Ecology of site-specific painting and drawing: Embodied and empathic mark-making in urban cites

2021 ◽  
Vol 10 (1) ◽  
pp. 13-30 ◽  
Author(s):  
Asmita Sarkar
Keyword(s):  
Urban Ecology ◽  
Present Article ◽  
Specific Pattern ◽  
Ecological Implication ◽  
Art Practice ◽  
Site Specific ◽  
Natural Objects ◽  
Urban India ◽  
Specific Practice

The idea of ecology has changed drastically during the last few decades. The trend in scholarship has changed from exclusively studying nature and natural objects, to include human’s relationship to it. In this context the present article aims to look at the ecological implication of site-specific practice: concentrating on contemporary drawing and paintings realized in the context of urban India. To this aim some aspects of site-specific mark-making would be analysed seeking support from philosopher Merleau-Ponty’s (1993, [1945] 2008) idea of phenomenological embodiment and the theory of ecological perception proposed by psychologist Gibson (1966, 1972). Works of contemporary drawing/painting practitioners from India, practitioners such as Gagan Singh, artist collectives such as Networks and Neighborhood, St+art, Geechugalu, along with author’s own practice will illustrate how site-specific pattern-making can be a way of interacting with the environment, establishing new connections between art-materials, the environment, the viewers and the makers. These analyses will bring insights into how art practice can contribute to new ways of conceptualizing urban ecology.

SITE-SPECIFIC ART-PRACTICE AS AN ALTERNATIVE FORMAT OF THEATRE ART

2021 ◽  
Vol 1 (4) ◽  
pp. 47-56
Author(s):  
I. A. Krilov ◽  
Keyword(s):  
Innovative Approach ◽  
Audience Participation ◽  
Art Practice ◽  
Site Specific ◽  
Art Practices ◽  
Xxist Century ◽  
A Site ◽  
Unstable Dynamics

The author of the article attempts to identify and distinguish traditional and alternative formats of theatre art established by the early 20s in the space of home theatre. The author considers the determinants of the emergence and spread of art practices in the domestic theatre art and refers them to the alternative formats of theatre art. The culture of complicity (participation), producer strategies of postdramatism and digitalization of daily occurrence are presented as fundamental grounds for the emergence of such a non-classical creative model as a site-specific art practice in the landscape of Russian theatre art of the XXIst century. The unstable dynamics of the attractiveness of the non-classical creative model in the Russian theatre space is caused by a number of reasons explicitly presented in the article. The accumulated home theatre experience is developing and being realized by the early 20s in traditional and alternative formats of theatre art, which simultaneously influence each other. The actualization of site-specific art practice is evaluated by the author as a positive phenomenon that allows to update and to expand the arsenal of producer strategies, to discover an innovative approach to creating an aesthetic event, to transform the audience participation within the framework of home theatre art and the culture of participation.

PUBLIC ART IN EDUCATIONAL AND RESEARCH ENVIRONMENT

2020 ◽  
Vol 1 (2) ◽  
pp. 156-162
Author(s):  
С. A. Kartseva ◽  
◽  
Keyword(s):  
Contemporary Art ◽  
Public Art ◽  
Social Practice ◽  
Research University ◽  
Institutional Environment ◽  
Educational Institutions ◽  
Art Practice ◽  
Site Specific ◽  
International University ◽  
Practical Recommendations

Combining educational environment with art has a long tradition within university museums, which are a valuable research resource, responsive to the needs of teaching, research and educational activities. At the same time, today not every school, university or research center has or can afford such museums. The article discusses innovative formats of interaction between educational institutions and artistic practices through public art — contemporary art practice, intended for the unprepared audience and implying the demonstration of art in a public, non-institutional environment. The article reveals the essence of the concept of public art, its evolution from understanding itself as an object to procedural and social practice; indicates the communicative, cultural and symbolic potential of public art in the formation of environments, communities, in the promotion of innovative ideas on the basis of universities or other educational institutions on the example of projects implemented at the National Research University Higher School of Economics, Moscow International University, Skolkovo Innovation Center. The conclusions of the article are the practical recommendations for creating public art projects on the territory of modern educational and research centers, based on communicative, site-specific, socially engaged approach.

Comprehensive Analysis of Lysine Acetylome Reveals a Site-Specific Pattern in Rapamycin-Induced Autophagy

2018 ◽  
Vol 18 (3) ◽  
pp. 865-877 ◽  
Author(s):  
Zhuo Zhou ◽  
Yu Chen ◽  
Mengqi Jin ◽  
Jianqin He ◽  
Ayiding Guli ◽  
...  
Keyword(s):  
Specific Pattern ◽  
Comprehensive Analysis ◽  
Site Specific ◽  
A Site

scholarly journals Hemispheric Conversations: Exploring Links between Past and Present, Industrial and Post-Industrial through Site-Specific Graffitti Practice at the Carrie Furnaces

2018 ◽  
Vol 7 ◽  
pp. 17-26
Author(s):  
Caitlin Frances Bruce
Keyword(s):  
Urban Space ◽  
American Studies ◽  
Urban Spaces ◽  
Art Practice ◽  
Site Specific ◽  
University Of Pittsburgh ◽  
Urban Art ◽  
The Arts ◽  
Collaborative Art ◽  
Post Industrial

In this article, I briefly discuss a project I co-organized this year in collaboration with Oreen Cohen, Shane Pilster, Rivers of Steel, University of Pittsburgh, Pennsylvania Partners in the Arts, and the American Studies Association. Named “Hemispheric Conversations: Urban Art Project” we used international collaboration between artists in Chicago, Pittsburgh, and León Guanajuato Mexico as a platform for conversation about how to reimagine our shared urban spaces. In a political moment that might be a cause for despair, collaborative art practice in urban space can serve as one vehicle to reignite our shared sense of possibility and energy.

scholarly journals FOLKLORE FORMULAE OF UKRAINIAN WEDDING SONGS’ TEXTS

2017 ◽  
Vol 35 ◽  
pp. 99-135
Author(s):  
NATALYA SVYSCH
Keyword(s):  
Present Article ◽  
Human Body ◽  
Body Parts ◽  
Current Investigation ◽  
Natural Objects ◽  
Wedding Songs ◽  
Xix Century

The present article researches the functioning of the formulaic diction in the Ukrainian wedding songs’ texts. It investigates the underlying mythological and ritual basis that caused the emergence of the textual component as it preserved in contemporary Ukrainian folklore. Textual sources analyzed in the article are the most relevant for the purposes of the current investigation as they were transcribed immediately from the alive performance as early as in the XIX century by prominent pioneers of scientific folkloristic and ethnography Zorian Dolenga-Chodakowky, Stepan Rudansky and others. The notion of formulae accepted in the present study regards the formula as any word or words’ combination that has stable mythological and ritual meaning and is common in the poetical diction of certain nation. Thus a series of poetical formulae were discovered in the texts of the Ukrainian traditional wedding songs. They concern mainly the following thematic groups: people, human body parts, birds of the upper world, animals of the middle world, animal of the nether world, natural objects, and artificial objects (many of the latter execute special symbolic functions in the wedding rite itself).

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