Towards an anti-racist Fine Art Ph.D.: ‘Anti-racism productive antagonisms’ (ARPA) for the supervisor, student and examiner

2021 ◽  
Vol 20 (1) ◽  
pp. 49-63 ◽  
Author(s):  
Kai Syng Tan
Keyword(s):  
Fine Art ◽  
Knowledge Area ◽  
Critical Insight

This article outlines three actions for the supervisor, student and examiner to introduce a level of anti-racist consciousness in the journey of the Fine Art Ph.D. The steps are intended as ‘warm-ups’ within and towards more comprehensive, longer term strategies for individuals, departments, faculties and universities, to nurture communities of anti-racist researchers and make UK HE anti-racist. Change takes time, negotiations are unfolding and my brushstrokes are broad. But if the heart of any Ph.D. endeavour is about the development of critical insight, not just by the student into a knowledge area or problem, but about their own position as autonomous researchers, not just within their fields but the wider HE sector and beyond, an actively anti-racist agenda must be integral. I wish to critique my own position as a non-White researcher who has signed up to the neo-liberal, ‘post-race’ university. I welcome feedback, and seek to lay the ground for further work by myself and others. This is my call for researchers in Fine Art and UK HE at large to step up.

Cineplastics: The Fine Art of Motion Painting

1952 ◽  
Vol 6 (4) ◽  
pp. 375-387
Author(s):  
Robert Bruce Rogers
Keyword(s):  
Fine Art

Importance of the Intersection of Library and Information Sciences with Systems Theory

2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Hannah Lee
Keyword(s):  
System Theory ◽  
General System ◽  
General System Theory ◽  
Von Bertalanffy ◽  
Meta Level ◽  
Professional Field ◽  
The Subject ◽  
Critical Insight ◽  
Insight Into ◽  
Information Sciences

This paper is the attempt to show how system theory could provide critical insight into the transdisciplinary field of library and information sciences (LIS). It begins with a discussion on the categorization of library and information sciences as an academic and professional field (or rather, the lack of evidence on the subject) and what is exactly meant by system theory, drawing upon the general system theory established by Ludwig von Bertalanffy. The main conversation of this paper focuses on the inadequacies of current meta-level discussions of LIS and the benefits of general system theory (particularly when considering the exponential rapidity in which information travels) with LIS.

The Fine Art of Investing

CFA Magazine ◽  
2010 ◽  
Vol 21 (3) ◽  
pp. 30-32
Author(s):  
Ed McCarthy
Keyword(s):  
Fine Art

EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"

2020 ◽  
pp. 138-150
Author(s):  
Mariya T. Maistrovskaya ◽  
◽  
Keyword(s):  
Visual Art ◽  
Spatial Organization ◽  
Fine Arts ◽  
Environmental Design ◽  
Exhibition Design ◽  
Fine Art ◽  
Museum Of Fine Arts ◽  
Artistic Images ◽  
Fashion Designers

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

Intimacy as Transgression and the Problem of Freedom

2018 ◽  
Vol 1 (1) ◽  
pp. 18
Author(s):  
Kym Maclaren
Keyword(s):  
Intimate Relationships ◽  
Critical Analysis ◽  
Mutual Recognition ◽  
Public Institutions ◽  
The Other ◽  
Social Forces ◽  
Critical Insight ◽  
Insight Into ◽  
What Matters

“To consent to love or be loved,” said Merleau-Ponty, “is to consent also to influence someone else, to decide to a certain extent on behalf of the other.” This essay explicates that idea through a meditation on intimacy. I propose, first, that, on Merleau-Ponty’s account, we are always transgressing into each other’s experience, whether we are strangers or familiars; I call this “ontological intimacy.” Concrete experiences of intimacy are based upon this ontological intimacy, and can take place at two levels: (1) at-this-moment (such that we can experience intimacy even with strangers, by sharing a momentary but extra-ordinary mutual recognition) and (2) in shared interpersonal institutions, or habitual, enduring, and co-enacted visions of who we are, how to live, and what matters. Through particular examples of dynamics within these layers of intimacy (drawing upon work by Berne and by Russon), I claim that we are always, inevitably, imposing an “unfreedom” upon our intimate others. Freedom, then, can only develop from within and by virtue of this “unfreedom.” Thus, what distinguishes empowering or emancipating relationships from oppressive ones is not the removal of transgressive normative social forces; it is rather the particular character of those transgressive forces. Some transgressions upon others’ experience—some forms of “unfreedom”—will tend to promote freedom; others will tend to hinder it. This amounts to a call for promoting agency and freedom not only through critical analysis of public institutions, practices and discourses, but also through critical insight into and transformation of our most private and intimate relationships.

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