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

The Still Life of Objects – Heidegger, Schapiro, and Derrida reconsidered

2015 ◽  
Vol 60 (1) ◽  
pp. 81-102
Author(s):  
KErstin Thomas
Keyword(s):  
Still Life ◽  
Work Of Art ◽  
Concrete Material ◽  
Vincent Van Gogh ◽  
Starting Point ◽  
Specific Object ◽  
Truth Claims ◽  
The Common ◽  
Critical Intervention ◽  
The Given

Kerstin Thomas revaluates the famous dispute between Martin Heidegger, Meyer Schapiro, and Jacques Derrida, concerning a painting of shoes by Vincent Van Gogh. The starting point for this dispute was the description and analysis of things and artworks developed in his essay, “The Origin of the Work of Art”. In discussing Heidegger’s account, the art historian Meyer Schapiro’s main point of critique concerned Heidegger’s claim that the artwork reveals the truth of equipment in depicting shoes of a peasant woman and thereby showing her world. Schapiro sees a striking paradox in Heidegger’s claim for truth, based on a specific object in a specific artwork while at the same time following a rather metaphysical idea of the artwork. Kerstin Thomas proposes an interpretation, which exceeds the common confrontation of philosophy versus art history by focussing on the respective notion of facticity at stake in the theoretical accounts of both thinkers. Schapiro accuses Heidegger of a lack of concreteness, which he sees as the basis for every truth claim on objects. Thomas understands Schapiro’s objections as motivated by this demand for a facticity, which not only includes the work of art, but also investigator in his concrete historical perspective. Truth claims under such conditions of facticity are always relative to historical knowledge, and open to critical intervention and therefore necessarily contingent. Following Thomas, Schapiro’s critique shows that despite his intention of giving the work of art back its autonomy, Heidegger could be accused of achieving quite the opposite: through the abstraction of the concrete, the factual, and the given to the type, he actually sets the self and the realm of knowledge of the creator as absolute and not the object of his knowledge. Instead, she argues for a revaluation of Schapiro’s position with recognition of the arbitrariness of the artwork, by introducing the notion of factuality as formulated by Quentin Meillassoux. Understood as exchange between artist and object in its concrete material quality as well as with the beholder, the truth of painting could only be shown as radically contingent. Thomas argues that the critical intervention of Derrida who discusses both positions anew is exactly motivated by a recognition of the contingent character of object, artwork and interpretation. His deconstructive analysis can be understood as recognition of the dynamic character of things and hence this could be shown with Meillassoux to be exactly its character of facticity – or factuality.

Der Tod als ästhetisches Experiment

2012 ◽  
Vol 57 (2) ◽  
pp. 150-161
Author(s):  
Leander Scholz
Keyword(s):  
Self Determination ◽  
Modern Concept ◽  
Work Of Art ◽  
The Social ◽  
Art Performance ◽  
Humanistic Tradition

Als der Künstler Gregor Schneider im Frühjahr 2008 ein Kunstprojekt ankündigte, bei dem ein Mensch, der im Sterben liegt, im Rahmen einer künstlerischen Performance ausgestellt werden sollte, waren die Reaktionen überwiegend äußerst kritisch. Während Gregor Schneider sein Projekt explizit als einen humanistischen Beitrag verstand, der sich gegen die Tabuisierung des Sterbens richten sollte, sahen die meisten Kommentatoren darin eine pietätslose Preisgabe des Sterbenden an die voyeuristischen Blicke des Publikums. Vor dem Hintergrund dieser Diskussion geht der Aufsatz der Frage nach, was es bedeutet, den Tod eines Menschen wie ein künstlerisches Werk zu inszenieren, und ordnet den Anspruch einer nicht nur ethischen, sondern auch ästhetischen Selbstbestimmung angesichts des Todes in die humanistische Tradition des modernen Werkgedankens ein.<br><br>In the spring of 2008, the artist Georg Schneider announced an art performance with a mortally ill person. Most of the responses to this art project were very critical. While the artist argued that the exhibition of a dying person should be understood as a humanistic intervention against the social taboo of death, commentators often criticized the exhibition as voyeuristic. Based on this discussion, the article explores what it means to stage a dying person as a piece of art and investigates the historical conditions of this project by locating the longing for ethic and aesthetic self-determination within the humanistic tradition of the modern concept of the work of art.

Erfahrung ohne Erfahrenden

2009 ◽  
Vol 2009 (1) ◽  
pp. 61-78
Author(s):  
Petr Kouba
Keyword(s):  
Phenomenological Approach ◽  
Work Of Art ◽  
New Beginning ◽  
Individual Structure ◽  
The World ◽  
Il Y A ◽  
Individual Existence ◽  
The Moment ◽  
The Individual ◽  
Intentional Structure

This article examines the limits of Heidegger’s ontological description of emotionality from the period of Sein und Zeit and Die Grundbegriffe der Metaphysik along the lines outlined by Lévinas in his early work De l’existence à l’existant. On the basis of the Lévinassian concept of “il y a”, we attempt to map the sphere of the impersonal existence situated out of the structured context of the world. However the worldless facticity without individuality marks the limits of the phenomenological approach to human existence and its emotionality, it also opens a new view on the beginning and ending of the individual existence. The whole structure of the individual existence in its contingency and finitude appears here in a new light, which applies also to the temporal conditions of existence. Yet, this is not to say that Heidegger should be simply replaced by Lévinas. As shows an examination of the work of art, to which brings us our reading of Moravia’s literary exposition of boredom (the phenomenon closely examined in Die Grundbegriffe der Metaphysik), the view on the work of art that is entirely based on the anonymous and worldless facticity of il y a must be extended and complemented by the moment in which a new world and a new individual structure of experience are being born. To comprehend the dynamism of the work of art in its fullness, it is necessary to see it not only as an ending of the world and the correlative intentional structure of the individual existence, but also as their new beginning.

Features and Functions of Alexander Blok’s Concept-symbol «Comet» in the Poem of the Same Name (To the 140th Anniversary of the Birth)

2020 ◽  
Vol 81 (6) ◽  
pp. 74-82
Author(s):  
A. T. Gryaznova
Keyword(s):  
Conceptual Framework ◽  
Work Of Art ◽  
Conceptual Domain ◽  
Lexical Field

The study is set out to prove the expediency of incorporation of the notion concept-symbol into the linguopoetics terminology. The analysis of Blok’s poem «Comet» confirms a substantial heuristic potential of the concept-symbol. The applied etymological, lexical, field, contextual and conceptual analyses proved the ability of the concept-symbol to form a conceptual domain obtaining text-forming potential and correlating with the idea of a work of art. The concept-symbol is deeply incorporated in the author’s individual vision, bringing certain features of a neo-myth. The above features distinguish a concept-symbol from a figure-symbol used to provide logical emphases and cohesion among the elements of conceptual framework, as well as from the concept-frame which forms the plot component of the poem.

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