scholarly journals Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse

2016 ◽  
Vol 10 (4) ◽  
pp. 915
Author(s):  
Stefan Žarić
Keyword(s):  
Cultural Production ◽  
Aesthetic Value ◽  
Culture Studies ◽  
Fashion Studies ◽  
Art Form ◽  
History Of ◽  
National Museums ◽  
The Aesthetic ◽  
The One ◽  
Fashion Exhibitions

Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the reason for the ever-increasing number of exhibitions of fashion on the international as well as the national museum scene in the codes of fashion which oscillate between the aesthetic and the commercial. By affirming fashion as an art form on the one hand and increasing the profitability of the institution on the other, fashion exhibitions enable museums to become „fashionable“ – to keep up with contemporary, more liberal exhibition concepts. Despite the fact that in this year there have been a large number of fashion exhibitions in national museums, fashion is still without its own museology, a scientific theory which would explain it as a museum phenomenon. The exhibits are interpreted historically, while explaining their utilitarian and aesthetic value, while the question of why fashion is exhibited as an art form or a kind of cultural production to the consumer of the exhibition - the visitor – remains unanswered. By analyzing historical events which conditioned the museum exhibiting of fashion as well as the different conceptions of its exhibition, the author strives to – through the juxtaposition of international and national exhibitions catch sight of the causes of the lack of a museology of fashion, and open up the issue of its affirmation within the professional academic and museum community of Serbia.

What's the Message of Architecture?

2014 ◽  
pp. 126-136
Author(s):  
Аndrey G. Velikanov
Keyword(s):  
Separate Entity ◽  
Aesthetic Value ◽  
Current State ◽  
Entire Complex ◽  
History Of ◽  
The Aesthetic

Considers the aspects of architecture as a language able to express the current state and to prophetically indicate the upcoming changes. The aesthetic value of a construction cannot be perceived just as a separate entity, but it can be cognized in the context and not only a visual one, in space. It is necessary to see the entire complex of the accompanying phenomena, all the flow of the unfolding metaphors and values. In the model in view the figure of the author-creator must be reconsidered as no longer conforming to today's reality. The development of the Stalinist Empire style, as well as its transformations, is considered as one of the specific phenomena in the history of well-known constructions

scholarly journals Autonomy and Aesthetic Engagement

Mind ◽  
2019 ◽  
Vol 129 (516) ◽  
pp. 1127-1156 ◽  
Author(s):  
C Thi Nguyen
Keyword(s):  
The Other ◽  
Aesthetic Appreciation ◽  
Aesthetic Value ◽  
Aesthetic Object ◽  
Other Hand ◽  
Motivational Structure ◽  
The Aesthetic ◽  
The One ◽  
The Right ◽  
Aesthetic Judgments

Abstract There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. Our attempts at aesthetic judgments aim at correctness. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than through deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. How can we resolve this tension? The best explanation, I suggest, is that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. When one defers to aesthetic testimony, then, one makes the same mistake as when one looks up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments.

Uygur Architectural Decorative Patterns Classification and the Development and Application of Information Technology

2013 ◽  
Vol 409-410 ◽  
pp. 372-376
Author(s):  
Guang Li
Keyword(s):  
Information Technology ◽  
Modern Society ◽  
Modern Information Technology ◽  
Chinese Traditional Culture ◽  
Art Form ◽  
Architectural Patterns ◽  
Positive Meaning ◽  
History Of ◽  
Modern Information ◽  
The One

Uygur architectural decorative patterns is an important part of Chinese traditional culture , which is reflect the history of the nation's art form. It also take advantage of modern information technology on the inheritance, development of traditional ethnic culture and promote regional economic development. It has a positive meaning for building a harmonious society. Uygur traditional architectural pattern types characterization and application status, bringing about the development and applications of traditional Uygur architectural patterns and modern information technology. Through development of information technology, on the one hand, Uygur architectural patterns to obtain a certain sense, do not change with the time permanent presence in the form, on the other hand, the Uighur architecture and decorative patterns with a modern design, combining modern media more closely foundation to finding a continuation in the modern society and the way of the development of national culture.

Hope, Despair, and Justice in Postwar European Culture: Bicycle Thieves, The Plague, and The Man Outside as Case Studies

2020 ◽  
Vol 72 (1) ◽  
pp. 68-82
Author(s):  
Amir Engel
Keyword(s):  
World War Ii ◽  
Cultural Production ◽  
Cultural Landscape ◽  
World War ◽  
The West ◽  
European Culture ◽  
History Of ◽  
The One ◽  
Emotional Disposition ◽  
Do So

Abstract While there is growing interest in the postwar era, the cultural characteristics of the period after World War II and the period’s historical scope are still largely underdetermined. The purpose of this article is to offer a more nuanced use of the term postwar and insights into the cultural landscape of this enormously significant moment in the history of the West. To do so, it examines three major works of what is termed here the immediate postwar. These works are fundamentally dissimilar and yet, it is argued, share an emotional disposition. As shown, all three works exhibit a complex dialectical coupling of horror and anticipation. In other words, this article demonstrates that the cultural production of the postwar period (in the exact sense of the term) is characterized, on the one hand, by a sincere depiction of suffering and depravity but, on the other, by an intense engagement with questions about the moral and social future.

scholarly journals Pengaruh Pariwisata pada Keberagaman Seni Rupa sebagai Modal Kultural Bali: Studi pada Komunitas dan Perhelatan Seni Rupa di Wilayah Denpasar, Klungkung, dan Singaraja

2016 ◽  
Vol 3 (2) ◽  
pp. 96-101
Author(s):  
Willy Himawan ◽  
Setiawan Sabana ◽  
A. Rikrik Kusmara
Keyword(s):  
Global Change ◽  
Modern Art ◽  
Field Research ◽  
Participatory Action ◽  
Aesthetic Value ◽  
Tourist Destination ◽  
The World ◽  
History Of ◽  
Art Activities ◽  
The Aesthetic

Pulau Bali terkenal sebagai salah satu tujuan wisata terbesar di dunia yang berkaitan erat dengan budaya Bali. Perkembangan seni rupa modern tidak dapat dipisahkan dari sejarah kolonialisme pada tahun 1900-an melalui pengembangan awal pariwisata yang memengaruhi perkembangan praktik seni Bali dan wacananya. Studi kualitatif ini akan melihat Bali sebagai kawasan-kawasan yang berbeda dalam spektrum perkembangan seni rupa yang dipengaruhi oleh konteks perkembangan pariwisata di tiap wilayah. Metode yang digunakan adalah aksi partipatoris di lapangan dengan pendekatan hermeneutik untuk memahami konteks, makna, dan nilai estetik yang terbangun dalam kegiatan-kegiatan seni rupa di Klungkung dalam kegiatan komunitas Batu Belah dalam acara Global Change Art Climate 2015, di Denpasar dan sekitarnya dalam kegiatan komunitas Sprites Art 2015, dan di Buleleng dalam kegiatan komunitas Segara Lor pada Buleleng Festival 2013. Perbedaan dalam konteks pengembangan pariwisata di daerah-daerah tertentu di Bali telah memengaruhi perkembangan dan perbedaan makna dan nilai estetika karya seni di sana. The Tourism Influence on Art Diversity as a Cultural Capital of Bali: Study on the Community and Art Events in Denpasar, Klungkung dan Singaraja. The island of Bali is famous as one of the largest tourist destination in the world. The development of modern art cannot be separated from the history of colonialism in the 1900s through the early development of Balinese art activities and their studies. This qualitative study sees Bali as different regions in the spectrum of the development of art which influenced by the context of the development of tourism in each region. The method used in this study is the action partipatoris field (participatory action field research) with a hermeneutic approachto understand the context, meaning, and aesthetic value that are built in the activities of art in Klungkung by among others are Batu Belah community in “The Global Change Art Climate 2015”, in Denpasar “Sprites activities Art” in 2015, and in Buleleng in activities “Segara Lor in Buleleng Festival 2013”. Differences in the context of the development of tourism in certain areas in Bali have influenced the development and meaning differences, and the aesthetic value of the works of art there.

scholarly journals The Boundaries of Funniness and the Dilution of Audience Identity in the Musical-Dramatic Art

2021 ◽  
Vol 3 (3) ◽  
pp. 61-82
Author(s):  
Viktor L. Levchenko ◽  
Nina I. Kovalova
Keyword(s):  
The Other ◽  
Musical Performance ◽  
Museum Exhibits ◽  
The Status ◽  
History Of ◽  
European Theatre ◽  
The Aesthetic ◽  
The One

This paper sets out to examine the transformation of comedy in the history of European theatre. Musical performance extends the semiotic space of the original genre into a field of fluid and open meanings and signs incorporating and suggesting many interpretations, some of which are ironic. It is argued in contemporary aesthetics that, on the one hand, art cannot exist without a discourse interpreting it, while on the other, there exists the demand to avoid interpretation, which at once legitimizes the aesthetic effect and castrates the object of art. Provocation is used as an instrument for solving the problems of observing the object of art in a new way and understanding modern reality, and provocation is not complete without irony and self-irony. Wit, irony, and comicality are transformed as fitting into the style of the absurd and deconstructing the border between the funny and the serious. The purpose of such provocations is to put the viewer into a position of uncertainty and aesthetic shock, and this stupor inexorably leads the beholder to encounter the object of art and nurtures a new understanding of their own self. This clash of the spectator’s viewpoint created by provocative shows dispossesses theatre productions of the status of “museum exhibits”. This paper will examine the organicness of elements of the laughter culture and comic devices for musical and dramatic theatre.

scholarly journals Building Preservation Case Study of Pancasila Building in Pasuruan City

2021 ◽  
Vol 04 (08) ◽  
Author(s):  
Prof. Dr. Lalu Mulyadi ◽  
Keyword(s):  
Urban Development ◽  
Feasibility Study ◽  
Descriptive Analysis ◽  
Field Observations ◽  
City Development ◽  
Aesthetic Value ◽  
History Of ◽  
The Aesthetic ◽  
The City

Some cities in Indonesia have a long history of city development, in East Java, for example the cities of Surabaya, Malang, Blitar, Kediri and Pasuruan are cities that have a history of urban development that still maintains the identity of the city. old buildings or colonial buildings, these buildings can still be suspected through the characteristics of building shapes and the use of ornaments that are characterized by European buildings. For this European building to be preserved, it is necessary to conduct a feasibility study of the aesthetic value contained in the building. The case study taken in writing this article is the Pancasila Building in the city of Pasuruan. The method used is descriptive analysis topically. To support the discussion in this article, field observations and literature studies were conducted. The findings in this study were to determine the physical identity of the building and the meaning of building ornaments.

scholarly journals POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS

2018 ◽  
pp. 25-29
Author(s):  
E. I. Onishchenko
Keyword(s):  
Twentieth Century ◽  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Specific Nature ◽  
Theoretical Orientations ◽  
Culture Studies ◽  
National University ◽  
Aesthetic Consciousness ◽  
History Of ◽  
The Aesthetic

The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the legacy of L. Blaustein, M. Wallis, H. Elzenberg and G. Ossowski. In particular, this perspective covers traditional for the twentieth century aesthetics problems, including psychology of art, collective aesthetic experience, ratio, fantasy, and imagination. Also, new interpretive perspectives of sublime and ugly, aesthetical experience are opened. The theoretical orientations of the Polish scholars, in one way or another, were connected with the cornerstones of the aesthetic science - its subject, the conceptual-categorical apparatus, the structure of aesthetic consciousness, the phenomenon of artistic creativity, the specific nature of art, and others. In the process of conceptual concretization, in the field of Polish aesthetics a number of problems have been rather clearly distinguished, among which the special attention of practically all of its leading representatives has attracted the phenomenon of aesthetical experience. K. Shevchuk’s investigation opens up an opportunity, at least in the format of a secondary interpretation, to join the research of the Polish scholars, whose work proved to be a giant "white spot" for the Ukrainian aestheticians. Introducing actually unexplored concepts Polish scientists to the modern Ukrainian aesthetic theory not only facilitates the opening of "unknown pages" in the history of the twentieth century aesthetics, but also makes actual mark of new approaches to the analysis of classical problems, the relevance of which will never be a subject of doubt.

Introduction

Popular Music ◽  
2006 ◽  
Vol 25 (1) ◽  
pp. 1-2 ◽  
Author(s):  
Motti Regev
Keyword(s):  
Art Form ◽  
Long Line ◽  
Extraordinary Experiences ◽  
History Of ◽  
The Aesthetic

How does one tell the history of an art form? Looking at classic examples like Gombrich's The Story of Art (London, Phaidon Press, 1950) or Read's A Concise History of Modern Painting (London, Thames and Hudson, 1959), it seems that, at their core, such projects conventionally consist of annotated lists: extended commentaries on a long line of works and artists, in other words a canon. These works are typically presented as peaks of the aesthetic power of the art form in question, as ultimate manifestations of aesthetic perfection, complexity of form and depth of expression which humans are capable of reaching through this art form. Such presentations hide an implicit promise that, with proper knowledge, encounters with these works will result in extraordinary experiences.

Seasonal natural history of aphidophagous Syrphidae (Diptera) attacking the balsam twig aphid in balsam fir (Pinaceae) Christmas tree plantations

2016 ◽  
Vol 148 (4) ◽  
pp. 466-475 ◽  
Author(s):  
Richard Berthiaume ◽  
Christian Hébert ◽  
Georges Pelletier ◽  
Conrad Cloutier
Keyword(s):  
Natural History ◽  
Larval Density ◽  
Abies Balsamea ◽  
Abundant Species ◽  
Balsam Fir ◽  
Aesthetic Value ◽  
Christmas Trees ◽  
History Of ◽  
The Aesthetic ◽  
The Impact

AbstractThe balsam twig aphid, Mindarus abietinus Koch (Hemiptera: Aphididae), is one of the most important pests of balsam fir (Abies balsamea (Linnaeus) Miller; Pinaceae) grown as Christmas trees in eastern North America. Aphid feeding on the current-year shoots results in needle distortion and shoots stunting, which reduces the aesthetic value of balsam fir trees and can have substantial economic impact. Syrphidae (Diptera) fly predators attacking this aphid are poorly known. We identified four species attacking the balsam twig aphid. Syrphus torvus Osten Sacken (Diptera: Syrphidae) was the most abundant species followed by Eupeodes lapponicus (Zetterstedt) (Diptera: Syrphidae) and Eupeodes americanus (Wiedemann) (Diptera: Syrphidae). We described the seasonal natural history of the two most abundant syrphids feeding on this aphid and we studied their synchrony with their prey. Syrphid larval density on balsam fir shoots increased rapidly and closely followed density of the balsam twig aphid. We also reported heavy parasitism of syrphid pupae by two Hymenoptera on tree foliage but lower parasitism on pupae in the soil under trees. Several cases of multiple parasitism and hyperparasitism were observed in syrphid pupae under trees. Abundance of predaceous syrphid species was higher in untreated balsam fir plantations compared with treated plantations. More research is needed to understand the role and the impact of these predators on balsam twig aphid population dynamics.

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