scholarly journals Modern and Contemporary Art in the Russian Museum Context

2020 ◽  
Vol 8 (3) ◽  
pp. 63-74
Author(s):  
Marina V. Biryukova
Keyword(s):  
Contemporary Art ◽  
Large Scale ◽  
The State ◽  
Aesthetic Value ◽  
Traditional Art ◽  
Museum Exhibitions ◽  
The Media ◽  
The Aesthetic ◽  
In The Beginning ◽  
Everyday Context

The article considers contemporary and modern art in Russia as reflected in museum curatorial projects. The concepts of large-scale museum exhibitions are based on certain categories that correspond to following qualities: the connection with the centuries-old tradition, myth-making, ludic aspects and internationality – openness to the perception of other cultures. The article analyses exhibition projects in the beginning of the twentieth century, in which contemporary art is demonstrated in the space of tradition, the media context, the everyday context and the context of cultural myths and symbols. The problem of determination of the aesthetic value of contemporary art is stressed in the space of the museum, and represented artworks receive a bigger expressiveness in the neighborhood of works of traditional art. Exhibition curators effectively use aesthetic and formal contrasts; sometimes classical artworks themselves suggest new ways of understanding meanings, hypothetically included in contemporary art – as seen in the projects at the Hermitage, the State Russian Museum and the State Tretyakov Gallery, where curators can unite or contrast tradition and modernity.

scholarly journals Where is the authenticity of the contemporary art?

2017 ◽  
Vol 11 ◽  
pp. 214-218
Author(s):  
Carlota Santabárbara Morera
Keyword(s):  
Contemporary Art ◽  
Aesthetic Value ◽  
The Aesthetic ◽  
Historic Document

In the contemporary art, the conservation of the original matter is not as important as the conservation of the authenticity of the work, because of this it is very important to know the artist and his work, to be able to conserve the most important values. In this process it is very important the documentation and the research. Therefore the criteria of restoration has changed, we can not conserve the patina of the contemporary art as a historic document, if this means the loss of the aesthetic value of the work. Nowadays the art is different, and therefore its conservation is different too.

Surveilling Terror: Post-Western Topographies in No Rest for the Wicked

2020 ◽  
pp. 112-129
Author(s):  
Mónica López Lerma
Keyword(s):  
National Security ◽  
Terrorist Attack ◽  
The State ◽  
Safety Protection ◽  
The Media ◽  
The Law ◽  
The Aesthetic

Chapter five explores the “aesthetic frames” that constitute the sensory configuration of security and justice in the post-9/11 “age of terror,” through Enrique Urbizu’s film No habrá paz para los malvados (2011). The film exposes what Michael J. Shapiro (2009) has called the “violent cartography” of national security in the context of the Madrid terrorist attack on March 11, 2004. The chapter shows how, while at the narrative level the film seemingly reinforces the ideological discourses of security and justice constituted by the state and the media, at the level of aesthetics the film disturbs and reconfigures the frames within which the former discourses are to be understood. The film uses a post-Western aesthetics that recycles themes, tropes, and styles of classical Western cinema to actively interrupt and modify its assumptions, ideology, and values. Against the state’s rhetoric of safety, protection, and prevention, the film makes visible both the failure of the law to respond to violence and the inability of the police to intervene in it effectively. By leaving the viewer with a disquieting feeling of uncertainty and danger, the film asks the question, is there a place for justice between violence and the law?

Sensasi Gurat Alam dalam Fotografi Seni

2013 ◽  
Author(s):  
Muh. Fajar Apriyanto
Keyword(s):  
Emotional Expression ◽  
The Other ◽  
Aesthetic Value ◽  
Aesthetic Experiences ◽  
Other Hand ◽  
Teak Wood ◽  
The Media ◽  
Interpretation Process ◽  
The Aesthetic ◽  
Specific Sense

Nowadays art expressions know no media boundaries, whatever the toolsand materials, an artist can use the media in order to express his artistic ideas. Photography does not have mere documentary functions, but also serves as an expression of feelings or aesthetic emotions through artistic elements such as lines, colors, texture, tone, compositions, and balance.This photography art creation entitled The Sensation of Natural Scratchesin Art Photographic is an emotional expression that is based on the aesthetic experiences of the details on old teak wood. The photography objects were decayed teak that were once used to build houses and has been worn by continuous changes of weather from hot sun to cold hard winds which created scratches on the teak’s texture. The focus is on the teak’s texture’s detail or on certain patterns which can express the emotions artistically and is presented with the creative-aesthetic approach. The aesthetic experiences were gained from the hobby of collecting the old teaks. The art creation was focused on the creative-aesthetic approach and the interpretation of values in the details of the worn out teak. Additionally, it is emphasized on the compositions and the photography techniques such as the choice of objects, the use of the perfect lighting, the use of picture formatting, and the viewpoint processing. Through these approaches the photos are hoped to show aesthetic sensations which are comes from the result of scratches and textures that appeared in worn out teak. On the other hand, some other considerations of photography techniques are held in order to gain new values and interpretations. The interpretation process and the comprehension of the values have been the main focus; or in a much specific sense, photography is more valuable in the acceptance and its value is determined by the viewers and researchers, and not on the photographer. Therefore these photos may offer new experiences in interpreting the details on worn out teak. Hence, as a whole, old and worn out teak, in the photographic sense, has its own aesthetic value as an object of photography, it can also enrich the perception of visual experiences for its viewers.

scholarly journals From a Dry Statement of Facts to a Thing of Beauty: Understanding Aesthetics in the Mapping and Counter-Mapping of Place

2012 ◽  
pp. 37-60
Author(s):  
Alexander J. Kent
Keyword(s):  
Sense Of Place ◽  
The State ◽  
Topographic Maps ◽  
Topographic Mapping ◽  
Aesthetic Value ◽  
The Enlightenment ◽  
Rich Diversity ◽  
The Aesthetic ◽  
National Styles

Aesthetics plays a key role in cartographic design and is especially significant to the representation of place, whether by the state, the community, the crowd, or the artist. While state topographic mapping today demonstrates a rich diversity of national styles, its evolution (particularly since the Enlightenment) has led to the establishment of a particular aesthetic tradition, which has recently been challenged by counter-mapping initiatives and through map art. This paper explores the function of aesthetics in the cartographic representation of place. It offers an analysis of the aesthetic value of topographic maps and suggests how an appropriate wielding of the aesthetic language of cartography can communicate a sense of place more effectively.

scholarly journals Media and Misinformation in Times of COVID-19: How People Informed Themselves in the Days Following the Portuguese Declaration of the State of Emergency

2020 ◽  
Vol 1 (1) ◽  
pp. 108-121
Author(s):  
Gil Baptista Ferreira ◽  
Susana Borges
Keyword(s):  
Social Media ◽  
Mass Media ◽  
Large Scale ◽  
The State ◽  
Positive Sign ◽  
Sources Of Information ◽  
State Of Emergency ◽  
Starting Point ◽  
The Media ◽  
Informative Content

This study takes as a starting point the importance and dependence of the media to obtain information about the pandemic. The dependency theory of the media system was developed in the 1970s when mass media were the dominant source of information. Today, at a time when media choices have become abundant, studies are needed to understand the phenomenon of media dependence in light of new dimensions made important by the transformations that have taken place in the social and media fields—where the coexistence of mass media with social media platforms stands out. As large-scale crises rarely occur and the media environment changes rapidly, it is important to analyze how media dependence relates to choose and trust in different media (traditional media vs. social media) in times of crisis. Several questions arise. What is the trust attributed by individuals to social media as sources of information about COVID-19? How well informed are the individuals who choose these sources as the main sources of information? From a questionnaire administered to 244 individuals in Portugal, during the first week of the state of emergency (March 2020), this research seeks to identify how people gained access to information about COVID-19, how they acted critically towards the various sources and how they assess the reliability of different media. Finally, it analyzes the association between the type of medium chosen and adherence to misinformation content about the virus. The results reveal the existence of a phenomenon of dependence on the media, with a strong exposure (both active and accidental) to informative content, with conventional media being privileged as the main source, and positively distinguished in terms of confidence. Finally, a statistically significant association of a positive sign was identified between the use of social media as the main source and the acceptance of misinformation.

scholarly journals succession

2021 ◽  
pp. 1-1
Author(s):  
Elena Grigoryeva
Keyword(s):  
21St Century ◽  
Large Scale ◽  
New World ◽  
The State ◽  
Main Function ◽  
Left Behind ◽  
The Past ◽  
Direct Continuation ◽  
Historical Identity ◽  
The Aesthetic

Does new always mean the best? Throughout  the  last  century people had been actively  trying  to  invent  and  build  a  new world.  A  world  without  old  or  obsolete things.  The  end  of  the  millennium  gave rise  to  an  illusion  that  all  achievements, disasters and confrontations of the previous ten centuries were left behind. But the new century has already brought so drastic changes that the attitude toward the past is no longer the same. The larger the wave of  the  new  becomes,  the  more  precious looks the succession, or the continuity of the past in the present.Is  it  pure  coincidence  that  the  English words “succession” and “success” have the same  root? The  Ise Shrine  in Japan  is  rebuilt every 20 years because two previous generations of craftsmen are still alive at the time of each reconstruction. The tradition does not change. The technology, the aesthetic principles, the manner of understanding and feeling of beauty are passed from hand to hand.We have  frequently  referred  to  the period of  creative  rise  in  the middle  of  the  last century,  to  the  phenomenon  of  the  “sixtiers”. Like the modernism  itself, Siberian brutalism  opposed  the  classical  cannons, but  today  its  audacious  large-scale  solutions  look  like  a  direct  continuation  of the  centuries-old  development  of  architecture. Today’s rebirth of  interest  in brutalism  is not accidental. We believe  in  its recovery, of course, on a new level of comprehension and in new forms.Indeed, if the main function of the state in the 21st  century  is  to provide  conditions for human self-realisation with the use of cultural and historical  identity,  it  is  time to speak about SUCCESSION.

BELLS AND BELL-RINGING TRADITION IN KUZNETSK LAND: HISTORY AND PRESENT TIME

2021 ◽  
pp. 198-206
Author(s):  
Aleksey V. Gorbatov ◽  
◽  
Georgy A. Demchenko ◽  
Keyword(s):  
Large Scale ◽  
The State ◽  
Historical Period ◽  
Russian Society ◽  
Periodical Press ◽  
Way Of Life ◽  
Aesthetic Value ◽  
Archival Documents ◽  
History Of ◽  
Complete Set

The article is devoted to the history of bells and bell-ringing art on the territory of present Kemerovo Region. The topicality of the article is in considering this phenomenon as a part of the historical and cultural heritage. The unique technology and ringing art, the Orthodox faith and a special way of life of the Russian people and bells joined in the history of bells. Bell ringing has developed into a large-scale, national phenomenon; the state and the Russian society recognize its aesthetic value. Based on archival documents, materials of the periodical press of pre-revolutionary, Soviet, and modern periods, research works of historians and ethnographers, the authors demonstrate the formation of the bell-instrumental image of the region and highlight different historical periods: from the construction of the first bell towers, the complete prohibition of bell ringing to their revival, and the formation of new traditions. It is concluded that the situation with bells and ringing traditions is significantly dependent on the Church policy of the state in a certain historical period. It is specific that, throughout the study period, most of the bell ringers received and receive a small monetary reward for their obedience, and therefore, many of them tend to leave this job as soon as possible, replacing it with a more paid one. The current situation is certain not to contribute to the development and improvement of bell-ringing art. Nowadays, a small number of bells and the lack of its own bell production in Kuzbass region cannot contribute to solving the problem of restoring the Russian bell tradition. For the full revival of the bell-ringing tradition in the region, it is also necessary to have a competent complete set of bell funds, which today can hardly be described as organized and systematic. Bell rebounds are packed mainly at random. However, the situation has changed in recent years as instruments with planned ringing have got used. The authors make a conclusion about the necessity of the analysis of bell funds, their classification, and the identification of accounting and certification issues. Today, the revival of the art of bell ringing is based on both the preservation of old traditions and the formation of new ones. An important role in the development and popularization of the bell tradition is played by the activities of Orthodox bell ringers’ courses, festivals, exhibitions, master classes. All this forms the bell-instrumental image of Kuzbass region.

scholarly journals Dialektita Estetika Seni Rupa Kontemporer Bali Melalui Karya Upadana dan Valasara

2014 ◽  
Vol 1 (1) ◽  
pp. 57-73
Author(s):  
I Gede Arya Sucitra
Keyword(s):  
Contemporary Art ◽  
Visual Art ◽  
Art Criticism ◽  
Modern Art ◽  
Three Dimensional ◽  
Transformation Process ◽  
The Media ◽  
Media Creation ◽  
The Aesthetic

Penelitian ini membahas estetika karya seni yang tergelar dalam pameran seni rupaSensuous Objects melalui pendekatan kritik seni rupa. Dua perupa asal Bali yangdikaji merupakan perupa yang berkembang pada era seni rupa kontemporer melaluipenciptaan karya melalui spirit lokalitas Bali dengan pendekatan postmodern.Karya yang dihasilkan transmedia dan dengan cita rasa lokal-global. Pendekatankritik seni melalui empat tahapan analisisnya serta tiga pertimbangan penilaian yangakan menempatkan materi tulisan ini untuk berbincang, berdialog dengan karyaseni serta senimannya, sehingga akan ditemukan terjadinya proses transformasiestetis meliputi tema, gaya, fungsi, makna, hingga konsep berkeseniannya. Kritikseni rupa modern pada dasarnya adalah perbincangan mengenai seni (rupa), “artcriticism talks about art”. Tujuan dari kritik seni adalah pemahaman (understanding),supaya orang memperoleh informasi dan pemahaman yang berkaitan dengan mutusuatu karya seni. Dengan demikian, melalui kritik seni ini pembacaan terhadapkarya dua perupa Bali ini akan menemukan muaranya pada pemaparan karakterkarya dan konsepsi seni yang dihasilkannya. Penulis mengklasifikasikan karya seniperupa Sensuous Objects ke dalam tiga struktur media penciptaan, yakni media duadimensional, tiga dimensional, dan seni instalasi. Berbicara tentang karya seni akantidak utuh jika tidak menyinggung ihwal yang menyangkut medium karena hanyalewat medium itulah, karya seni itu akan memperoleh wujudnya yang konkretlahiriah. Aesthetic Dialectics of Balinese Contemporary Arts through Upadana andValasara’s Artworks. This article examines the aesthetic reading of artworks in an artexhibition called “Sensuous Objects” using an art criticism approach. Two artists fromBali are examined as growing artists in the era of contemporary art through the creationof works in the spirit of locality with a postmodern approach in Bali. The resulting workis the trans-media and the local-global flavor. An approach to art criticism throughthe four stages of analysis and assessment of three considerations will put this writingmaterial in the context of conversation, dialogue with the artwork and the artist, so thereis an aesthetic transformation process including the theme, style, function, meaning, andthe concept of art. Critics of modern art basically talk about art (visual), “art criticismtalks about art”. The purpose of art criticism is to understand that people acquireinformation and understanding pertinent to the quality of artwork. Thus, throughthe reading of artworks, two Balinese artists find out the exposure to the character andconception of artworks produced. The author classifies the artwork of artists calledSensuous Objects into three structures of media creation such as the two-dimensionalmedia, three-dimensional media, and installation art. Speaking of the artwork will not be complete if it does not mention particulars related to the media because only throughthat medium, works of art will acquire its concrete-outward form.

scholarly journals Media and Misinformation in Times of COVID-19 How People Informed Themselves in the Days Following the Portuguese Declaration of the State of Emergency

2020 ◽  
Author(s):  
Gil Baptista Ferreira ◽  
Susana Borges
Keyword(s):  
Social Media ◽  
Mass Media ◽  
Large Scale ◽  
The State ◽  
Positive Sign ◽  
Sources Of Information ◽  
State Of Emergency ◽  
Starting Point ◽  
The Media ◽  
Informative Content

This study takes as a starting point the importance and dependence of the media (Ball-Rokeach & DeFleur, 1976) to obtain information about the pandemic. The dependency theory of the media system was developed in the 1970s when mass media were the dominant source of information. Today, at a time when media choices have become abundant, studies are needed to understand the phenomenon of media dependence in light of new dimensions made important by the transformations that have taken place in the social and media fields - where the coexistence of mass media with social media platforms stands out. As large-scale crises rarely occur and the media environment changes rapidly, it is important to analyze how media dependence relates to choose and trust in different media (traditional media vs. social media) in times of crisis. Several questions arise. What is the trust attributed by individuals to social media as sources of information about the COVID-19? How well informed are the individuals who choose these sources as the main sources of information? From a questionnaire administered to 240 individuals in Portugal, during the first week of the state of emergency (March 2020), this research seeks to identify how people gained access to information about the COVID-19, how they acted critically towards the various sources and how they assess the reliability of different media. Finally, it analyzes the association between the type of medium chosen and adherence to misinformation content about the virus. The results reveal the existence of a phenomenon of dependence on the media, with a strong exposure (both active and accidental) to informative content, with conventional media being privileged as the main source, and positively distinguished in terms of confidence. Finally, a statistically significant association of a positive sign was identified between the use of social media as the main source and the acceptance of misinformation.

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