scholarly journals Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism

Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 161
Author(s):  
Sally Butler
Keyword(s):  
Indigenous People ◽  
Cultural Landscapes ◽  
Fine Arts ◽  
Cultural Tourism ◽  
Fine Art ◽  
Cultural Knowledge ◽  
Relational Model ◽  
Indigenous Art ◽  
Indigenous Perspectives ◽  
The Impact

Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.

scholarly journals Double perspective in the Colonial present

2021 ◽  
Author(s):  
Anna Lydia Svalastog ◽  
Shawn Wilson ◽  
Harald Gaski ◽  
Kate Senior ◽  
Richard Chenhall
Keyword(s):  
Everyday Life ◽  
Indigenous People ◽  
Indigenous Peoples ◽  
Cultural Knowledge ◽  
Public Institutions ◽  
Public Healthcare ◽  
Cultural Communication ◽  
Individual Health ◽  
The Impact ◽  
Indigenous Thought

AbstractThis paper will explain the concept of double perspective and the impact that this cultural understanding may have on the health of the Indigenous peoples of Scandinavia. In inter-cultural communication, one set of meanings may be discernible to the outsider while a whole extra set of restricted or underlying meanings are only accessible for those people who have the cultural knowledge to discern them. These different sets of meanings embody a double perspective. It is not dual perspectives on the same reality but rather seeing two separate but overlapping realities. We will discuss the layers of meaning which are involved in the interactions between public healthcare institutions, clinicians and staff, and Indigenous people including the Sámi. These interactions are influenced by the impact of colonization and the ongoing epistemicide of Indigenous thought. By realising the improved resilience that a double perspective brings to Indigenous peoples, an awareness of the inclusion and exclusion of Indigenous persons, cultures and histories should become established in public institutions and in everyday life. A double perspective carries Sámi resilience, and should be understood as a key to support individual health, and also the collective wellbeing of a people living on their traditional yet colonized land.

scholarly journals Double perspective narrating time, life and health

2020 ◽  
Vol 16 (2) ◽  
pp. 137-145 ◽  
Author(s):  
Shawn Wilson ◽  
Anna Lydia Svalastog ◽  
Harald Gaski ◽  
Kate Senior ◽  
Richard Chenhall
Keyword(s):  
Indigenous People ◽  
Health Research ◽  
Well Being ◽  
Cultural Knowledge ◽  
Public Healthcare ◽  
Cultural Communication ◽  
Individual Health ◽  
The Impact

The goal of this article is to explain the concept of double perspective and the impact this may be having on the health of Indigenous people. In inter-cultural communication, there are sets of meanings that are discernible to anyone, and an extra set of underlying meanings that are only accessible for people who have the cultural knowledge to discern them. These different sets of meanings embody a double perspective. We will discuss the double perspective involved in the interactions between public healthcare institutions, the clinicians and staff of these institutions, and Indigenous people. By realising the potential for improved resilience that a double perspective brings to Indigenous people, an awareness of the inclusion and exclusion of Indigenous persons, cultures and histories should become established in healthcare institutions and health research. A double perspective carries resilience, and as such it should be understood as a key to support individual health and the collective well-being of Indigenous people.

EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"

2020 ◽  
pp. 138-150
Author(s):  
Mariya T. Maistrovskaya ◽  
◽  
Keyword(s):  
Visual Art ◽  
Spatial Organization ◽  
Fine Arts ◽  
Environmental Design ◽  
Exhibition Design ◽  
Fine Art ◽  
Museum Of Fine Arts ◽  
Artistic Images ◽  
Fashion Designers

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

Aesthetic Dissonance: The Impact of Viewing Fine Art in a Science Museum

2021 ◽  
Vol 46 (2) ◽  
pp. 202-215
Author(s):  
Jana Greenslit ◽  
Aaron Price ◽  
Tiffany Malone
Keyword(s):  
Fine Art ◽  
Science Museum ◽  
The Impact

scholarly journals Renovation of Public Lighting Systems in Cultural Landscapes: Lighting and Energy Performance and Their Impact on Nightscapes

Energies ◽  
2021 ◽  
Vol 14 (2) ◽  
pp. 509
Author(s):  
Lodovica Valetti ◽  
Francesca Floris ◽  
Anna Pellegrino
Keyword(s):  
Energy Efficient ◽  
Flux Distribution ◽  
Cultural Landscapes ◽  
Energy Performance ◽  
Luminous Flux ◽  
Landscape Value ◽  
Reduce Energy Consumption ◽  
Lighting Systems ◽  
The Impact ◽  
Positive Effect

The technological innovation in the field of lighting and the need to reduce energy consumption connected to public lighting are leading many municipalities to undertake the renewal of public lighting systems, by replacing the existing luminaires with LED technologies. This renovation process is usually aimed at increasing energy efficiency and reducing maintenance costs, whist improving the lighting performance. To achieve these results, the new luminaires are often characterised by a luminous flux distribution much more downward oriented, which may remarkably influence and alter the perception of the night image of the sites. In this study the implications of the renovation of public lighting systems in terms of lighting and energy performance as well as the effects relating to the alteration of the night image, in historical contexts characterized by significant landscape value, are analysed. Results, along with demonstrating the positive effect that more sustainable and energy efficient lighting systems may have on the lighting performance and energy consumptions of public lighting systems, evidences the impact they may have on the alteration of the nocturnal image.

scholarly journals Situating Indigenous Resilience: Climate Change and Tayal’s “Millet Ark” Action in Taiwan

2020 ◽  
Vol 12 (24) ◽  
pp. 10676
Author(s):  
Yih-Ren Lin ◽  
Pagung Tomi ◽  
Hsinya Huang ◽  
Chia-Hua Lin ◽  
Ysanne Chen
Keyword(s):  
Climate Change ◽  
Cultural Diversity ◽  
Indigenous People ◽  
Social Life ◽  
Cultural Practices ◽  
Global Climate ◽  
Collaborative Work ◽  
Biodiversity Loss ◽  
Cultural Knowledge ◽  
Global Environmental

Whereas indigenous people are on the frontlines of global environmental challenges such as climate change, biodiversity loss, and numerous other forms of critical planetary deterioration, the indigenous experiences, responses, and cultural practices have been underestimated in the mainstream frameworks of environmental studies. This paper aims to articulate a meaningful response to recent calls to indigenous and local knowledge on food as a source of resilience in the face of global climate change. By retrieving the values and practices indigenous people of Taiwan, specifically Tayal women, associate with human and non-human ecologies, our collaborative work with the indigenous community explores indigenous resilience and its relevance to indigenous cultural knowledge and global environmental concerns. Pivoting on the “Millet Ark” action, a Tayal conservation initiative of the bio-cultural diversity of millets, this study revolves around issues of how Tayal communities adapt to the climate change, how to reclaim their voice, heritage, knowledge, place, and land through food, and how to narrate indigenous “counter-stories” of resilience and sustainability. The cultural narrative of “Millet Ark” investigates indigenous way of preserving millet bio-cultural diversity and restoring the land and community heritage, inquiring into how Tayal people are adaptive and resilient to change and therefore sustainable through the cultural and social life of millets.

Institute of Forensic Art Examination of Fine Art Objects: Theoretical and Practical Problems

2021 ◽  
pp. 47-53
Author(s):  
Bondarenko L. K. ◽  
◽  
Skachko A. V.
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Fine Art ◽  
Legal Proceedings ◽  
Art Objects ◽  
Criminal Procedure Law ◽  
The Russian Federation ◽  
Substantive Law ◽  
Practical Level ◽  
Selection Of

The problem of organizing expert activities in the field of forensic art examination of fine arts at a practical level is considered. The conditions of objectivity (reliability) of the results of a forensic art examination of fine art in law enforcement practiceare identified. In this regard, the problem of the reliability of the examination results is considered at the interdisciplinary level: substantive law – criminal and customs; criminal procedure law, as well as forensic science and expert activities. The necessity of creating, within the framework of the anti-corruption policy of the state, an independent institute of forensic art criticism of fine arts is substantiated. It is proposed: 1) to create an information base under the Ministry of Justice of the Russian Federation on the data of art historians known in different fields of fine art who can act as competent persons in legal proceedings; 2) to create a mechanism for the appointment of a commission of forensic-forensic art examination of objects of fine art examination on the basis of automatic random selection of subjects of examination. It is proved that this measure excludes the possibility of giving an unreliable conclusion as part of a forensic art examination of objects of fine art.

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