scholarly journals Nuevas prácticas en la escena contemporánea: tecnología, mediaciones y precariedad / New Practices in the Contemporary Scene: Technology, Mediations and Precarity

2014 ◽  
Vol 3 (2) ◽  
Author(s):  
Ileana Azor Hernández
Keyword(s):  
Virtual Reality ◽  
Contemporary Art ◽  
New Technologies ◽  
Mexican Women ◽  
Artistic Creation ◽  
The World ◽  
Physical Presence ◽  
Arte Contemporáneo

ABSTRACTMultiple strategies featuring contemporary art, particularly the scene, are revisited from the formulations that researchers and academics are proposing recently. Performances and creative practices from Europe and America exploring physical presence and virtual reality, event and extreme reality have been the focus of several discussions. Here are updated through Mexican women artistic creation and the environments in which they are involved. Following the traces of a "life" that gives meaning to the world, as part of the process of "scriptures" are expanded, where “presencialidad”, mediations and precariousness enable dialogues with different realities, emphasizes that new technologies are relevant support to consider.RESUMENLas múltiples estrategias que ofrece el arte contemporáneo, particularmente el de la escena, son revisitados a partir de las formulaciones que, desde hace unos años, creadores, investigadores y académicos están proponiendo. La presencia física y en la realidad virtual, el evento y la extrema realidad, así como la precariedad, debatida y ejecutada en performances y textos de Europa y Estados Unidos han sido el centro de varias discusiones que aquí se actualizan a través de la creación artística de mujeres mexicanas y los entornos en los que se involucran. El seguimiento esta vez enfatiza la construcción de una “vida” que da sentido al mundo, como parte de los procesos de “escrituras” expandidas, donde la “presencialidad”, las mediaciones y la precariedad permiten diálogos con diferentes realidades en las que las nuevas tecno-logías son un soporte relevante a tener en cuenta.

scholarly journals Los ‘apocalipsis silenciosos’ del arte contemporáneo como dispositivos transformadores de conciencia para la reparación de una memoria ecológica degradada

2020 ◽  
Vol 23 ◽  
pp. 230-246
Author(s):  
Ricardo González-García
Keyword(s):  
Contemporary Art ◽  
Human Beings ◽  
Capitalist System ◽  
Future Scenario ◽  
Raising Awareness ◽  
The Social ◽  
The World ◽  
El Sistema ◽  
Unlimited Growth ◽  
Arte Contemporáneo

Como una reunión simbólica de conciencia, toda gran obra de arte es un apocalipsis silencioso que, con sus significativas impresiones o interacciones, puede llegar a transformar la estructura social. Transfigurando el mundo mediante sus espacios de representación, es capaz de adquirir una capacidad profética que denuncia situaciones a fin de, como en el caso específico aquí ofrecido, reestablecer el equilibrio de los ecosistemas degradados por la huella que el ser humano ha impreso sobre ellos. Esta misma impronta antropocénica, auspiciada por la idea de progreso que confiere la utopía del crecimiento ilimitado propuesta por el sistema capitalista, paradójicamente podría llevar al ser humano a asistir al fin de su propia especie. Por esta razón, parte del arte contemporáneo lleva tiempo sumamente preocupado en concienciar a la sociedad y, así, frenar la llegada de un catastrófico escenario futuro. Debido a la urgencia de esta acuciante situación, se abordan diversas denuncias establecidas en las prácticas artísticas para cambiar la actitud de sus espectadores. Para ello, se proponen aquí dos vertientes: la de obras que muestran escenarios distópicos y la de otras más activistas que tratan de atajar la situación desde entornos concretos. As a symbolic gathering of conscience, every great artwork is a silent apocalypse that, with its significant impressions or interactions, can transform the social structure. Transfiguring the world through its spaces of representation, it is capable of acquiring a prophetic capacity that denounces situations in order to, as in the specific case offered here; restore the balance of ecosystems degraded by the footprint that human beings have printed on them. This same anthropocenic imprint, sponsored by the idea of progress that confers the utopia of unlimited growth proposed by the capitalist system, paradoxically could lead the human being to attend the end of his own species. For this reason, part of contemporary art has been extremely concerned about raising awareness in society and, thus, curbing the arrival of a catastrophic future scenario. Due to the urgency of this pressing situation, we complaints various complaints established in artistic practices to change the attitude of its spectators. To do this, we proposed two aspects here: that of works that show dystopian scenarios and that of other more activists which try to tackle the situation from specific environments.

Posthuman Being

2019 ◽  
pp. 1-19
Author(s):  
John Christopher Woodcock
Keyword(s):  
Virtual Reality ◽  
Contemporary Art ◽  
Empirical Reality ◽  
Essential Nature ◽  
The World ◽  
Contemporary Artists

With the enormous chaotic changes taking place today, contemporary artists are showing us a vast and mystifying range of artworks that show glimpses of nascent worlds coming into being and just as quickly disappearing into oblivion. The author explores a world that seems to be gaining some traction—the world of the posthuman. Contemporary art is showing glimpses of this still-forming world in artworks produced from a collision between or interpenetration of virtual reality and empirical reality, giving rise to weird, horrific, and sometimes strangely beautiful forms. Then the author seeks to penetrate “behind” this posthuman art to the activity of the artist, in order to find the original “bringing forth” (Heidegger) of posthuman artworks. This move reveals the fundamental place of revelation and prophecy as the origin of any artwork and thus indicates the essential nature of the posthuman world.

scholarly journals Repeticiones y revisiones: el remake en la fotografía construida

2013 ◽  
pp. 5-41
Author(s):  
Maribel Castro
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
Cultural Meaning ◽  
New Approaches ◽  
Palabras Clave ◽  
The World ◽  
Collective Imagination ◽  
Strong Commitment ◽  
Art Photography ◽  
Arte Contemporáneo

Desde la posmodernidad, la teoría de la fotografía se ha ocupado de la idea de que las fotografías pueden ser entendidas como procesos de significación y codificación cultural. En un contexto artístico interesado por el pastiche, la cita, la deconstrucción y el cuestionamiento de las ideas de autoría y originalidad, el remake se consolida como modo de producción de versiones de iconos pertenecientes al imaginario colectivo, y se convierte en una estrategia representacional recurrente en la fotografía artística actual. Nos reta a reconocer lo que vemos, cuestionar cómo lo vemos, y problematizar cómo las imágenes dan forma a nuestras emociones y comprensión del mundo. Tras desarrollar el concepto de remake, analizaremos sus implicaciones estéticas, narrativas y representacionales en la fotografía escenificada, mediante el estudio de un conjunto de propuestas artísticas recientes que hacen uso de un stock de imágenes preexistentes (especialmente procedentes de la Pintura), reelaborándolas con nuevos enfoques que expresan además un compromiso con el presente. PALABRAS CLAVE: Fotografía escenificada; remake; arte contemporáneo; deconstrucción; originalidad.ABSTRACT Since posmodernism, photography theory has dealt with the idea that photographs can be understood as processes of cultural meaning and coding. In an artistic context interested in pastiche, quotation, deconstruction and questioning ideas of authorship and originality, the remake is consolidated as way of producing revisions of icons belonging to the collective imagination, and becomes a recurring representational strategy in current art photography. It challenges us to recognize what we see, to question how we see it, and to problematize how images give shape to our emotions and understanding of the world. After developing the concept of remake, we will analyze its aesthetic, narrative and representational implications in staged photography, through the study of a set of recent artistic proposals that make use of a stock of preexisting images (specially from Painting), that then are reworked with new approaches that express a strong commitment to the present.                                                                                                                 KEY WORDS: Staged photography; remake, contemporary art; deconstruction; originality.

scholarly journals Emphasis: Category of sublime in contemporary aesthetic culture

2021 ◽  
Vol 64 (2) ◽  
pp. 133-148
Author(s):  
Divna Vuksanovic
Keyword(s):  
Contemporary Art ◽  
New Technologies ◽  
Frame Of Reference ◽  
Modern Age ◽  
The Sublime ◽  
Works Of Art ◽  
The World ◽  
Artistic Quality ◽  
Contemporary Poetics

The text has the aspiration to sketch a frame of reference for understanding the concept of the sublime today, as it is used in the context of art. The basic idea is to investigate how the category of the sublime appears in the modern age, both within aesthetic theories and with regard to certain poetics and specific works of art. The key difference in the perception of the sublime in relation to the earlier phases of capitalism and the present one consists in the connection that the sublime establishes with new technologies, which is also reflected in the world of art. The exploitation of the category of the sublime through new technologies, embedded in some of the contemporary poetics, is characteristic of our time, which is determined through the primacy of profit in relation to any aesthetic/artistic quality manifested by contemporary art.

scholarly journals Artista contemporáneo busca público al que enfrentarse. Sobre el arte como hecho comunicativo

Liño ◽  
2017 ◽  
Vol 23 (23) ◽  
pp. 147
Author(s):  
Luis D. Rivero Moreno
Keyword(s):  
Twentieth Century ◽  
Public Participation ◽  
Contemporary Art ◽  
Avant Garde ◽  
Early Twentieth Century ◽  
Physical Presence ◽  
Siglo Xx ◽  
Arte Contemporáneo

RESUMEN:Desde comienzos del siglo XX, el objetivo de la vanguardia fue la ruptura con los condicionantes que limitaban la comunicación en el hecho artístico. Las tentativas de hacer fluir la comunicación entre artista y público se han basado en diversas estrategias: de la socialización de la creación a la disolución material de la obra como elemento intermedio. Gran parte del arte contemporáneo ha tratado de convertir al público en partícipe, o bien conseguir involucrar al artista en la sociedad. Una tercera salida será la de la presencia física de artista y público en un mismo lugar y mismo tiempo.PALABRAS CLAVE:Arte contemporáneo; semiología; artista; público; participación en el arte.ABSTRACT:Since the early twentieth century, the goal of the avant-garde was the break with the constraints that limited the artistic communication. The attempts of flowing communication between artist and audience have relied on different strategies: from the socialization of creation to the material dissolution of the work as intermediate between both. Much of contemporary art is built on the attempt to turn the audience into a participant, or get involve the artist in society. A third output will be the physical presence of the artist and audience in the same place and the same time.KEY WORDS:Contemporary art; semiology; artist; public; participation in art.

scholarly journals Del auge del arte textil a la investigación personal.

2019 ◽  
Vol 21 ◽  
pp. 160-177
Author(s):  
Silvia Viñao
Keyword(s):  
Contemporary Art ◽  
Great Influence ◽  
The World ◽  
Textile Art ◽  
Role Of Women ◽  
Arte Contemporáneo

Este artículo consta esencialmente de dos partes. La primera constituye una breve revisión del papel de la mujer en la sociedad y en el arte a través del arte textil. En ella se analiza cómo la actividad textil tuvo gran influencia en la incorporación de la mujer en el mundo laboral y cómo el fenómeno de la incorporación de la mujer al mundo laboral se produce de modo paralelo a su incorporación al mundo del arte y a la valoración del arte textil. Revisaremos algunos ejemplos de las artistas que han empleado o emplean el lenguaje textil para expresarse en el terreno artístico como afirmación de su identidad femenina. En segundo lugar, expondré los principales aspectos de mi propia investigación en el campo del arte textil, por medio de la técnica que denomino “Collage cosido”. Las obras realizadas con esta técnica tienen las características propias del collage ya que ensamblan distintos elementos, pero además se unen cosiéndolos. De este modo, puntada a puntada, se reproducen las líneas propias del dibujo. Así se aúnan las características de la pintura o dibujo tradicional con el arte contemporáneo y la expresión de la mujer desde la perspectiva de género. This article consists essentially of two parts: the first part is a brief review of the role of women in society and in the textile art. In that, it is analyzed how the textile activity had a great influence in the incorporation of the woman in the labor world and how this phenomenon occurs in parallel to her incorporation into the world of art and the valuation of textile art. We will review some examples of artists who have used or use the textile language to express themselves in the artistic field as an affirmation of their feminine identity.In the second part, I will expose the main aspects of my own research in the field of textile art though the technique, I call “Sewn collage” the works made with this technique have the characteristic of the collage since they assemble different elements but also join them by stitch, the proper lines of the drawing are reproducer. The characteristic of the painting or traditional drawing are combined with the contemporary art andthe expression of the woman from the perspective of the gender.

scholarly journals Blockchain and AI Meet in the Metaverse

2021 ◽  
Author(s):  
Hyun-joo Jeon ◽  
Ho-chang Youn ◽  
Sang-mi Ko ◽  
Tae-heon Kim
Keyword(s):  
Artificial Intelligence ◽  
Virtual Reality ◽  
Virtual World ◽  
New Technologies ◽  
Blockchain Technology ◽  
The World

With new technologies related to the development of computers, graphics, and hardware, the virtual world has become a reality. As COVID-19 spreads around the world, the demand for virtual reality increases, and the industry represented by the Metaverse is developing. In the Metaverse, a virtual world that transcends reality, artificial intelligence and blockchain technology are being combined. This chapter explains how artificial intelligence and blockchain can affect the Metaverse.

Auto Markets in the World and Strategy of Japan’s Companies

2019 ◽  
Vol 10 (10) ◽  
pp. 1003-1008
Author(s):  
Hiroyuki Matsuoka ◽  
Keyword(s):  
Saudi Arabia ◽  
Electric Vehicle ◽  
New Technologies ◽  
Auto Industry ◽  
Domestic Market ◽  
Automatic Driving ◽  
The World ◽  
Almost All ◽  
Made In

In the world auto market, top three companies are VW(Volkswagen), Runault-Nissan-Mistubishi, and Toyota. About some selected countries and areas, China, England, Italy, Australia, Germany, Turkey, Russia, Sweden, USA, Brazil, UAE, Japan, Vietnam and Thailand are more competitive. However, the situation is different. Seeing monopolistic market countries and areas, Saudi Arabia, Taiwan, Korea, Malaysia, France, India, and Pakistan, in particular, the influence of Japan to Taiwan, India, and Pakistan is very big. But in Korea and France, their own companies’ brands occupy the market. In Japan domestic market, the overall situation is competitive. Almost all vehicles made in Japan are Japanese brand. From now on, we have to note the development of electric vehicle (EV) and other new technologies such as automatic driving and connected car. That is because they will give a great impact on the auto industry and market of Japan. Now Japan’s auto industry is going to be consolidated into three groups, Honda, Toyota group, and Renault-Nissan-Mitsubishi group for seeking the scale merit of economy. Therefore, I will pay attention to the worldwide development of EV and other new technologies and the reorganization of auto companies groups.

Editorial

2017 ◽  
pp. 2-3
Author(s):  
Peter Hoar
Keyword(s):  
New Zealand ◽  
New Technologies ◽  
Editorial Team ◽  
Local Market ◽  
Design History ◽  
Recorded Sound ◽  
The Arts ◽  
The World ◽  
1960S And 1970S ◽  
New Zealanders

Kia ora and welcome to the second issue of BackStory. The members of the Backstory Editorial Team were gratified by the encouraging response to the first issue of the journal. We hope that our currentreaders enjoy our new issue and that it will bring others to share our interest in and enjoyment of the surprisingly varied backstories of New Zealand’s art, media, and design history. This issue takes in a wide variety of topics. Imogen Van Pierce explores the controversy around the Hundertwasser Art Centre and Wairau Māori Art Gallery to be developed in Whangarei. This project has generated debate about the role of the arts and civic architecture at both the local and national levels. This is about how much New Zealanders are prepared to invest in the arts. The value of the artist in New Zealand is also examined by Mark Stocker in his article about the sculptor Margaret Butler and the local reception of her work during the late 1930s. The cultural cringe has a long genealogy. New Zealand has been photographed since the 1840s. Alan Cocker analyses the many roles that photography played in the development of local tourism during the nineteenth century. These images challenged notions of the ‘real’ and the ‘artificial’ and how new technologies mediated the world of lived experience. Recorded sound was another such technology that changed how humans experienced the world. The rise of recorded sound from the 1890s affected lives in many ways and Lewis Tennant’s contribution captures a significant tipping point in this medium’s history in New Zealand as the transition from analogue to digital sound transformed social, commercial and acoustic worlds. The New Zealand Woman’s Weekly celebrates its 85th anniversary this year but when it was launched in 1932 it seemed tohave very little chance of success. Its rival, the Mirror, had dominated the local market since its launch in 1922. Gavin Ellis investigates the Depression-era context of the Woman’s Weekly and how its founders identified a gap in the market that the Mirror was failing to fill. The work of the photographer Marti Friedlander (1908-2016) is familiar to most New Zealanders. Friedlander’s 50 year career and huge range of subjects defy easy summary. She captured New Zealanders, their lives, and their surroundings across all social and cultural borders. In the journal’s profile commentary Linda Yang celebrates Freidlander’s remarkable life and work. Linda also discusses some recent images by Friedlander and connects these with themes present in the photographer’s work from the 1960s and 1970s. The Backstory editors hope that our readers enjoy this stimulating and varied collection of work that illuminate some not so well known aspects of New Zealand’s art, media, and design history. There are many such stories yet to be told and we look forward to bringing them to you.

Rashid Rida’s Struggle to Establish A Modern Islamic State

1984 ◽  
Vol 1 (1) ◽  
pp. 83-99
Author(s):  
Assad N. Busool
Keyword(s):  
Tenth Century ◽  
Muslim World ◽  
Reform Movement ◽  
Islamic State ◽  
Reform Movements ◽  
Islamic History ◽  
Central Concern ◽  
Arab Muslim ◽  
The World ◽  
Physical Presence

Reform movements are important religious phenomena which haveoccurred throughout Islamic history. Medieval times saw theappearance of religious reformers, such as al-Ghazali, Ibn Taimiyah,Ibn Qayim al-Jawziyah and others; however, these reform activitiesdiffered significantly from the modern reform movement. The medievalreformers worked within Muslim society; it was not necessary to dealwith the external challenge presented by Europe as it was for themodern Muslim reformers after the world of Islam lost its independenceand fell under European rule. The powers of Europe believed that Islamwas the only force that impeded them in their quest for world dominanceand, relying on the strength of their physical presence in Muslimcountries, tried to convince the Muslim peoples tgat Islam was ahindrance to their progress and development.Another problem, no less serious than the first, faced by the modernMuslim reformers was the shocking ignorance of the Muslim peoples oftheir religion and their history. For more than four centuries,scholarship in all areas had been in an unabated state of decline. Thosereligious studies which were produced veered far from the spirit ofIslam, and they were so blurred and burdened with myths and legends,that they served only to confuse the masses.The ‘Ulama were worst of all: strictly rejecting change, they still hadthe mentality of their medieval forebearers against whom al-Ghazali,Ibn Taimiyah and others had fought. Hundreds of years behind thetimes, their central concern was tuqlid (the imitation of that which hadpreceeded them through the ages). For centuries, no one had dared toquestion this heritage or point out the religious innovations it impaired.In conjunction with their questioning of the tuqlid, the modernreformers strove to revive the concept of ijtihad (indmendentjudgement) in religious matters, an idea which had been disallowedsince the tenth century. The first to raiseanew the banner of $tihad inthe Arab Muslim world was Sayyid Jamal al-Din al-Afghani; after himSheikh Muhammad ‘Abduh in Egypt, and after him, his friend and ...

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