scholarly journals Installation or Conceptual Art Project with the Ceramics Phenomenon, but How and when?

2017 ◽  
Vol 1 (1) ◽  
pp. 38
Author(s):  
Güngör Güner
Keyword(s):  
Art Education ◽  
Contemporary Art ◽  
Conceptual Art ◽  
Remarkable Difference ◽  
Human Beings ◽  
Concept Art ◽  
The Difference ◽  
Creative Will

With its formation, going back to thousands of years ago, ceramic is a material fact that the human beings obtain from earth for their emergency needs at first and by time for their different rituals and artistic requirements. Whether it is primitive or developed, ceramic formation requires energy and technology. And once ceramic is obtained, it resists time for thousands of years. Therefore, we have to be very selective when making ceramics. As ceramic artists, we always feel the breath of the tradition of thousands of years on our necks even if we want or not. Contemporary art trends show up one after another and disappear after a while. Meanwhile, “Is ceramic an art or a craft?” discussions are brought to agenda. Ceramic artists with a contemporary art education background may tend to keep up with the contemporary art trends because of the pressure caused by these discussions and the dominance of tradition. Among these art movements, Concept Art and Installation under its context still maintain their currency as the most long-lasting one in recent years. Concept is a most important part of the Conceptual Art Project. All materials or finished products that are created or will be created can be an expression tool for the artists. There is no limit here. However, knowing ceramic fact well can provide the ceramic artist with a chance to differentiate. For this reason, I believe that the ceramic artist’s concern should be creating ideas that underline being different in the context of ceramic. Using ceramics will be more meaningful if the ceramic object used in the artwork can not be replaced by another object and if the concept changes when the ceramic object is replaced... Ceramic object should challenge as follows: “This concept can be expressed only if I am used here. ” ….. Forcing ceramic artist to be more creative will prevent the artist from imitation of an ordinary concept art or installation and will add variety to concept art by creating remarkable difference. Surely, this requires a more powerful mind exercise. However, this is the only way ceramic and ceramic artist can accomplish their mission and underline the difference.

NON-INDISPUTABLE RELATIONS: SELECTED RELATIONS OF CONCEPTUAL ART AND PERFORMANCE (PART ONE)1

2019 ◽  
Vol 26 (26) ◽  
pp. 74-83
Author(s):  
Andrzej Kostołowski
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Left Behind ◽  
Performance Artists ◽  
Emotional Role ◽  
The Difference ◽  
And Performance ◽  
The 1960S ◽  
The One ◽  
Analytical Index

The text concerns two major concepts in the art of the last half of this century: conceptual art and performance. Conceptual art, which crystallized in the 1960s, has become one of the fundamentally seminal movements in contemporary art. Performance – a phenomenon with long history, since 1970s has been treated as an independent art genre. These two phenomena happen to be merged in various context; both feature an approach directed against the commoditization of art. However, in other areas and contexts crucial differences between these concepts can be perceived. Conceptual artists have adopted an analytical-index relation to objects in their approach. During performances objects often play a major (also emotional) role, being left behind as documentation. Conceptual art, distancing itself from the so called “retinal art”, i.e. the one that pleases the eye, has adopted utilization of texts or other linguistic materials as an important method of expression. For performance artists (except for performance lecturers), texts and descriptions are located on the outskirts, i.e. as plans preceding actions and descriptions following them. The discussed disciplines of art differ in their approach to media, as well: conceptual art treats them purely functionally, in performances they are of bigger importance, for example combined with multimedia. The conclusion attracts attention to the complicated relations between the two concepts: conceptualism and performance art, taking into account related activities in the 1970s and the difference in approach in the successive years.

Niebezsporne związki: Niektóre relacje sztuki konceptualnej i performansu (część pierwsza)

2019 ◽  
Vol 26 (26) ◽  
pp. 74-83
Author(s):  
Andrzej Kostołowski
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Left Behind ◽  
Performance Artists ◽  
Emotional Role ◽  
The Difference ◽  
And Performance ◽  
The 1960S ◽  
The One ◽  
Analytical Index

The text concerns two major concepts in the art of the last half of this century: conceptual art and performance. Conceptual art, which crystallized in the 1960s, has become one of the fundamentally seminal movements in contemporary art. Performance – a phenomenon with long history, since 1970s has been treated as an independent art genre. These two phenomena happen to be merged in various context; both feature an approach directed against the commoditization of art. However, in other areas and contexts crucial differences between these concepts can be perceived. Conceptual artists have adopted an analytical-index relation to objects in their approach. During performances objects often play a major (also emotional) role, being left behind as documentation. Conceptual art, distancing itself from the so called “retinal art”, i.e. the one that pleases the eye, has adopted utilization of texts or other linguistic materials as an important method of expression. For performance artists (except for performance lecturers), texts and descriptions are located on the outskirts, i.e. as plans preceding actions and descriptions following them. The discussed disciplines of art differ in their approach to media, as well: conceptual art treats them purely functionally, in performances they are of bigger importance, for example combined with multimedia. The conclusion attracts attention to the complicated relations between the two concepts: conceptualism and performance art, taking into account related activities in the 1970s and the difference in approach in the successive years.

Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

2021 ◽  
pp. 1-26
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Contemporary Art ◽  
Contemporary Music ◽  
Conceptual Art ◽  
Social Process ◽  
Theoretical Concept ◽  
Sound Art ◽  
Art Theory ◽  
Avant Garde ◽  
Absolute Music ◽  
Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

Algorithm of Color Detection for Moving Video Objects Based on Mode Matching

2012 ◽  
Vol 239-240 ◽  
pp. 1000-1003
Author(s):  
Zhao Quan Cai ◽  
Hui Hu ◽  
Tao Xu ◽  
Wei Luo ◽  
Yi Cheng He
Keyword(s):  
Background Subtraction ◽  
Moving Objects ◽  
Color Matching ◽  
Human Beings ◽  
Current Image ◽  
Color Recognition ◽  
Recognition Ability ◽  
Color Identification ◽  
The Difference ◽  
Background Image

It is urgent to study how to effectively identify color of moving objects from the video in the information era. In this paper, we present the color identification methods for moving objects on fixed camera. One kind of the methods is background subtraction that recognizes the foreground objects by compare the difference of pixel luminance between the current image and the background image at the same coordinates. Another kind is based on the statistics of HSV color and color matching which makes the detection more similar to the color identification of the human beings. According to the experiment results, after the completion of the background modelling, our algorithm of background subtraction, statistics of the HSV color and the color matching have strong color recognition ability on the moving objects of video.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

scholarly journals CONTEMPORARY ART SCENARIO IN THE STATE OF ANDHRA PRADESH

2021 ◽  
pp. 186-192
Author(s):  
Dr. K. Mrutyunjaya Rao
Keyword(s):  
Key Words ◽  
Art Education ◽  
Contemporary Art ◽  
Andhra Pradesh ◽  
The State ◽  
Art Departments ◽  
Art School

The Art activity in the state of Andhra Pradesh was pioneered by Damerla Ramarao and Varada Venkataratnam with the help some English officers and some of their disciples. Later whole art activity is concentrated at Hyderabad till the state bifurcation in 2014. The Art education and Institutions were discussed in details. The arrival of Baroda school product has helped us to mark our self as distinct school on the cultural map of India with help of Ravinder G Reddy, V.Ramesh, T.Sudhakara Reddy, CRS Patnaik and Dr. K.Mrutyunjaya Rao. These masters has succeeded to paved a bridge between art and Contemporary art of India. Later the product of Andhra art school has spreaded all over the state and country. Two art departments emerged in the region of Rayalaseema under the lead of Dr.K. Mrutyunjaya Rao. Due to state bifurcation, the major art activity and development has gone to Telangana. The Residual Andhra Pradesh has lost so much. Many of Andhra Artists settled at other states for bread and butter. But now recovering slowly. KEY WORDS: Damerla Rama Rao , Baroda, Contemporary, Aesthetic, Scrap Sculpture, Kadapa,

scholarly journals GENETINIS DISKURSAS MEDIJŲ KULTŪROJE: GUNDYMAS PREKINIU NEMIRTINGUMU

Problemos ◽  
2009 ◽  
Vol 76 ◽  
pp. 52-65
Author(s):  
Vytautas Rubavičius
Keyword(s):  
Genetically Modified Organisms ◽  
Private Property ◽  
World View ◽  
Human Life ◽  
Media Culture ◽  
Human Beings ◽  
Proper Form ◽  
The Future ◽  
The Difference ◽  
The Universe

Straipsnyje grindžiama nuomonė, jog postmodernybė yra iš modernybės kylantis kapitalizmo sistemos būvis, kuriam būdinga gyvybės suprekinimas ir suišteklinimas. Postmodernybę charakterizuoja populiariosios ir medijų kultūros išplitimas. Tos kultūros apima ne tik kultūros prekes, bet ir vartojimo būdus, įgūdžius ir jų lavinimą. Pastaruoju metu jos kuria nemirtingumo vaizdiniams bei nuojautoms palankią kultūrinę, intelektinę ir pasaulėvaizdinę terpę, kurioje struktūriškai įsitvirtina genetinis diskursas ir jo nustatomos žmogaus ir jo gyvenamo pasaulio aiškinimo gairės. Svarbus šio diskurso bruožas yra technologinis inžinerinis jo pobūdis, išryškėjęs susiejant nano ir biotechnologijas, kuriomis tikimasi įveikti gyvąją ir negyvąją gamtą skiriančią prarają, iš reikalingų atomų bei molekulių kuriant reikalingų ląstelių dalis ir klonuojant gyvas būtybes. Gyvybė suprekinama ir suišteklinama patentuojant gyvybės elementus – genus ir su jais susijusius procesus. Daroma išvada, jog visi genetikos, informatikos ir kitų mokslų laimėjimai, teikiantys žmogaus gyvenimo ilginimo galimybių, kurios palaiko gundančią nemirtingumo idėją, jau yra persmelkti prekinių santykių, tad ir pats nemirtingumas įmanomas tik kaip prekė. Aptariami kai kurie evoliuciniai ir religiniai techno sapiens sampratos aspektai. Detaliau gvildenamos dvi „nemirtingumo“ versijos: Z. Baumano, kuris nemirtingumo pažadą sieja su kompiuterinės technikos plėtra prasidėjus „Antrajai medijų erai“, ir J. Baudrillard’o, tegiančio, jog klonavimo technologijos „apgręžia“ evoliuciją ir žmogų gundo virusiniu ar vėžiniu belyčiu nemirtingumu.Pagrindiniai žodžiai: genetinis diskursas, klonavimas, medijų kultūra, nanobiotechnologijos, nemirtingumas, suprekinimas.Genetic Discourse in Media Culture: Temptation by Commodified ImmoralityVytautas Rubavičius   SummaryPostmodernity is maintained as a stage of the development of capitalism. The difference between modernity and postmodernity is explained in relation to the new sphere of commodification and resourcification, namely, that of life and of all natural living processes. Postmodern media culture, or popular culture, is peopled by signs of immortality and various kinds of immortals – cyborgs, clones, zombies, immortal human beings and others. Thus, culture accustoms a consumer to immortals and immortality which is concidered as the main goal of a human being and evolution. By nano-bio-technologies and genetic discourse this goal is made scientifically valid, thus reachable. Genetic discourse is becoming the fundamental world-view providing focal landmarks for the emerging future. Media culture supports the spreading of genetic discourse and facilitates its understanding. The temptation by immortality can be considered as a version of modernist ideology of human liberation from various natural, social and heavenly bonds. This liberation, and also secularization, is supported by a scientific genetic technological discourse which is becoming a stimulating factor of postmodern media production. The genetic explanation of the world is particularly handy for technological reflexivity: the entire world is as if encapsulated into human genes, which become the principle explaining the mystery of life, evolution and the future of humanity, thus rendering power to produce the human proper form and the future of people. All the possibilities stemming from the new genetic and biotech discoveries fell under the regulation of property relations by patenting, thus making “immortality” – as a temptation and brand – not only an exeptional commodity, but also a political tool and a commodifying force. As the relationships of private property have penetrated natural biogenetic diversity and, having turned it into a resource, the cognitive subject has reached the goal to secularise the Universe, which he has set for himself: only he as the owner and producer of genes lures people with the eternal shapes of the clones and their genetic information, which will be sustained in any location of the Universe. The temptation by “immortality” will become even stronger when the genetic code is mastered. The future of humanity is related to the mixed forms of life, trans-genic or otherwise genetically modified organisms and techno-human forms that will help to postpone, and later to conquer, death. Even thinkers with religious tendencies perceive the technological improvement of human beings as their evolution towards the techno sapiens and consider such a development as an advancement towards the Kingdom of God. The technologization of human beings is imagined in terms of their divination. Yet in this case the character of contemporary science secularising God and obliterating the perception of divinity is overlooked. Two versions of immortality are analyzed more closely – that of Z. Bauman, who links it with the development of computer technologies, and that of J. Baudrillard, who gives a warning that by cloning technologies humanity is trying to inverse the evolution and to return to the undifferentiated state of cells. The conclusion is drawn that regardless of how we understand ‘immortality,’ argue over its reality or unreality, all possibilities to prolong human life granted by genetics, informatics and other advances in science and technologies, which support the tempting idea of immortality, have already been penetrated by commodity relationships; therefore, “immortality” itself will be available only as a commodity.Keywords: cloning, commodification, genetic discourse, immortality, media culture, nano-bio-technologies.

scholarly journals Reorientasi Gerakan Feminisme Islam; Sebuah Upaya Membangun Kesetaraan Perempuan

FIKROTUNA ◽  
2017 ◽  
Vol 3 (1) ◽  
Author(s):  
ABD WARITS
Keyword(s):  
Skin Color ◽  
Social Role ◽  
Human Beings ◽  
Men And Women ◽  
The World ◽  
The Status ◽  
History Of ◽  
The Difference ◽  
The Right ◽  
Arbitrary Action

In the history of women's life, the woman has never cracked from the wild cry of helplessness. Woman always become victim of men’s egoism, marginalized, hurt, unfettered, fooled and never appreciated the presence and role. This situation troubles many intellectual Muslims who have perspective that Islam teaches equality, equality for all human beings in the world. The difference in skin color, race, tribe and nation, as well as gender does not cause them to get the status of the different rights and obligations. The potential and the right to life of every human being and the obligation to serve the Lord Almighty is the same. Indeed, all human beings, as caliph in the world, have the same obligation, namely to prosperity of life in the world. No one is allowed to act arbitrarily, destroying, or hurt among others. They are required to live side by side, united, and harmonious, help each other and respect each other. However, that "demand" never becomes a reality. The differences among human identities become a barrier and the cause of divisions. For them, those who are outside environment, different identities are "others" who rightly do not need them "know". The difference of identity has become a reason to allow "hurt" each other. Several intellectual Muslims who recognize the wrong (discrimination against women), and then they attempt to formulate a movement for women's liberation. All the efforts have been done on the basis of awareness that arbitrary action by any person can never be justified. They also realize, that the backwardness of women are "stumbling block" that will lead to the resignation of a civilization. However, this struggle found a lot of challenges; including the consideration of "insubordination" to conquer the power of men, despite it had done by using many strategies. Starting from the writing of scientific book and countless fiction themed women has been published in order to give awareness of equality between men and women. This paper seeks to reexamine the process of the empowerment struggle to give a brand new concept, so that the struggle of women empowerment is not as insubordination and curiosity process in an attempt to conquer the male. Through approach of literature review and observations on the relationship between men and women, the writer finally concluded that the movement of Islamic feminism is not a movement to seize the power of men, but an attempt to liberate women from oppression so that they get the rights of their social role, giving freedom for women to pursue a career as wide as possible like a man, without forgetting a main duty as a mother: to conceive, give birth and breastfeed their children.

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