scholarly journals CITRA DAN TANDA MALIOBORO DALAM KONSTRUKSI FOTOGRAFI

2018 ◽  
Vol 14 (1) ◽  
pp. 1
Author(s):  
Edial Rusli
Keyword(s):  
Public Space ◽  
Digital Imaging ◽  
Sense Of Belonging ◽  
Visual Images ◽  
Construction Process ◽  
The Public ◽  
Visual Imagination ◽  
The Past ◽  
New Meanings ◽  
Urban People

Perkembangan zaman akan mengubah citra dan simbol Malioboro. Citra kawasan yang dulunya asri dan nyaman itu sekarang berubah menjadi semrawut dan tidak nyaman lagi. Keadaan ini menstimulasi ide penciptaan karya bahwa ruang publik Malioboro yang semrawut dan tidak nyaman itu dipersonifikasikan sebagai rumah besar yang ruang-ruangnya telah disekat-sekat layaknya kamar pribadi yang nyaman dengan kamar yang memiliki keunikan sendiri-sendiri. Konsep penciptaan dan perwujudan ini merupakan kumpulan objek imaji visual fotografi yang realistis untuk dikonstruksikan kembali dengan tujuan menghasilkan realitas imajiner. Pendekatan teori penciptaan ini adalah citra, konstruksi fotografi, dan makna. Proses eksperimentasi dan pembentukan karya diawali dari imaji-imaji visual fotografi yang dikumpulkan, diseleksi, dan direpresentasikan dengan citra objek kaum urban yang berjuang untuk hidup dan ruang cagar budaya yang terpinggirkan oleh bangunan modern di Malioboro melalui imaji visual fotografi. Imaji-imaji visual fotografi dari suatu realitas imaji masa lalu tersebut diimajinasikan ke masa yang akan datang untuk dikonstruksi kembali menjadi kesatuan dengan menggunakan teknik montase dan kolase digital imaging ke bentuk imajinasi visual fotografi yang imajinatif dan bernilai kreatif estetis untuk dimaknai kembali pada keadaan sekarang. Penciptaan karya ini tidak lagi berbicara tentang tataran teknis saja, namun juga berbicara tentang estetika, citra, tanda-tanda dan makna baru di dalamnya. Melalui penciptaan karya ini, masyarakat diharapkan dapat mengetahui citra, proses konstruksi, penyajian penciptaan karya, dan makna yang dihadirkan kembali dari perwujudan imaji ke bentuk karya imajinasi visual fotografi yang bernilai kreatif estetis. Karya imajinasi visual fotografi ini diharapkan menjadi media untuk mengungkapkan perasaan atau ekspresi dan emosi estetis pencipta dalam bentuk parodi visual. Penciptaan ini diharapkan dapat bermanfaat untuk memperkaya khazanah citra/imaji/makna baru dan untuk membangun rasa memiliki serta kesadaran akan permasalahan tata kehidupan dan tata ruang Malioboro sekarang ini.AbstractImage and Symbols of Malioboro in the Construction of Photography. Change of time will change the image and symbol of Malioboro. The image of this area that once was beautiful and comfortable now has changed into a chaotic and an uncomfortable one. This situation has stimulated an idea of creating artworks that the public space of Malioboro which is chaotic and uncomfortable is personified as a big house with separated rooms as in private bedrooms with their own uniqueness. The concept of the creation and the embodiment is a compilation of objects from photography visual images, which are realistic to be reconstructed with the aim of generating an imaginary reality. The approach for this creation is a photography construction’s image and its meaning. The processes of experimentation and the formation of the works were started with the visual images of photography which were collected, selected, and represented with the images of urban people who struggle to live there and the cultural heritage which is marginalized by modern buildings in Malioboro through visual images of photography. Visual images of photography from the past reality of those images were imagined into the future time to be reconstructed as a unity by using techniques of montage and collage in digital imaging which would transform them into creative and aesthetic photography visual imagination to be reinterpreted in recent time. This creation does not only articulate the technique itself, but also to articulate the aesthetics, images, signs and new meanings in them. Through this creation, society is expected to know the images, the construction process, the presentation, and the meaning which are brought back from the visualization of images to the form of creative and aesthetic photography visual imagination. It is expected to be a media to express the artist’s aesthetic feeling and emotion in the form of visual parody. This creation is expected to be beneficial in enriching the corpus of new images/meanings and to raise the sense of belonging as well as awareness of the problem of life order and the spatial layout of current Malioboro.

scholarly journals UNDERSTANDING LAW AND RELIGION AS CULTURE: MAKING ROOM FOR MEANING IN THE PUBLIC SPHERE

2011 ◽  
Vol 15 (1, 2 & 3) ◽  
pp. 2006
Author(s):  
Benjamin L. Berger
Keyword(s):  
Public Sphere ◽  
Public Space ◽  
Public Discourse ◽  
Religious Groups ◽  
The Public ◽  
The Past ◽  
Law And Politics ◽  
Important Relationship ◽  
The Public Sphere ◽  
The Relationship

The relationship between law and religion in contemporary civil society has been a topic of increasing social interest and importance in Canada in the past many years. We have seen the practices and commitments of religious groups and individuals become highly salient on many issues of public policy, including the nature of the institution of marriage, the content of public education, and the uses of public space, to name just a few. As the vehicle for this discussion, I want to ask a straightforward question: When we listen to our public discourse, what is the story that we hear about the relationship between law and religion? How does this topic tend to be spoken about in law and politics – what is our idiom around this issue – and does this story serve us well? Though straightforward, this question has gone all but unanswered in our political and academic discussions. We take for granted our approach to speaking about – and, therefore, our way of thinking about – the relationship between law and religion. In my view, this is most unfortunate because this taken-for-grantedness is the source of our failure to properly understand the critically important relationship between law and religion.

Transformations of Public Space and the Limits of Resistance in Biographic Narratives of Workers

2017 ◽  
Vol 20 (2) ◽  
pp. 156-169 ◽  
Author(s):  
Lars Meier
Keyword(s):  
Public Space ◽  
The South ◽  
Industrial Transformation ◽  
The Public ◽  
The Past ◽  
Social Positioning

This essay analyses biographic memories of practices of resistance of workers in the industrial transformation region in the south of Nuremberg. These memories are marked by a nostalgic view of public space in former times, which is put in contrast with public space as it is today. While former practices of resistance are remembered with nostalgia, present-day resistance practices are described as threatening practices performed by others. It turns out that nostalgia for resistance in the public space in the past is also a social positioning in the present.

‘A Church in a Cinema Hall?’ Pentecostal Appropriation of Public Space in Nigeria

2012 ◽  
Vol 42 (2) ◽  
pp. 145-171 ◽  
Author(s):  
Olufunke Adeboye
Keyword(s):  
Public Sphere ◽  
Public Space ◽  
Public Spaces ◽  
Media Technology ◽  
The Public ◽  
The Past ◽  
The Public Sphere ◽  
The Church

AbstractOver the past two decades Nigeria has become a hotbed of Pentecostal activity. It is the view of this study that Pentecostal visibility in Nigeria has been enhanced not just by Pentecostals’ aggressive utilization of media technology for proselytization as claimed by previous scholars, but also by their appropriation of public spaces for worship. This study not only focuses on the church in the cinema hall, but also on churches in nightclubs, hotels, and other such places previously demonized as ‘abode[s] of sin’ by classical Pentecostals. This paper argues that users’ perception of public spaces having rigid meanings and unchanging usage was responsible for much of the tensions experienced. It would be more useful for academic analysts and various ‘publics’ to construe such spaces as dynamic sites, at once reflecting mutations in the public sphere, responsive to local and global socio-economic processes, and amenable to periodic reinventions and negotiations.

scholarly journals An attempt of creating new museum narratives by the example of the exhibition project «Shevchenko by the urban tongue»

2021 ◽  
pp. 112-123
Author(s):  
Mykhailo Zubar ◽  
◽  
Oleh Mahdych ◽  
Keyword(s):  
Public Space ◽  
Urban Space ◽  
Historical Period ◽  
The Public ◽  
New Public ◽  
New Meanings ◽  
Process Of Urbanization ◽  
The Creation ◽  
The City ◽  
Ukrainian Society

Taras Shevchenko is one of the most researched and discussed figures in Ukrainian society. In each historical period receptions and assessments around Shevchenko` personality differentiates, depending on the public circumstances or prevailing trends in humanitarian discourse. These perceptions swayed between positive and critical judgment. Authors identified several key perceptions of Shevchenko in Ukrainian public space, for instance, «national hero», «father of the nation», «poet», «revolutionary democrat». In their opinion, modern Ukraine still faces the search for Shevchenko` new image. New forms of public honour (commemoration) are being developed, including through museum exhibition projects. Authors also analyze the significance of the museum narrative expositions and exhibitions for the creation of new public images, giving the example of the exhibition project «Shevchenko by the urban tongue», which took place in the Taras Shevchenko national museum from November 4th to January 31th in 2021. Curators attempted to explore how personal experience in the city changed due to the process of urbanization from the XIX-th century and how the urban space influenced the shaping of the Taras Shevchenko figure. Specifically, in the XIX-th century, cities ultimately transformed into an environment, which created trends, emphases of the global public development that influenced Shevchenko, since exactly in the city he gained domestic freedom, profession and widened his social circle. The city gave him a sense of understanding of the culture, its influence and importance not only for consumer purposes or acceptance but also for the creation of new meanings. According to the authors, this approach allows us to better understand the significance of Taras Shevchenko, his connection to modern Ukrainian realities and world context.

scholarly journals Espaço Público e Shopping Center na Cidade Contemporânea: Novos Significados do North Shopping em Fortaleza - CE

2012 ◽  
pp. 128-155
Author(s):  
Tiago Estevam Gonçalves ◽  
Tatiane Rodrigues Carneiro
Keyword(s):  
Public Space ◽  
Public Spaces ◽  
Shopping Mall ◽  
Shopping Center ◽  
Shopping Centers ◽  
Private Space ◽  
The Public ◽  
The North ◽  
New Meanings ◽  
The City

Iniciar uma reflexão acerca da cidade atual nos remete à necessidade de construirmos uma análise sobre os shopping centers como espaços que tem atraído um fluxo considerável da população, ocasionando mudanças na relação dos citadinos com os espaços públicos.  Nesta perspectiva, temos como objetivo analisar o  North Shopping, localizado na cidade de Fortaleza, como um espaço de uso popular onde as camadas de menor poder aquisitivo podem adentrar e usufruir de seus atributos. Imbuídos de tal finalidade nosso aporte teórico fundamentou-se em Pintaudi (1992), Dantas (1995), Silva (1996) Lefebvre (1999), Carlos (2001), Gomes (2002) e Serpa (2007). Conclui-se que na cidade de Fortaleza, o North Shopping é um verdadeiro simulacro da realidade, substituindo as experiências cotidianas dos espaços públicos, configurando-se, assim, a supervalorização do espaço privado que se traveste de público tendo repercussões na nova urbanidade fortalezense.  Public Space and Shopping Mall in the Contemporary City: New Meanings of North Shopping in Fortaleza/CE  Abstract Start a discussion about the current city us the need to build an analysis on malls as spaces that have attracted a considerable  flow of people, causing changes in the relationships of the townspeople with the public spaces. In this perpective, we have to anlyze the North Shopping, located in Fortaleza, as a space where the popular use of lower purchasing power can enter and enjoy its atributes. Imbued with this purpose our theoretival approach was bases on Pintaudi (1992), Dantas (1995), Silva (1996) Lefebvre (1999), Carlos (2001), Gomes (2002) e Serpa (2007).  It’s concluded that in the city of Fortaleza, the North Shopping is a true simulation of reality, replacing the daily experiences of public spaces, becoming  thusovervaluation of private space of public who dresss as having impact on new fortaleza’s urbanity. Espacio Público y Centro Comercial en Ciudad Contemporánea: Nuevos Sentidos del North Shopoing en la Fortaleza/CE ResumenIniciar uma reflexión acerca de la actual ciudad nos recuerda la necesidad de construir um análisis acerca de los centros comerciales como espacios que han atraído um flujo considerable de personas, provocando câmbios en la relación de los habitantes de la ciudad com los espacios públicos. Em esta perspectiva, tenemos que analisar el North Shopping, que se encuentra en Fortaleza, como um espacio de uso popular donde lãs camadas de menor poder adquisitivo pueden entrar y disfrutar de sus atributos. Imbuido de esa finalidad nuestro aporte teórico se fundamento em: Pintaudi (1992), Dantas (1995), Silva (1996) Lefebvre (1999), Carlos (2001), Gomes (2002) y Serpa (2004). Se puede concluir que en la ciudad de Fortaleza el North Shopping es uma  verdadera simulación de la realidad, sustituición de las experiencias diárias de los espacios públicos, convertiéndose, asó, la sobrevaluación del espacio privado que se passa por el público tenendo impactos en la nueva urbanidad de Fortaleza.10.7147/GEO10.1573

scholarly journals Murals make (Our) history: paintings on the wall as media of cultural memory. Interpreting the current state of Warsaw’s commemorative murals

2017 ◽  
Vol 13 (4) ◽  
pp. 114-135
Author(s):  
Ilija Upalevski
Keyword(s):  
Content Analysis ◽  
Public Space ◽  
Cultural Memory ◽  
Public Domain ◽  
Secondary Memory ◽  
Cultural Institutions ◽  
Complex State ◽  
The Public ◽  
The Past ◽  
Current State

The aim of this paper is to closely examine the ways in which the outdoor mural as a form of art. has been used for commemorative purposes in the context of the Polish capital. Drawing on content analysis this paper will argue that regardless of their democratic potential and potential to act subversively in the public domain, the commemorative murals in the case of Warsaw are predominantly reflecting the official narrations/representations of the past and thus reproducing the state-supported, nation-centered, male-dominated perspective of history. Referring to Wulf Kansteiner methodological instructions, the paper introduces the notion of “secondary” memory makers in order to describe the position the mural makers are occupying in the field of Warsaw’s cultural memory. It will also be argued that mural makers, by adapting their works to the demands of the cultural institutions responsible for the memory production and dominant discourses of memory from mainly pragmatic reasons, are forgoing a fair portion of the democratic and subversive potential of the murals. As such, the paintings on the walls are, intentionally or not, further involved in more complex state-sponsored strategies of nationalizing the public space.

An Aristocrat of the Spirit. Touches to the Creative Portrait of Prof. Dsc. Andrey Pantev

Epohi ◽  
2021 ◽  
Vol 29 (1) ◽  
Author(s):  
Nikola Avreyski ◽  
Keyword(s):  
Public Space ◽  
World History ◽  
Public Figure ◽  
The Public ◽  
The Past ◽  
Before And After

In the article an attempt for a creative and civic portrait of the most popular Bulgarian historian and one of our most respected intellectuals – Prof. DSc. Andrey Pantev (hist.), is made. The stages of his construction as a scientist are characterized. The unusual breadth of his research interests, extending to the new and modern Bulgarian, Balkan, European and world history, is outlined. His unusual style of restoring the past stands out. It is understood in his specific creative laboratory. On this basis, his elegant difference among colleagues from the professional guild is shown. Special attention is paid to his civic position before and after the beginning of the democratic renewal of the country, as well as his fascinating and artistic stay in the public space and his bright presence in the development of the new Bulgarian parliamentarism. Professor Andrey Pantev is shown as a gifted modern historian, an original scientist with his contributions in other fields of science, a prominent public figure and one of the greatest intellectuals of modern Bulgaria, as a true aristocrat of the spirit of European and world greatness.

Images between Religion and Art

2017 ◽  
Keyword(s):  
Mass Media ◽  
Public Space ◽  
Contemporary Art ◽  
Religious Art ◽  
Critical Potential ◽  
The Public ◽  
The Past ◽  
The Relationship ◽  
Religion And Art ◽  
Contemporary Artists

This chapter discusses the different ways contemporary artists re-use religious motifs and the effects of such citations. In the majority of cases their artworks function as a context to turn that religion into a topic, and an object of discussion. The critical potential of contemporary artworks that deal with religious themes lies somewhere apart from art’s rejection or mocking of religion, as blasphemy retains its proximity to the specifically religious power of images. When contemporary artists reuse religious motifs they become counter-motifs. The interest in religion, in its various traditions and guises, indicates a desire for self-understanding by re-staging the past. The multifaceted relationship between contemporary art and religion is examined through a detailed discussion of twelve exhibitions organised between 1999 and 2010, which approach religion and religious art from a variety of perspectives. Many of the curators claim that they are emphatically not religious, nor trying to send a religious message. Including religion in the infrastructure of display associated with contemporary art creates a different visibility in the public space and asks questions concerning such visual practices as iconoclasm; the relationship between commercialism, mass media and religion, and the afterlife of religious art, among many others.

scholarly journals POSSÍVEIS CONTRIBUIÇÕES DE CHARLES TAYLOR PARA O ORÇAMENTO PÚBLICO: desafios para as políticas públicas

2014 ◽  
Vol 18 (1) ◽  
pp. 155
Author(s):  
Luciana Costa Poli ◽  
Bruno Ferraz Hazan
Keyword(s):  
Public Space ◽  
Public Policies ◽  
Charles Taylor ◽  
Social Forces ◽  
Public Budget ◽  
Political Struggle ◽  
Budget Planning ◽  
The Public ◽  
New Meanings ◽  
The Individual

O estudo aborda o orçamento público como instrumento que evidencia uma série de escolhas pautadas por políticas públicas, revelando que sua elaboração deveria ao menos espelhar um espac¸o de luta poli ´tica, a propiciar que asdivergentes forc¸as sociais se movimentem para buscar concretizar seus interesses. O artigo menciona, ainda, a experiência portuguesa da desorçamentação como processo de descentralizac¸a~o administrativa e os estudos de Charles Taylor sobre a desejada estruturac¸a~o de novos significados para as aço~es humanas que possam trafegar entre as questões individuais e o espac¸o pu´blico em busca de um processo de reconhecimento. Propõe construir um modelo democrático de planejamento orçamentário associado a ` uma visão capaz de propiciar a participação de todos os destinatários de forma a se perseguir uma e´tica que permita aos indivi ´duos recuperar aquilo que lhes confere a possibilidade de projetar existencialmente formas significativas de vida e de engajamento na sociedade.Palavras-chave: Orçamento público; políticas públicas; reconhecimentoPOSSIBLE CONTRIBUTIONS OF CHARLES TAYLOR FOR PUBLIC BUDGET: challenges to public policies Abstract: The study addresses the public budget as an instrument that evidences a series of choices guided by publicpolicies, revealing that its development should at least mirror an arena of political struggle, to provide that the divergent social forces move to achieve their interests. The article also mentions the Portuguese experience of off-budget as an administrative decentralization process and the studies of Charles Taylor concerning the desired structuring of new meanings for human actions that can travel between the individual issues and public space in search of a recognitionprocess. It is proposed to build a democratic model of budget planning associated with a vision to provide the participation ofall recipients in order to pursue an ethic that allows individuals to recover what gives them the possibility of designing existentially meaningful ways of life and engagement in society.Keywords: Public budget, public policies, recognition.

scholarly journals A Bridge to the Past: Public Memory and Nostalgia for the Communist Times in Modern Georgia

2018 ◽  
Vol 12 (1) ◽  
pp. 31-51
Author(s):  
Elisabeth Kovtiak
Keyword(s):  
Public Space ◽  
Main Argument ◽  
Ordinary People ◽  
Politics Of Memory ◽  
The Public ◽  
Official Discourse ◽  
Soviet People ◽  
The Past ◽  
Ideological Background ◽  
Flea Market

AbstractThis paper deals with the politics of memory in contemporary Georgia’s public space. It explores the relations between official and vernacular commemorations of the Soviet past in Tbilisi. In this paper, I have studied the forms of materialization of vernacular memories in the public space and provided a frame in which they exist, including the ideological background of decommunization in Georgia and peculiarities of the Soviet era museumizing in state museums. The official discourse demonizes the previous epoque and neglects all its benefits, whereas the ordinary people are quite nuanced in their memories of their past – this contradiction leads to manifestations of vernacular memories. Therefore, this paper focuses mostly on Tbilisi’s Dry Bridge, a famous flea market where the memory of the recent Soviet past is negotiated. The main argument is that this particular flea market and its artifacts might be regarded as a “vernacular memorial” and “lieu de memoire” where nostalgia for an officially demonized era can be expressed and materialized. This paper explores the items that are on sale, explaining their meaning for the post-Soviet people, and describes the intangible practices that can be observed there. In addition, this paper unpacks that these nostalgic practices should not be considered as “unhealthy” or “retrospective” as it helps people to adapt to modernity and develop by considering more than one hegemonic version of their past.

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