Olfactory Art and Museum Ecologies

2020 ◽  
pp. 85-112
Author(s):  
Hsuan L. Hsu
Keyword(s):  
Mixed Media ◽  
Art Museums ◽  
Climate Control ◽  
Controlled Atmospheres ◽  
Western Art ◽  
Political Concern ◽  
Close Analysis

Chapter 3 considers the tensions between mixed-media artworks that incorporate scent and the carefully controlled atmospheres of Western art museums and galleries. After tracing the origins and rationales of museums’ climate control practices, the chapter argues that conventional museum ecologies are premised on an artificially deodorized atmosphere that renders air imperceptible as a matter of political concern. Olfactory art, by contrast, underscores the trans-corporeal exchanges between galleries and visitors’ bodies by centering the experience of inhalation. Close analysis of artworks by Boris Raux, Sean Raspet, Anicka Yi, and Peter de Cupere exemplifies how artists use scent to communicate atmospheric risks and disparities in direct and visceral terms.

scholarly journals Les Langues de Polynésie Française et la Constitution: Liberté, Egalité, Identité

2011 ◽  
Vol 42 (2) ◽  
pp. 307
Author(s):  
Marc Debène
Keyword(s):  
Language Education ◽  
French Polynesia ◽  
Local Language ◽  
Political Concern ◽  
Close Analysis ◽  
The One ◽  
Constitutional Issue

The languages in use in French Polynesia alongside French are a matter of cultural and current political concern. For France it is a constitutional issue. Professor Debène provides the background to, and a close analysis of, the issue. Given the daily use of Tahitian languages with French in French Polynesia, one solution to these concerns is to do nothing. Another solution – the one here proposed – is to amend art 74 of the French Constitution to provide specifically for the use in overseas countries of both French and other languages. This would guarantee language freedom and well-organised local language education.

A Visit to the Museum: Aleksandr Sokurov's Russian Ark and the Framing of the Eternal

Slavic Review ◽  
2005 ◽  
Vol 64 (1) ◽  
pp. 43-58 ◽  
Author(s):  
Tim Harte
Keyword(s):  
Single Shot ◽  
Russian History ◽  
Western Art ◽  
Cinematic Rendering ◽  
Close Analysis

In this close analysis of Aleksandr Sokurov's 2002 film Russkii kovcheg (Russian ark), Tim Harte explores the interplay between the medium of painting and cinema in this unprecedented ninety-minute single-shot film set in the grand halls and galleries of the Hermitage Museum. As Harte argues, the film's unique premise and setting allow Sokurov to convey how the museum, its art and history, and subsequently cinema can affirm a nation's culture, transporting die past ever so evocatively into the present in order to sustain culture's vitality. Throughout Sokurov's ninety-minute single-shot fusion of Western art and Russian history, a continual emphasis on the image of the frame prevails, with the frame constituting an important artistic and metaphysical threshold for the filmmaker. Constandy moving through the ubiquitous frames, Sokurov establishes his own cinematic rendering of culture's eternal essence.

The image processing and database system in the National Museum of Western Art, Tokyo: an integrated system for art research

1996 ◽  
Vol 21 (1) ◽  
pp. 18-22
Author(s):  
Hiroyuki Hatano
Keyword(s):  
Image Processing ◽  
Database System ◽  
Art Museums ◽  
Integrated System ◽  
Classification Systems ◽  
National Museum ◽  
Western Countries ◽  
Western Art ◽  
Art Research ◽  
Machine Readable

In Japan, art museums have created databases for management, educational and promotional purposes, rather than for research. At the National Museum of Western Art in Tokyo, a group consisting of a librarian, three curators, and a systems specialist, embarked in 1984 on a four year project to assemble and test a system which, utilising machine-readable thesauri and classification systems developed in Western countries, will, it is hoped, facilitate research into Western art.

China, western art museums, and dissident art via social networks

The Poster ◽  
2015 ◽  
Vol 3 (1) ◽  
pp. 7-18
Author(s):  
Jonathan Liljeblad
Keyword(s):  
Social Networks ◽  
Art Museums ◽  
Western Art

Effects of Ion Beam Milling on Surface Topography

1973 ◽  
Vol 31 ◽  
pp. 84-85
Author(s):  
P.G. Pawar ◽  
P. Duhamel ◽  
G.W. Monk
Keyword(s):  
Surface Topography ◽  
Ion Beam ◽  
Solid Material ◽  
Beam Current ◽  
Atomic Mass ◽  
Micro Milling ◽  
Ion Milling ◽  
Controlled Atmospheres ◽  
Milling Operations ◽  
Sufficient Energy

A beam of ions of mass greater than a few atomic mass units and with sufficient energy can remove atoms from the surface of a solid material at a useful rate. A system used to achieve this purpose under controlled atmospheres is called an ion miliing machine. An ion milling apparatus presently available as IMMI-III with a IMMIAC was used in this investigation. Unless otherwise stated, all the micro milling operations were done with Ar+ at 6kv using a beam current of 100 μA for each of the two guns, with a specimen tilt of 15° from the horizontal plane.It is fairly well established that ion bombardment of the surface of homogeneous materials can produce surface topography which resembles geological erosional features.

Microstructural Evolution in Reduced TiO2

1981 ◽  
Vol 39 ◽  
pp. 74-75
Author(s):  
W. T. Donlon ◽  
S. Shinozaki ◽  
E. M. Logothetis ◽  
W. Kaizer
Keyword(s):  
Microstructural Evolution ◽  
Point Defects ◽  
Extended Defects ◽  
Small Deviations ◽  
Controlled Atmospheres ◽  
Limited Solubility ◽  
Thin Foils ◽  
Heat Treated ◽  
Porous Polycrystalline ◽  
Crystallographic Shear

Since point defects have a limited solubility in the rutile (TiO2) lattice, small deviations from stoichiometry are known to produce crystallographic shear (CS) planes which accomodate local variations in composition. The material used in this study was porous polycrystalline TiO2 (60% dense), in the form of 3mm. diameter disks, 1mm thick. Samples were mechanically polished, ion-milled by conventional techniques, and initially examined with the use of a Siemens EM102. The electron transparent thin foils were then heat-treated under controlled atmospheres of CO/CO2 and H2 and reexamined in the same manner.The “as-received” material contained mostly TiO2 grains (∼5μm diameter) which had no extended defects. Several grains however, aid exhibit a structure similar to micro-twinned grains observed in reduced rutile. Lattice fringe images (Fig. 1) of these grains reveal that the adjoining layers are not simply twin related variants of a single TinO2n-1 compound. Rather these layers (100 - 250 Å wide) are alternately comprised of stoichiometric TiO2 (rutile) and reduced TiO2 in the form of Ti8O15, with the Ti8O15 layers on either side of the TiO2 being twin related.

From a Distance: A Close Analysis of Skinner

1995 ◽  
Vol 40 (5) ◽  
pp. 424-425
Author(s):  
Laurence D. Smith
Keyword(s):  
Close Analysis

Transmission of Renaissance herbal images to China: the Beitang copy of Mattioli’s commentaries on Dioscorides and its annotations

2020 ◽  
Vol 47 (2) ◽  
pp. 236-253
Author(s):  
Wu Huiyi ◽  
Zheng Cheng
Keyword(s):  
Seventeenth Century ◽  
Natural History ◽  
National Library ◽  
Materia Medica ◽  
Close Analysis ◽  
Northern Chinese ◽  
Jesuit Missionaries ◽  
Animal Names ◽  
National Library Of China ◽  
Made In

The Beitang Collection, heritage of a seventeenth- and eighteenth-century Jesuit library in Beijing now housed in the National Library of China, contains an incomplete copy of Pietro Andrea Mattioli’s commentary on an Italian edition of Pedanius Dioscorides's De materia medica (1568) bearing extensive annotations in Chinese. Two hundred odd plant and animal names in a northern Chinese patois were recorded alongside illustrations, creating a rare record of seventeenth-century Chinese folk knowledge and of Sino-Western interaction in the field of natural history. Based on close analysis of the annotations and other contemporary sources, we argue that the annotations were probably made in Beijing by one or more Chinese low-level literati and Jesuit missionaries during the first two decades of the seventeenth century. We also conclude that the annotations were most likely directed at a Chinese audience, to whom the Jesuits intended to illustrate European craftsmanship using Mattioli’s images. This document probably constitutes the earliest known evidence of Jesuits' attempts at transmitting the art of European natural history drawings to China.

Stolen from the Snows: John Kinsella as Poet and as Fiction Writer

CounterText ◽  
2020 ◽  
Vol 6 (2) ◽  
pp. 232-238
Author(s):  
Nicholas Birns
Keyword(s):  
Close Reading ◽  
Artistic Identity ◽  
Close Analysis ◽  
Fiction Writer

This piece explores the fiction of John Kinsella, describing how it both complements and differs from his poetry, and how it speaks to the various aspect of his literary and artistic identity, After delineating several characteristic traits of Kinsella's fictional oeuvre, and providing a close reading of one of Kinsella's Graphology poems to give a sense of his current lyrical praxis, the balance of the essay is devoted to a close analysis of Hotel Impossible, the Kinsella novella included in this issue of CounterText. In Hotel Impossible Kinsella examines the assets and liabilities of cosmopolitanism through the metaphor of the all-inclusive hotel that envelops humanity in its breadth but also constrains through its repressive, generalising conformity. Through the peregrinations of the anti-protagonist Pilgrim, as he works out his relationships with Sister and the Watchmaker, we see how relationships interact with contemporary institutions of power. In a style at once challenging and accessible, Kinsella presents a fractured mirror of our own reality.

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