scholarly journals O Fascínio do Cinema na Arte Pública: entre a Ficção e a Realidade

2020 ◽  
Author(s):  
José Pedro Regatão
Keyword(s):  
Public Art ◽  
Urban Spaces ◽  
Cultural Dimension ◽  
Special Importance ◽  
The Public ◽  
Surrounding Environment ◽  
History Of ◽  
Artistic Interventions ◽  
The Way

Public art is one of the most relevant artistic manifestations in urban spaces, by the way it interacts with the public and relates to the surrounding environment. Today it is possible to observe a set of artistic interventions that are inspired, directly or indirectly, in the cinema, giving special importance to its aesthetic and cultural dimension. This text intends to analyze and to reflect critically on a set of works of public art dedicated to the cinematographic art and its main protagonists. From the commemorative sculpture that deals with the history of the seventh art, to the sculptural installation that celebrates a character or an actor.

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

Urban Surveillance in Mexico

2011 ◽  
pp. 324-340
Author(s):  
Nelson Botello
Keyword(s):  
Urban Spaces ◽  
Closed Circuit ◽  
Central Mexico ◽  
Cultural Dimension ◽  
Public And Private ◽  
Closed Circuit Television ◽  
Two Cities ◽  
Symbolic Meanings ◽  
The Relationship ◽  
The Way

In this chapter, the symbolic cultural dimension of technology and surveillance technologies in two cities and two commercial centers in central Mexico will be explored, especially the various Closed Circuit Television Systems (CCTV). This will allow the analysis of the way in which these technologies have made viable specific ways of sorting and governance of public and private spaces in the country. This document then examines the relationship established between the symbolic meanings given to these surveillance technologies in said urban spaces. Included is a series of observations and interviews of those in charge of these systems.

scholarly journals El nomen sacrum ihs como símbolo de la crucifixión en el Sermón de la Circuncisión del Señor de san Vicente Ferrer

2021 ◽  
Vol 17 ◽  
pp. 16
Author(s):  
María Luz Mandingorra Llavata
Keyword(s):  
Middle Ages ◽  
Jesus Christ ◽  
Daily Life ◽  
The Public ◽  
Life Problems ◽  
History Of ◽  
The Relationship ◽  
The Middle Ages ◽  
The Way

Resum: El nomen sacrum ihs se hallaba presente en infinidad de manifestaciones artísticas y objetos de la vida cotidiana durante la Edad Media, por lo que era bien conocido por los fieles. El objetivo del presente artículo es mostrar de qué modo san Vicente Ferrer se sirve de esta abreviatura como símbolo de la crucifixión de Jesucristo con el fin de fomentar la devoción al nombre Iesus y erradicar el recurso a adivinos y sortílegos. Para ello, analizaremos el sermón de la Circuncisión del Señor predicado por el maestro dominico y estableceremos la conexión de los elementos integrantes del texto con representaciones coetáneas de la crucifixión.Paraules clau: san Vicente Ferrer, predicación, Nomina Sacra, crucifixión, historia de la cultura escrita Abstract: The nomen sacrum ihs was present in many paintings as well as other artifacts during the Middle Ages, therefore, it was very well known by the public. The aim of this paper is to show the way Saint Vincent Ferrer uses this abbreviation as a symbol of the Crucifixion of Jesus Christ in order to increase the devotion to the Name of Jesus and prevent people from consulting diviners and sorcerers to solve daily life problems. To this end, we analyse the Sermon of the Circumcision of the Lord preached by the Dominican master and establish the relationship between the elements that compose the text and some contemporary images of the Crucifixion.Keywords: Saint Vincent Ferrer, preaching, Nomina Sacra, crucifixion, history of literacy

DE AMBIGUÏTEIT VAN DE DINOSAURUS

2018 ◽  
Vol 2 (3) ◽  
pp. 287-311
Author(s):  
Ilja Nieuwland
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
The Public ◽  
Sea Snakes ◽  
History Of ◽  
Heads Of State ◽  
Plaster Casts ◽  
The Way

THE DINOSAUR’S AMBIGUITY Sea snakes, Iguanodons and why Brussels did not receive its Diplodocus In the opening years of the twentieth century, the Scottish magnate Andrew Carnegie used the donation of plaster casts of the dinosaur Diplodocusas a means to influence European heads of state in favor of his scheme for conflict arbitration. This contribution examines the way in which these casts became a border object between the worlds of science, high and popular culture, and politics, by looking at the history of the public assimilation of dinosaurs. Specifically, it focuses on an earlier example of such donations: the Iguanodons which were given away by the Belgian state and the Belgian king Leopold II personally, after 1890. These developments collided when Carnegie’s donation of a Diplodocus was cancelled after Leopold’s reputation began to suffer when details of the Congolese genocide became known to the public. This illustrates that for Carnegie, despite the cultural and scientific appeal of his donations, politics remained at the center of his campaign.

scholarly journals Curators Serving the Public Good

Philosophies ◽  
2021 ◽  
Vol 6 (2) ◽  
pp. 28
Author(s):  
Jean-Paul Martinon
Keyword(s):  
Public Good ◽  
Codes Of Ethics ◽  
Private Good ◽  
Universal Principle ◽  
The Public ◽  
Widespread Acceptance ◽  
History Of ◽  
Circle Of Friends ◽  
The Way

This article investigates a principle inscribed at the top of most codes of ethics for curators: they should always “serve the public good.” No self-respecting curator would ever admit to serve “the private good,” that is, the good of the few, whether that of an elite in power or of a circle of friends or allies. The principle of “serving the public good” is inalienable and unquestionable even in situations where it is most open to doubt. However, what exactly is the meaning of this seemingly “true” and on all accounts “universal” principle: “to serve the public good”? To address this question, I look at this principle for the way it is perceived as being both majestic in its impressive widespread acceptance and cloaked in ridicule for being so often disregarded. I will argue—with an example taken from the history of curating—that it is not the meaning attached to the principle that counts, but the respect that it enjoins. I conclude by drawing a few remarks on how the value of the “good” remains, after the principle has been cast aside and the priority of respect is acknowledged, a ghost on the horizon of all curators’ work.

scholarly journals Scientific Evidence and the Internalism–Externalism Distinction

2021 ◽  
Author(s):  
Jonathan Egeland
Keyword(s):  
History Of Science ◽  
Scientific Community ◽  
Common Knowledge ◽  
Scientific Evidence ◽  
The Public ◽  
Externalist View ◽  
History Of ◽  
Public Character ◽  
The Way

AbstractConsiderations of scientific evidence are often thought to provide externalism with the dialectical upper hand in the internalism–externalism debate. How so? A couple of reasons are forthcoming in the literature. (1) Williamson (2000) argues that the E = K thesis (in contrast to internalism) provides the best explanation for the fact that scientists appear to argue from premises about true propositions (or facts) that are common knowledge among the members of the scientific community. (2) Kelly (Philosophy Compass, 3 (5), 933–955, 2008; 2016) argues that only externalism is suited to account for the public character of scientific evidence. In this article, I respond to Williamson and Kelly’s arguments. First, I show that the E = K thesis isn’t supported by the way in which we talk about scientific evidence, and that it is unable to account for facts about what has been regarded as scientific evidence and as justified scientific belief in the history of science. Second, I argue that there are internalist views that can account for the publicity of scientific evidence, and that those views indeed do better in that regard than the (externalist) view proposed by Kelly. The upshot is that considerations of scientific evidence do not favor externalism over internalism.

scholarly journals The square, the monument and the re-configurative power of art in postmigrant public spaces

2021 ◽  
pp. 235-264
Author(s):  
Anne Ring Petersen
Keyword(s):  
Urban Space ◽  
Collective Identity ◽  
Public Art ◽  
Public Spaces ◽  
Public Park ◽  
The Public ◽  
National Imagination ◽  
National Heritage ◽  
Artistic Interventions

This chapter explores how art in public spaces shapes, and is shaped by, disagreements and conflicts resulting from the need to tackle »togetherness in difference« (Ien Ang), and how contemporary artistic practices play out in postmigrant public spaces, understood as plural domains of human encounter impacted by former and ongoing migration, and by new forms of nationalism. The chapter focuses on two art projects in Copenhagen, Denmark. The first one is The Red Square, a part of the public park Superkilen in the multicultural Nørrebro district. Designed by the artist group Superflex (in collaboration with architects from Bjarke Ingels Group and Topotek1), Superkilen opened in 2012. The second project is Jeannette Ehlers and La Vaughn Belle's collaboration on the sculpture I Am Queen Mary. Installed outside an old colonial Warehouse in Copenhagen harbour in 2018, it is the first monument in the country to commemorate Danish colonialism and complicity in the transatlantic slave trade. Borrowing a term from Chantal Mouffe, these projects could be characterized as »agonistic« interventions into public urban space. The chapter argues that they may provide us with some much-needed answers to the important question of the much debated yet crucial role of public art in democratic societies, particularly how works of art may form a possible loophole of escape from dominant discourses by openly contesting, or subtly circumventing, monocultural understandings of national heritage and identity, thereby helping us to imagine national and urban community otherwise, i.e. as postmigrant communities. The chapter examines what the re-configurative power of art might accomplish in postmigrant public spaces by considering the following questions: How can public art open up a social and national imagination pervaded by anxieties about (post)migration to other ways of thinking about diversity and collective identity? Furthermore, is it possible to identify a common pattern - i.e. a particular postmigrant strategy - that underpins and interconnects various types of artistic interventions into public spaces and debates, which, on the surface, present themselves as radically different kinds of projects?

scholarly journals From the editors

Muzealnictwo ◽  
2019 ◽  
Vol 60 ◽  
pp. 1-1
Author(s):  
Redakcja "Muzealnictwo"
Keyword(s):  
Present Issue ◽  
The Public ◽  
Face Identity ◽  
The Past ◽  
Cultural Legacy ◽  
Governance Model ◽  
History Of ◽  
Word Change ◽  
The Right ◽  
The Way

If we want to describe the surrounding reality, while at the same time trying to grasp the best key to it, it seems that the word “change” is the most appropriate. Museums rank among that category of culture institutions which, while undergoing changes, and caring for their own institutional and axiological autonomy, attempt at the same time to influence the very changes; this, however, makes them face identity dilemmas, the necessity to find the right balance between the responsibilities that are sometimes referred to as “traditional ones”, namely the ones they have towards the collections, and the obligations commonly regarded to be an attribute of “modernity”, these towards the public in the variety of their impressive turnout growth and the increase of their expectations. The way to stabilize change effects, while at the same to stimulate them, also with respect to the closest editing of the museum Annual, are legislative efforts and bills. One could even be tempted to make the statement, this not fully irony-free, that the history of Polish museology is actually the history of implemented and unimplemented legislative projects (the latter dominating), of the attempts to define the position of museums in the context of the synergically perceived “cultural legacy”, of finding for them the appropriate governance model, without rejecting the above-mentioned identity dilemmas. The goal of the “Muzealnictwo” Annual No. 60 is to present an overview of the past and current trials to amend the “Museum Act”, to identify areas for essential corrections, reasons for negligence, yet first and foremost, difficulties in applying them to the culture domain in which the most frequently applied word next to “change” (and most highly appreciated by museum circles) is the word “specificity”. This overview will hopefully contribute to the reflection on the capacity of institutional operating under the circumstances in which the inadequacy between the letter of the law and its enforcement can be observed. Next to the theme that is key to the present issue of the “Muzealnictwo” Annual, you will find the well established and known sections describing the spheres of museum operations, these occurring regardless of the lapse of time and their legislative creations. Piotr Majewski Professor at the Cardinal Stefan Wyszyński University in Warsaw Editor-in-Chief

Lessening the Obduracy of Networked Urbanity

2017 ◽  
Author(s):  
Taylor Dotson
Keyword(s):  
Urban Development ◽  
Building Codes ◽  
Urban Spaces ◽  
Cultural Barriers ◽  
Third Places ◽  
The Public ◽  
Public Subsidy ◽  
Built Form ◽  
Publicly Supported ◽  
The Way

This chapter outlines the constellation of economic, political, and cultural barriers to more communitarian urban spaces. The momentum of suburbia is shown to have as much to do with entrenched zoning rules and building codes, the mispricing of development charges and utility fees, and the lack of appropriate expertise among architects and planners as the sheer mass of already existing built form. Moving to more communitarian urban spaces will require ending the public subsidy of sprawl, changing the way mortgages are approved, ending the automatic provision of free parking, better supporting a range of more democratic urban development practices, among other changes. Finally, neighbourhood amenities, including third places, could be publicly supported and collectively governed.

Introduction

2019 ◽  
pp. 7-30
Author(s):  
Lisa Blee ◽  
Jean M. O’Brien
Keyword(s):  
Public Art ◽  
Historical Memory ◽  
Native Peoples ◽  
The Public ◽  
The Past ◽  
The World ◽  
History Of ◽  
Popular Interest ◽  
The U.S ◽  
Over Time

This chapter explains the connection between monuments and the stories about the past they convey to viewers over time. While monuments are considered static and place-bound, this statue of the Massasoit became mobile in numerous ways: in stories that travel with the viewer; as small replicas carried away as souvenirs or purchased as art across the country and the world; and in full-sized casts installed in diverse public settings in the Midwest and West. This chapter argues that the fact that the statue represents a Native leader with a connection to the story of the first Thanksgiving makes its mobility uniquely revealing of the fraught historical memory of colonialism in the U.S. This chapter introduces the argument that Wampanoag and other Native peoples have long resisted, challenged, and refigured the popular celebratory story of peaceful colonization often attached to the figure of the Massasoit. This chapter also introduces the history of the Thanksgiving myth, recounts Wampanoag and English settler relations, explains the popular interest in Indian statuary, and provides background on the public art movement that lead to the commission of the Massasoit statue.

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