Abstraction in Motion

2015 ◽  
pp. 63-70
Author(s):  
Cristina Ghetti ◽  
Emanuele Mazza
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
New Technologies ◽  
Art World ◽  
Folding Pattern ◽  
Digital Era ◽  
Art Works

Folding Pattern is an art project developed by the team of artists, Cristina Ghetti and Emanuele Mazza. The work starts from the idea of proposing a revision of the foundations of perceptual abstraction, that had in it's derivations, one of the art movements more connected with the use of new technologies and one of the art tendencies with more powerful and interesting arguments. We are interested in exploring the developments of abstraction in the digital era, incorporating new media tools, and analyzing how contemporary art is developing the ideas of modernist abstraction introducing the utilization of new technologies, in a context where the influence of science, and of new ways of producing and exhibiting the art works, changes completely the art world.

Digital Era Governance and Social Media

2020 ◽  
pp. 19-35
Author(s):  
Abdul Malik Omar
Keyword(s):  
Social Media ◽  
New Media ◽  
New Technologies ◽  
Digital Era ◽  
The World ◽  
Governance Process ◽  
Digital Governance ◽  
Digital Dividend ◽  
Development Application

Digital technology is at the forefront of transforming how governments operate around the world. Using Brunei's Information Department (InfoDept) as a case study, this chapter looks at how the agency has evolved from its inception in the 1950s to 2019 in its embrace of both old and new media to pursue its mission and objectives as a government-run media agency. The results demonstrate how new media, such as social media, can complement old media if done right. The case study on InfoDept contributes to the growing field of research related to the increased advancement, development, application, and impact of new technologies in bolstering the digital governance process. This chapter also provides strong evidence on how governments can improve its general governance process and unlock the digital dividend in the 21st century by incorporating new media into its public policy architectonic. Salient lessons for policymakers and practitioners on digital governance have also been presented in this chapter.

scholarly journals Contemporary Taonga: The Art Works of Brett Graham

2021 ◽  
Author(s):  
◽  
Anna-Marie White
Keyword(s):  
New Zealand ◽  
Contemporary Art ◽  
Art History ◽  
Art World ◽  
Art Practice ◽  
Collaborative Process ◽  
Western Art ◽  
Art Works ◽  
Kaupapa Māori ◽  
The Impact

<p>The production of taonga is a sovereign Māori tradition closely guarded in contemporary Māori society. Many Contemporary Māori Artists observe taonga principles in their work though these qualities are stifled within the New Zealand art system. In the 1990s these subjects were fiercely debated resulting in Contemporary Māori Art being defined differently to the ancestral tradition of taonga. This debate created a rupture, which disturbs the practice of Māori art and is a major concern in the emerging practice of Māori art history. Reviving earlier arguments for Contemporary Māori Art to be defined according to the principles of taonga, this thesis applies the concept of ‘contemporary taonga’ to the art works of Brett Graham (Ngāti Koroki Kahukura), to argue that taonga production is active in contemporary Māori life and offers a new method to reconcile Māori art histories.  The practice of Kaupapa Māori research and theory enlivened the taonga principles of Brett Graham’s art works. Intensive accounts of two art works, produced a decade apart, reveal ‘contemporary taonga’ to be a collaborative process involving recognition and instrumentalisation by authoritative Māori viewers. Kahukura (1996), produced in response to the debates was, however, overwhelmed by competing interests of the time. Āniwaniwa (2006) undertook an arduous journey—to the centre of the Western art world in order to be shown within the artist’s tribal rohe—where Ngāti Koroki Kahukura kaumātua recognised Graham as a tohunga. Iwi leaders also employed Āniwaniwa in their Treaty of Waitangi claims process, functionalising the art work as taonga to support the advancement of their people. Āniwaniwa then left New Zealand to play a role in the formalisation of an international indigenous art network.   As a type for contemporary taonga, Āniwaniwa is an expansive model to introduce this concept to contemporary art discourse. The impact of this concept is yet to be realised though immediately reconciles long-standing issues in Māori art. ‘Contemporary taonga’ has the potential to radically reconcieve, and reorganise, Contemporary Māori Art practice and history according to the practice of ancestral Māori traditions and determined by the authority and agency of Māori people.</p>

scholarly journals Art in the Digital during and after Covid: Aura and Apparatus of Online Exhibitions

2020 ◽  
Vol 12 (5) ◽  
Author(s):  
João Pedro Amorim ◽  
◽  
Luís Teixeira ◽  
Keyword(s):  
Contemporary Art ◽  
New Technologies ◽  
Art World ◽  
Art Gallery ◽  
Digital Platforms ◽  
The Public ◽  
Alternative Materials ◽  
Digital Reproduction ◽  
Mega Event ◽  
The Impact

The public health measures that were put in place to contain COVID-19 impacted the lives of people and institutions alike. For its global impact and transformation, the pandemic has the potential to be classified as a mega-event. Such radical events have become great opportunities to the testing of new technologies and forms of organisation, (Masi, 2016) that might in the future become prevalent. The impact of the pandemic was particularly felt in the contemporary art world, as the entire cultural activity was suspended. During this period, art institutions and collectives around the world reacted by adapting and providing alternative materials online. This paper aims at reflecting upon the challenges facing the exhibition of contemporary art online. Following Boris Groys’ (2016) actualisation of Walter Benjamin, we problematise how the digital reproduction of art affects the aura of an artwork. Proposing a critique of the apparatus of digital platforms, we analyse how the digital reproduces and enhances ideological structures that overpass the whole of society. For that purpose we analyse how four different organisations (an artist-run space, an art gallery, a museum and an art biennale) have migrated their activity to online platforms. The case-studies will allow a broad understanding of the different approaches available – with some radically taking advantage of the digital environment, and others merely digitising the role taken henceforth by printed catalogues.

scholarly journals Contemporary Taonga: The Art Works of Brett Graham

2021 ◽  
Author(s):  
◽  
Anna-Marie White
Keyword(s):  
New Zealand ◽  
Contemporary Art ◽  
Art History ◽  
Art World ◽  
Art Practice ◽  
Collaborative Process ◽  
Western Art ◽  
Art Works ◽  
Kaupapa Māori ◽  
The Impact

<p>The production of taonga is a sovereign Māori tradition closely guarded in contemporary Māori society. Many Contemporary Māori Artists observe taonga principles in their work though these qualities are stifled within the New Zealand art system. In the 1990s these subjects were fiercely debated resulting in Contemporary Māori Art being defined differently to the ancestral tradition of taonga. This debate created a rupture, which disturbs the practice of Māori art and is a major concern in the emerging practice of Māori art history. Reviving earlier arguments for Contemporary Māori Art to be defined according to the principles of taonga, this thesis applies the concept of ‘contemporary taonga’ to the art works of Brett Graham (Ngāti Koroki Kahukura), to argue that taonga production is active in contemporary Māori life and offers a new method to reconcile Māori art histories.  The practice of Kaupapa Māori research and theory enlivened the taonga principles of Brett Graham’s art works. Intensive accounts of two art works, produced a decade apart, reveal ‘contemporary taonga’ to be a collaborative process involving recognition and instrumentalisation by authoritative Māori viewers. Kahukura (1996), produced in response to the debates was, however, overwhelmed by competing interests of the time. Āniwaniwa (2006) undertook an arduous journey—to the centre of the Western art world in order to be shown within the artist’s tribal rohe—where Ngāti Koroki Kahukura kaumātua recognised Graham as a tohunga. Iwi leaders also employed Āniwaniwa in their Treaty of Waitangi claims process, functionalising the art work as taonga to support the advancement of their people. Āniwaniwa then left New Zealand to play a role in the formalisation of an international indigenous art network.   As a type for contemporary taonga, Āniwaniwa is an expansive model to introduce this concept to contemporary art discourse. The impact of this concept is yet to be realised though immediately reconciles long-standing issues in Māori art. ‘Contemporary taonga’ has the potential to radically reconcieve, and reorganise, Contemporary Māori Art practice and history according to the practice of ancestral Māori traditions and determined by the authority and agency of Māori people.</p>

scholarly journals The Geological Present: A Critique of the Aesthetic Anthropocene

2021 ◽  
Author(s):  
◽  
Lachlan Gregory Taylor
Keyword(s):  
Contemporary Art ◽  
Natural World ◽  
Aesthetic Theory ◽  
Art World ◽  
Art Making ◽  
Critical Methodology ◽  
Art Works ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

<p>This thesis is a response to an emergent discourse on the relationship between the visual arts and the Anthropocene. The latter—the stratigraphic designation for a new geological epoch—has accrued a popularity within the contemporary art-world that is rarely afforded to a concept from the earth sciences. The uptake in Anthropocene-themed exhibitions, publications, and think-pieces reflects the concept’s promise of an art-making and art-critical methodology that may foster a revised relationship to nature in the age of climate change.   Despite the new-found fashionability of the term, this relationship between art and the Anthropocene has neither been comprehensively demonstrated, nor disproved. Consequently, the purpose of this thesis is to undertake this necessary interrogation.   Firstly, this is an engagement with the competing philosophies and intentions that have attached themselves to the Anthropocene label as it progressed from a straightforward geological statement, into a profound suite of assertions regarding the relationship of humanity to our planet. The influence of the posthumanist ecological philosopher, Timothy Morton, is a particular focus for understanding what the aesthetic theory of the Anthropocene consists of. Taken together, this theory is a promise of a new relationship with the natural world through the jettisoning of Romantic fantasies of nature in favour of an engagement with a sub-discursive, material world.   Secondly, this theory is read against ecologically conscious contemporary art works. The practices of Pierre Huyghe, Simon Starling, and Conor Clarke speak to the same concerns as the aesthetic Anthropocene. Reading these works through the lens offered by the stratigraphic concept investigates and tests the capability of the aesthetic Anthropocene for delivering its promises of an art without nature, and a new engagement with our environments.   Ultimately, the innovations of the aesthetic Anthropocene are novel, plentiful, but unconvincing. As a theory, it is beset by flaws and contradictions which undermine its applicability and critical potential. Consequently, ecologically conscious art does little to reflect the aims and aspirations of the aesthetic Anthropocene, rendering it an unhelpful tool for understanding the geological present.</p>

scholarly journals Contemporary Art and Politics in Exhibitions by Halil Altindere and Ei Arakawa

2018 ◽  
pp. 113
Author(s):  
Marija Riboškić Jovanović
Keyword(s):  
New Media ◽  
Media Studies ◽  
Contemporary Art ◽  
New Technologies ◽  
Virtual Space ◽  
Art And Politics ◽  
Practical Possibility ◽  
Media Channels ◽  
Technical Construction ◽  
Better Than

The issue of contemporary art in the last three decades and the possibility of developing, acting, replicating, experimenting, storing and reactivating art through new technologies has encouraged theoreticians to re-evaluate the capabilities and capacities of the art itself. I think that only art today analyses how our reality is constructed through media channels. For the analysis, I will use the Berlin Biennale for Contemporary Art 2016 “The Present in Drag”. Today we are living in a world of image implosion. Since the world is rapidly changing with techno-images and virtual space, today art generally has not to explain anything, but it can, with the help of projects and concepts, create its own world and form our presence in it. Nowadays, subjectivity has become a technical construction, and the current myth of the possibility of creating live images through technical reproduction in combination with new media has become both a theoretical and practical possibility. With this work and with several examples from contemporary art I will show that artists who deal with current political problems present the situation better than mainstream global news carriers. Article received: March 24, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Riboškić Jovanović, Marija. "Contemporary Art and Politics in Exhibitions by Halil Altindere and Ei Arakawa." AM Journal of Art and Media Studies 16 (2018): 113−122. doi: 10.25038/am.v0i16.258

scholarly journals Electronic Media and Social Networks in Politics: European Experience

2021 ◽  
Vol 104 (4) ◽  
pp. 184-193
Author(s):  
Ivan Skripka ◽  
Keyword(s):  
Social Networks ◽  
New Media ◽  
New Technologies ◽  
Political Process ◽  
National Level ◽  
Electronic Media ◽  
The European Union ◽  
Digital Era ◽  
Internet Resources ◽  
Stage Of Development

The article outlines the relationship between the political process and the development of "new" mass media which mainly means social networks. Electronic media, including social networks, pose a challenge to the current state of international relations. In this regard, a number of states (Belorussia, Russia, Great Britain) and supranational structures (European Commission, UN) are developing a digital legislation envisaging control over the online space. In addition to the negative aspects, the development of "new" media helps political forces in their activities. Many European politicians and political parties actively use Internet resources and micro-targeting to attract voters. The challenge for governments and researchers in this field is to understand the pros and cons of the new digital era and to develop a plan for integrating new technologies into the familiar political process. It is concluded that the European Union and other states are at the stage of development and entry into force of uniform rules regulating the Internet. The trend towards the formation of a single legal field is combined with legislative regulation at the national level, since this area affects issues of security and sovereignty.

scholarly journals The Geological Present: A Critique of the Aesthetic Anthropocene

2021 ◽  
Author(s):  
◽  
Lachlan Gregory Taylor
Keyword(s):  
Contemporary Art ◽  
Natural World ◽  
Aesthetic Theory ◽  
Art World ◽  
Art Making ◽  
Critical Methodology ◽  
Art Works ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

<p>This thesis is a response to an emergent discourse on the relationship between the visual arts and the Anthropocene. The latter—the stratigraphic designation for a new geological epoch—has accrued a popularity within the contemporary art-world that is rarely afforded to a concept from the earth sciences. The uptake in Anthropocene-themed exhibitions, publications, and think-pieces reflects the concept’s promise of an art-making and art-critical methodology that may foster a revised relationship to nature in the age of climate change.   Despite the new-found fashionability of the term, this relationship between art and the Anthropocene has neither been comprehensively demonstrated, nor disproved. Consequently, the purpose of this thesis is to undertake this necessary interrogation.   Firstly, this is an engagement with the competing philosophies and intentions that have attached themselves to the Anthropocene label as it progressed from a straightforward geological statement, into a profound suite of assertions regarding the relationship of humanity to our planet. The influence of the posthumanist ecological philosopher, Timothy Morton, is a particular focus for understanding what the aesthetic theory of the Anthropocene consists of. Taken together, this theory is a promise of a new relationship with the natural world through the jettisoning of Romantic fantasies of nature in favour of an engagement with a sub-discursive, material world.   Secondly, this theory is read against ecologically conscious contemporary art works. The practices of Pierre Huyghe, Simon Starling, and Conor Clarke speak to the same concerns as the aesthetic Anthropocene. Reading these works through the lens offered by the stratigraphic concept investigates and tests the capability of the aesthetic Anthropocene for delivering its promises of an art without nature, and a new engagement with our environments.   Ultimately, the innovations of the aesthetic Anthropocene are novel, plentiful, but unconvincing. As a theory, it is beset by flaws and contradictions which undermine its applicability and critical potential. Consequently, ecologically conscious art does little to reflect the aims and aspirations of the aesthetic Anthropocene, rendering it an unhelpful tool for understanding the geological present.</p>

“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art

ARTMargins ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 29-49
Author(s):  
Raino Isto
Keyword(s):  
Contemporary Art ◽  
Socialist Realism ◽  
National Gallery ◽  
Art World ◽  
The Balkans ◽  
Art Works ◽  
Fundamental Misunderstanding ◽  
Historical Phenomenon ◽  
Global Art

Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist contemporary art included in Blood & Honey. The Homo Socialisticus sculptures occupied a prominent place in the exhibition both spatially and rhetorically, and this article examines how we might read Blood & Honey—and the socialist past in general—through Szeemann's problematic incorporation of this collection of works in one of the key Balkans-oriented exhibitions staged in the early 2000s. The article argues that understanding how Szeemann misread—and discursively oversimplified—Albanian Socialist Realism can help us see not only the continued provincialization of Albania in the contemporary global art world, but more importantly the fundamental misunderstanding of Socialist Realism as a historical phenomenon and a precursor to contemporary geopolitical cultural configurations

Teaching Poetry through Classroom Flipping among Prospective Teachers in a College of Education ? Action Research Report

2017 ◽  
Vol 3 (10) ◽  
Author(s):  
Dr. A. Joycilin Shermila
Keyword(s):  
Active Learning ◽  
Learning Community ◽  
Prospective Teachers ◽  
Flipped Classroom ◽  
New Technologies ◽  
Thinking Skills ◽  
College Of Education ◽  
Learning Technologies ◽  
Research Report ◽  
Digital Era

Times have changed and teachers have evolved. New technologies have opened up the classroom to the outside world. Teachers who were seen with textbooks and blackboard are now using varied technological tools to empower learners to publish works and engage learners with live audience in real contexts. In this digital era an ever-expanding array of powerful software has been made available. The flipped classroom is a shift from passive to active learning to focus on higher order thinking skills such as analysis, synthesis and evaluation. This model of teaching combines pedagogy and learning technologies. Significant learning happens through facilitating active learning through engaged learners. In this approach learning materials are provided through text, video, audio and multimedia. Students take responsibility of their learning. They work together applying course concepts with guidance from the instructor. This increased interaction helps to create a learning community that encourages them to build knowledge inside and outside the classroom.

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