Carlos Poveda's Menu

2007 ◽  
Vol 7 (4) ◽  
pp. 78-83
Author(s):  
marjorie ross
Keyword(s):  
Collective Memory ◽  
Daily Life ◽  
Greco Roman ◽  
Art Form ◽  
History Of ◽  
Roman Antiquity ◽  
Domestic Landscapes ◽  
Contemporary Artists

Carlos Poveda's Domestic Landscapes are linked to a history of food and art that reaches back to Greco-Roman antiquity and becomes empowered with contemporary artists who sculpt or paint their works in edible materials to be devoured by spectators. Poveda's Landscapes, however, offer food that is symbolic——inedible. He reinvents the organic by using industrial refuse that he converts, colors, and models in a cauldron in a process as akin to alchemy as to cooking. His is not a faithful transcription of meals in the style of classical still lifes, but rather an artistic overlapping of emotions, that surround the idea of the edible. Looking at his sculptures we may feel revulsion, but what sickens us is not so much his creation as the awareness it brings of our intrinsically predatory nature. He gives us an art form that not only fails to provoke appetite but also touches our deepest culinary memories and leads us back to a primal past by asserting the significance of food in our collective memory. Ultimately, our strongest reaction to his work may be the fear that we won't be able to digest the absurdity of our daily life.

scholarly journals Anchoring Innovation: A Classical Research Agenda

2016 ◽  
Vol 25 (1) ◽  
pp. 20-38 ◽  
Author(s):  
Ineke Sluiter
Keyword(s):  
Research Agenda ◽  
Revolving Door ◽  
Classical Antiquity ◽  
American Constitution ◽  
Electric Cars ◽  
Greco Roman ◽  
History Of ◽  
Roman Antiquity ◽  
New Research

Several periods in classical (Greco-Roman) antiquity provide an intriguing mix of being ‘in the grip of the past’ and profoundly innovative in all societal domains at the same time. A new research agenda of the Dutch classicists investigates this combination, under the hypothesis that the two are connected. Successful innovations must somehow be ‘anchored’ for the relevant social group(s). This paper explores the new concept of ‘anchoring’, and some of the ways in which ‘the new’ and ‘the old’ are evaluated and used in classical antiquity and our own times. Its examples range from a piece of ancient theatrical equipment to the history of the revolving door, from an ornamental feature of Greek temples to the design of electric cars, and from the Delphic oracle to the role of the American constitution.

History of the Sciences in Greco-Roman Antiquity

Nature ◽  
1927 ◽  
Vol 119 (3004) ◽  
pp. 776-776 ◽  
Author(s):  
J. G. F. DRUCE
Keyword(s):  
Greco Roman ◽  
History Of ◽  
Roman Antiquity

On Broken Glass: For a Semiotics of Anti-Materiality

2017 ◽  
Vol 13 (1) ◽  
Author(s):  
Massimo Leone
Keyword(s):  
Cultural History ◽  
Early Modernity ◽  
Greco Roman ◽  
History Of ◽  
Roman Antiquity ◽  
Damaged Materials ◽  
Initial Exploration

AbstractScholars have mostly focused on “positive materiality,” studying the meaning of materials and techniques in the production of artifacts. Matter, however, means not only when it is shaped into materiality but also when it is destroyed. The essay that follows is meant to represent a first tentative enquiry into the meaning of anti-materiality. The study of destroyed artifacts aims at pointing out that matter is always materiality. It always conserves a shadow of meaning, independently from how profoundly its earlier form was disintegrated. The crepuscular significance of damaged materials has mostly escaped the attention of scholars. The essay attempts an initial exploration of it, proposing a condensed cultural history of broken glass. It therefore seeks to combine, in the same exposition, a chronological and a structural overview of broken glass, from Greco-Roman antiquity until early modernity.

The Persistence of the Image, the Lacunae of History: The Archive and Contemporary Art in Algeria (1992–2012)

Algeria ◽  
2017 ◽  
Author(s):  
Fanny Gillet ◽  
Patrick Crowley
Keyword(s):  
Civil War ◽  
Collective Memory ◽  
Contemporary Art ◽  
War Of Independence ◽  
History Of ◽  
Ideological Manipulation ◽  
Bear Witness ◽  
Contemporary Artists

In Algeria , the War of Independence (1954-62) and civil war of the 1990s are the two events which have marked the history of the country due not only to the extent of the violence but also the ideological manipulation of both events. The anamnesis effect identified by academic analysis with respect to these conflicts is observed in the production of a generation of contemporary artists for whom memory, in its broadest sense, is no longer about an untouchable past but instead has become a means to construct, and be active in, the present in a way that is not overdetermined by a single notion of identity. In drawing upon the archive — such as film, documentary or photograph — contemporary Algerian artists such as Ammar Bouras, Mustapha Sedjal, Sofiane Zouggar, or Dalila Dalléas Bouzar bear witness to a ‘need for history’ which has to be situated both at a national and transnational level. If, for artists, the use of the archive is as much a mark of authenticity as a reminder of the collective memory, its reappropriation questions the role of the image in the construction of collective imaginary of the post-independent Algerian society. Based on interviews with the artists this chapter problematizes the process of a return to the archive.

History of the Sciences in Greco-Roman Antiquity

1928 ◽  
Vol 14 (196) ◽  
pp. 248
Author(s):  
A. Raymond ◽  
Ruth Gheury de Bray
Keyword(s):  
Greco Roman ◽  
History Of ◽  
Roman Antiquity

scholarly journals ESTETIKA FASHION URBAN

2018 ◽  
Vol 12 (1) ◽  
pp. 137
Author(s):  
Tri Aru Wiratno
Keyword(s):  
Daily Life ◽  
Urban Community ◽  
Human Life ◽  
Modern Art ◽  
Urban Society ◽  
Beauty Culture ◽  
A Value ◽  
Art Form ◽  
History Of ◽  
Society Today

The beauty of a reality that exists in the history of human life, which becomes the beauty of a daily life of the urban masyakarat. The beauty is not merely in the form of modern art work that only gives a limit on the value of artwork. While the beauty of a day of society representation on a culture and tradition. That beauty is part of human life, which concerns something good. Not on the art form but also on the behavior of society. Because beautiful, good is good and true in a narrative in the life of society. But in contrast to the beauty of urban reality in which beauty is not a value but as a sign and that marks so beauty does not become a meaning and purpose of a work of art but an urban lifestyle. Urban fashion aesthetic with a phenomenon approach that develops in the life of urban society, today. That aesthetic fashion becomes part of urban society. As an illustration of the urban community that gives shape of fashion aesthetic.Keindahan sebuah realitas yang ada dalam sejarah kehidupan manusia, dimana menjadi keindahan sebuah kehidupan sehari-hari dari masyakarat urban. Keindahan bukan melulu pada bentuk karya seni modern yang hanya memberikan batas pada nilai karya seni. Sedangkan keindahan sehari dari masyarakat representasi pada sebuah budaya dan tradisi. Bahwa keindahan itu adalah bagian dari hidup manusia, yang menyangkut sesuatu yang baik. Bukan pada bentuk karya seni tapi juga pada prilaku masyarkatnya. Karena indah, bagus itu baik dan benar dalam sebuah penuturan di dalam kehidupan masyarakat. Namun berbeda dengan keindahan realitas urban di mana keindahan bukan sebuah nilai tapi sebagai sebuah tanda dan yang menandai sehingga keindahan bukan menjadi sebuah makna dan tujuan dari sebuah karya seni tapi sebuah gaya hidup (fashion) urban. Estetika fashion Urban dengan pendekatan fenomena yang berkembang pada kehidupan masyarakat kota, saat ini. Bahwa estetika fashion menjadi bagian dari masyarakat urban. Sebagai gambaran dari masyarakat urban yang memberikan bentuk dari estetika fashion.Keywords: Beauty, Culture, Fashion and Urban

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