scholarly journals Virtual Restoration and Visualization Changes through Light: A Review

Heritage ◽  
2020 ◽  
Vol 3 (4) ◽  
pp. 1373-1384
Author(s):  
Ángela Gómez Manzanares ◽  
Anto J. Benítez ◽  
Juan Carlos Martínez Antón
Keyword(s):  
Cultural Heritage ◽  
Work Of Art ◽  
Optical Techniques ◽  
Design And Optimization ◽  
Works Of Art ◽  
Calibration Methods ◽  
Lighting Systems

The virtual modification of the appearance of an object using lighting technologies has become very important in recent years, since the projection of light on an object allows us to alter its appearance in a virtual and reversible way. Considering the limitation of non-contact when analysing a work of art, these optical techniques have been used in fields of restoration of cultural heritage, allowing us to visualize the work as it was conceived by its author, after a process of acquisition and treatment of the image. Furthermore, the technique of altering the appearance of objects through the projection of light has been used in projects with artistic or even educational purposes. This review has treated the main studies of light projection as a technique to alter the appearance of objects, emphasizing the calibration methods used in each study, taking into account the importance of a correct calibration between devices to carry out this technology. In addition, since the described technique consists of projecting light, and one of the applications is related to cultural heritage, those studies that carry out the design and optimization of lighting systems will be described for a correct appreciation of the works of art, without altering its state of conservation.

PERLINDUNGAN HUKUM TERHADAP KARYA SENI BATIK YANG BELUM TERDAFTAR MENURUT UNDANG-UNDANG NOMOR 28 TAHUN 2014 TENTANG HAK CIPTA

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Inggrit Fernandes
Keyword(s):  
Intellectual Property ◽  
Property Rights ◽  
Cultural Heritage ◽  
Intellectual Property Rights ◽  
Rapid Growth ◽  
Economic Value ◽  
Legal Protection ◽  
Property Law ◽  
Market Demand ◽  
Work Of Art

Batik artwork is one of the treasures of the nation's cultural heritage. Batik artwork is currently experiencing rapid growth. The amount of interest and market demand for this art resulted batik artwork became one of the commodities in the country and abroad. Thus, if the batik artwork is not protected then the future can be assured of a new conflict arises in the realm of intellectual property law. Act No. 28 of 2014 on Copyright has accommodated artwork batik as one of the creations that are protected by law. So that this work of art than as a cultural heritage also have economic value for its creator. Then how the legal protection of the batik artwork yaang not registered? Does this also can be protected? While in the registration of intellectual property rights is a necessity so that it has the force of law to the work produced

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

scholarly journals WYBRANE ZAGADNIENIA WŁASNOŚCI ZABYTKÓW I DZIEŁ SZTUKI W PRAWIE PRL-U

2016 ◽  
Vol 11 (2) ◽  
pp. 171 ◽  
Author(s):  
Alicja Jagielska-Burduk
Keyword(s):  
Cultural Heritage ◽  
Public Interest ◽  
Legal Status ◽  
Private Property ◽  
Cultural Property ◽  
Future Generations ◽  
The Public ◽  
Common Heritage ◽  
Works Of Art ◽  
The Common

LEGAL STATUS OF CULTURAL PROPERTY AND WORKS OF ART IN THE PRL Summary The article deals with the legal status of works of art and cultural property in the Polish legislation during communism period. Classifying those objects as private property was considered as a very difficult task, because of their material value and the public interest in saving them for future generations. The strict limitations of individuals property were perceived as unusual and as a result a new sort of property – the private cultural property was distinguished. Moreover, the concepts of the common heritage and res extra commercium could be observed in the light of the PRL ideas. It should be emphasized that the above mentioned theories for improving cultural heritage regulations are the most popular in the nowadays’ international discussion.

The Medieval Image, I

2019 ◽  
pp. 196-223
Author(s):  
Thomas Nail
Keyword(s):  
Middle Ages ◽  
Work Of Art ◽  
Works Of Art ◽  
Aesthetic Field ◽  
The Aesthetic ◽  
The Church ◽  
The Middle Ages

Chapter 10 presents a realist aesthetics (versus constructivist) and a kinetic materialism (versus formal idealism) that focuses on the material kinetic structure of the work of art itself, inclusive of milieu and viewer. What the author calls “kinesthetics” is a return to the works of art themselves as fields of images, affects, and sensations. The chapter more specifically offers a focused study of the material kinetic conditions of the dominant aesthetic field of relation during the Middle Ages. The argument here and in the next chapter is that during the Middle Ages, the aesthetic field is defined by a tensional and relational regime of motion. This idea is supported by looking closely at three major arts of the Middle Ages: glassworks, the church, and distillation. The next chapter likewise considers perspective, the keyboard, and epistolography.

1. What is art history?

2020 ◽  
pp. 1-30
Author(s):  
Dana Arnold
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Art Appreciation ◽  
Cultural Issues ◽  
Work Of Art ◽  
Works Of Art ◽  
The Social ◽  
Over Time

‘What is art history?’ discusses the term art history and draws distinctions between it and art appreciation and art criticism. It also considers the range of artefacts included in the discipline and how these have changed over time. The work of art is our primary evidence, and it is our interaction between this evidence and methods of enquiry that forms art history. Art appreciation and criticism are also linked to connoisseurship. Although art is a visual subject, we learn about it through reading and we convey our ideas about it mostly in writing. The social and cultural issues articulated by art history are examined through an analysis of four very different works of art.

Seduction in Works of Art

2017 ◽  
pp. 165-187
Author(s):  
Laura González
Keyword(s):  
Jean Baudrillard ◽  
Work Of Art ◽  
Academic Knowledge ◽  
The Core ◽  
Works Of Art

What is it about certain things that occupy our thought until we get hold of them, until we somehow possess them? Why is it that we hopelessly, predictably, inevitably fall for certain works of art? What is it about certain objects that seduce us? This chapter seeks to study the seductiveness of objects, something that also preoccupied Jean Baudrillard and is found at the core of his thinking. The work studies a very particular kind of object: the work of art, although consumption and captology, designed objects and other types of objecthood are also used as examples. The perspective adopted here, however, is not related to the historical or economic contexts of the objects. The truth about seduction will not be sought (it would deceive, anyway); or, indeed, an interpretation for the purposes of academic knowledge, which would kill it; or, again, its representation, which would be a flawed and false undertaking, if not impossible.

scholarly journals Cultural Heritage Chemistry

2018 ◽  
Vol 40 (2) ◽  
pp. 58-59
Author(s):  
Daniel Rabinovich
Keyword(s):  
Analytical Chemistry ◽  
Cultural Heritage ◽  
Analytical Techniques ◽  
Profound Influence ◽  
Works Of Art ◽  
Analytical Instrumentation ◽  
Non Destructive ◽  
Modern Analytical ◽  
Destructive Methods

Abstract The tools of analytical chemistry, and the expertise and enthusiasm of many of its practitioners, have had a profound influence in the field of cultural heritage [1, 2]. Analytical techniques, especially those involving non-destructive methods of examination, have played a key role in the characterization, restoration, and preservation of an incredible range of works of art and cultural heritage, including ceramics, textiles, paintings, books, drawings, sculptures, jewelry, and a myriad of artifacts made of glass, wood, or metal. In addition, modern analytical instrumentation has been successfully applied to study the techniques used to produce heritage materials, to verify the authorship or estimate the date of pieces of art, and to detect reproductions and forgeries.

Lasers in the Analysis of Cultural Heritage Materials

2009 ◽  
Vol 8 ◽  
pp. 47-60 ◽  
Author(s):  
Demetrios Anglos ◽  
Savas Georgiou ◽  
Costas Fotakis
Keyword(s):  
Remote Sensing ◽  
Chemical Composition ◽  
Fluorescence Spectroscopy ◽  
Cultural Heritage ◽  
Molecular Level ◽  
Analytical Techniques ◽  
Spectroscopic Techniques ◽  
Works Of Art ◽  
Non Linear ◽  
Detector Technology

This article reviews laser-based analytical techniques, which find applications in the field of cultural heritage diagnostics, providing information about the chemical composition of materials, at the atomic or molecular level. Lasers are intense sources of light featuring unique characteristics that have been exploited in order to enhance the performance of certain spectroscopic techniques such as Raman or fluorescence spectroscopy, or even produce new schemes of analysis, including, for instance, non-linear or remote sensing spectroscopy as well as laser ablative sampling and excitation. In parallel, with advances in laser and detector technology, compact, mobile instrumentation is becoming available that permits broader use of such laser-based techniques for analysis of materials in works of art and archaeological findings.

A Reply To Miss Smith

Philosophy ◽  
1958 ◽  
Vol 33 (124) ◽  
pp. 57-57
Author(s):  
W. D. Glasgow
Keyword(s):  
Work Of Art ◽  
Works Of Art ◽  
The Subject ◽  
Spiritual Reality ◽  
Objective Reference ◽  
Do So

The word “objective” is of course the trouble–maker here, Miss Smith assumes that if an aesthetic statement is held to be objective (or to have an objective reference) then it is the physical existence of the work of art (the picture or the sound of the music) that constitutes the objectivity: i.e. if a work of art is exteroceptively perceivable, then an aesthetic statement involving it is objective. Some writers, however (usually philosophical idealists) have held that in genuine works of art there is manifested an ultimate spiritual Reality (it might be called God) which we apprehend when we appreciate such works. On this theory, an aesthetic statement (“This picture is beautiful”) has an objective reference if the subject of it (the work of art) succeeds in expressing or communicating such a supersensible Reality: if it fails to do so, then the statement is subjective, i.e. it can be analysed completely into a statement about our feelings or emotions (e.g. “I like this picture”).

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