scholarly journals Diversity and (In)equality in the Global Art World: Global Development and Structure of Field-Configuring Events

2017 ◽  
Vol 11 (3) ◽  
Author(s):  
Christian Morgner
Keyword(s):  
Large Scale ◽  
Theoretical Framework ◽  
Second Order ◽  
Western Hemisphere ◽  
Art World ◽  
Global Development ◽  
Quantitative Survey ◽  
The Arts ◽  
Western Values ◽  
Global Art

AbstractThere is a boom of art historical studies on the globalisation of the arts or global art world. Sociological accounts are, despite the rise of cultural and art sociology in recent years, almost complete absent from this discussion. This paper makes a contribution to the globalisation of the arts, but from a sociological and quantitative perspective. The focus of this paper is on particular type of global institution – biennials and other types of art festivals or large-scale exhibitions. These institutions are seen being major places of exchange and formulation of norms and standards. They define what is hip and new. However, theories of globalisation, in combination with accounts from professionals of the field, claim that these institutions propagate only Western values or have a homogenising quality, because they only show caste works from artists of the Western hemisphere or that they repeat the same works and artists across the globe. However, based on a large-scale quantitative survey, this paper will demonstrate that picture is more complex and that we find tendencies to homogenisation and heterogenisation existing at the same time or that the locality of these events acts as a source of uniqueness and innovativeness. The paper proposes a new theoretical framework that interprets these findings as based on Niklas Luhmann’s idea of second-order observation and Bruno Latour’s and Harrison C. White’s conception of the network.

At the Center of the Controversy: Confronting Ethnic Fraud in the Arts

2019 ◽  
Vol 43 (4) ◽  
pp. 13-24
Author(s):  
Ashley Holland
Keyword(s):  
Large Scale ◽  
Art World ◽  
The Arts ◽  
Native Art ◽  
The World ◽  
Personal Reflections ◽  
Tribal Affiliation ◽  
Native Artist

The large-scale retrospective exhibition Jimmie Durham: At the Center of the World (re)introduced self-identified “Cherokee” artist Jimmie Durham to a mainstream audience. Despite efforts in the 1990s to unmask the impostor, who has no known or recognized tribal affiliation, once again Durham was occupying space as a Native artist in the art world. This article addresses larger issues that face the field of Native art and Native representation in museums as a whole, offering personal reflections and a brief review of the exhibition as well as a biographical overview of the artist.

Beyond base and collocate

2021 ◽  
Author(s):  
Pascual Cantos ◽  
Moisés Almela-Sánchez
Keyword(s):  
Case Studies ◽  
Large Scale ◽  
Theoretical Framework ◽  
Second Order ◽  
Verb Constructions ◽  
Complex Patterns

Abstract Support verb constructions figure among the most frequently investigated topics in the literature on collocation. So far, most studies of this kind have focused on bipartite structures, consisting of a verbal collocate and a nominal base. Accordingly, the analysis of how support verbs are distributed has concentrated almost exclusively on the lexical control exerted by the base. In this article, we draw attention towards the influence exerted by the participation of verb and noun in more complex patterns of lexical co-occurrence. We contend that the distribution of the support verb collocate is contingent not only on the base noun but also on other elements of the lexical context. This highlights the need to enrich the theoretical framework of collocation analysis with the additional descriptive category of ‘second-order collocate’. The proposal is illustrated with two case studies using a large-scale web corpus of English.

The Place of Traditional Artists in the Preservation of Nigerian Art

2018 ◽  
pp. 75-88
Author(s):  
Victoria N Osuagwu
Keyword(s):  
Belief Systems ◽  
Sacred Grove ◽  
Art World ◽  
Human Beings ◽  
Open Spaces ◽  
Economic Resource ◽  
The People ◽  
Traditional Artists ◽  
Global Art ◽  
Source Of Information

Human beings have always left signs of their activities behind them. These signs take both tangible and intangible forms, including buildings, sites, sculptural works, antiquities, rock art paintings, belief systems, and traditions. The people of this millennium have recognized the remains of our fore-bears namely archaeological, architectural monuments, sites, and cultural works as an integral part of the cultural heritage of all humanity. They also recognized the fact that heritage is an invaluable source of information about the lives and activities of human beings and their artistic and technical capabilities over the centuries. The Nigerian Ancient Art Tradition which spans eight thousand years is a product of diverse artists from Dufuna, Nok, Igbo-Ukwu, Ife, Owo, Benin, Tada, etc. Also remarkable are the sculptural works created by late Susanne Wenger (an Austrian) and her New Sacred Art Movement in Osun-Osogbo Sacred Grove, which gave meaning to open spaces within the grove. This paper examines the role played by these artworks to project Nigeria to the global art world. The benefits to Nigeria and the global art traditions and recommendations on how to revive this dwindling economic resource will also be examined. The approach used was to study the artworks produced by some of these artists. Some of the findings were that the works were carefully done with suitable materials that have withstood climate change.

Behavior Models of Voltage Differencing Inverting Buffered Amplifier and Applications in Circuit Analysis

2019 ◽  
Vol 12 (4) ◽  
pp. 298-303
Author(s):  
YongAn LI
Keyword(s):  
Large Scale ◽  
Vlsi Design ◽  
Circuit Analysis ◽  
Second Order ◽  
Very Large Scale Integration ◽  
Behavioral Models ◽  
Order Filter ◽  
Large Scale Integration ◽  
Scale Integration ◽  
Behavior Models

Background: The symbolic nodal analysis acts as a pivotal part of the very large scale integration (VLSI) design. Methods: In this work, based on the terminal relations for the pathological elements and the voltage differencing inverting buffered amplifier (VDIBA), twelve alternative pathological models for the VDIBA are presented. Moreover, the proposed models are applied to the VDIBA-based second-order filter and oscillator so as to simplify the circuit analysis. Results: The result shows that the behavioral models for the VDIBA are systematic, effective and powerful in the symbolic nodal circuit analysis.</P>

Introduction

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
United States ◽  
Historical Context ◽  
The United States ◽  
Art World ◽  
Dance History ◽  
The Core ◽  
Political Conditions ◽  
Global Art ◽  
Scholarly Attention

The introduction presents the core historiographical problem that Making BalletAmerican aims to correct: the idea that George Balanchine’s neoclassical choreography represents the first successful manifestation of an “American” ballet. While this idea is pervasive in dance history, little scholarly attention has been paid to its construction. The introduction brings to light an alternative, more complex historical context for American neoclassical ballet than has been previously considered. It places Lincoln Kirstein’s 1933 trip to Paris, famous for bringing Balanchine to the United States, within a transnational and interdisciplinary backdrop of modernism, during a time when the global art world was shifting significantly in response to the international rise of fascism. This context reverberates throughout to the book’s examination of American ballet as a form that was embedded in and responsive to a changing set of social, cultural, and political conditions over the period covered, 1933–1963.

Art and Global South: “Playing Venice” at the Kochi-Muziris Biennale (KMB)

2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Manuela Ciotti
Keyword(s):  
Material Culture ◽  
South India ◽  
Geographical Location ◽  
Global South ◽  
Art World ◽  
Cultural Form ◽  
Origin Identity ◽  
Global Art ◽  
Venice Biennale ◽  
New Location

AbstractThis article employs artifacts from the KMB’s “material culture” as a lens into this institution’s branding process and, within it, its interaction with the Venice Biennale. It analyzes larger questions about the career of the biennale cultural form as it re-territorializes in a new location that is added to the art world map “in progress.” Historically, geographical location has been crucial for many biennales in the Global South to articulate their origin, identity, and claims vis-à-vis the global art world. Moreover, biennale proliferation especially in the South has produced cartographic re-imaginings aiming to destabilize the “center-periphery” configuration of the art world map. The article shows that the KMB does not reiterate ideological standings put forward by Southern biennales but crafts its positionality on different grounds. These entail simultaneously anchoring the KMB to histories of circulation in and out of South India tracing back at least two millennia and strategically weaving a relation with the archetypical Venice Biennale in the present.

scholarly journals Higher order Hamiltonian Monte Carlo sampling for cosmological large-scale structure analysis

2021 ◽  
Vol 502 (3) ◽  
pp. 3976-3992
Author(s):  
Mónica Hernández-Sánchez ◽  
Francisco-Shu Kitaura ◽  
Metin Ata ◽  
Claudio Dalla Vecchia
Keyword(s):  
Fourth Order ◽  
Large Scale ◽  
Equations Of Motion ◽  
Large Scale Structure ◽  
Real Space ◽  
Higher Order ◽  
Second Order ◽  
Scale Structure ◽  
Integration Schemes ◽  
Reconstruction Methods

ABSTRACT We investigate higher order symplectic integration strategies within Bayesian cosmic density field reconstruction methods. In particular, we study the fourth-order discretization of Hamiltonian equations of motion (EoM). This is achieved by recursively applying the basic second-order leap-frog scheme (considering the single evaluation of the EoM) in a combination of even numbers of forward time integration steps with a single intermediate backward step. This largely reduces the number of evaluations and random gradient computations, as required in the usual second-order case for high-dimensional cases. We restrict this study to the lognormal-Poisson model, applied to a full volume halo catalogue in real space on a cubical mesh of 1250 h−1 Mpc side and 2563 cells. Hence, we neglect selection effects, redshift space distortions, and displacements. We note that those observational and cosmic evolution effects can be accounted for in subsequent Gibbs-sampling steps within the COSMIC BIRTH algorithm. We find that going from the usual second to fourth order in the leap-frog scheme shortens the burn-in phase by a factor of at least ∼30. This implies that 75–90 independent samples are obtained while the fastest second-order method converges. After convergence, the correlation lengths indicate an improvement factor of about 3.0 fewer gradient computations for meshes of 2563 cells. In the considered cosmological scenario, the traditional leap-frog scheme turns out to outperform higher order integration schemes only when considering lower dimensional problems, e.g. meshes with 643 cells. This gain in computational efficiency can help to go towards a full Bayesian analysis of the cosmological large-scale structure for upcoming galaxy surveys.

scholarly journals Cultural Diplomacy and Europe's Twenty Years’ Crisis, 1919–1939: Introduction

2021 ◽  
pp. 1-15
Author(s):  
Benjamin G. Martin ◽  
Elisabeth Piller
Keyword(s):  
Large Scale ◽  
Cultural Diplomacy ◽  
Good Reason ◽  
Political Leaders ◽  
Distinctive Features ◽  
The Arts ◽  
International Exposition ◽  
German Nation ◽  
Iconic Image ◽  
Industrial Designers

Photographs of the German and Soviet pavilions facing off at the Paris International Exposition in 1937 offer an iconic image of the interwar period, and with good reason. This image captures the interwar period's great conflict of ideologies, the international interconnectedness of the age and the aestheticisation of political and ideological conflict in the age of mass media and mass spectacle. [Figure 1] Last but not least, it captures the importance in the 1930s of what we now call cultural diplomacy. Both pavilions – Germany's, in Albert Speer's neo-classical tower bloc crowned with a giant swastika, and the Soviet Union's, housed in Boris Iofan's forward-thrusting structure topped by Vera Mukhina's monumental sculptural group – represented the outcome of a large-scale collaboration between political leaders and architects, artists, intellectuals and graphic and industrial designers seeking to present their country to foreign visitors in a manner designed to advance the country's interests in the international arena. Each pavilion, that is, made an outreach that was diplomatic – in the sense that it sought to mediate between distinct polities – using means that were cultural – in the sense that they deployed refined aesthetic practices (like the arts and architecture) and in the sense that they highlighted the distinctive features, or ‘culture’, of a particular group (like the German nation or the Soviet state).

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