scholarly journals Nothing is something on The Disappearing of Vincent Gambini

2021 ◽  
Author(s):  
Augusto Corrieri
Keyword(s):  
21St Century ◽  
Visual Art ◽  
Collaborative Work ◽  
Font Size ◽  
Robert Rauschenberg ◽  
Chantal Akerman

This article describes and examines a recent film about acancelled theatre-magic show, with reference to a few significant artistsworking in visual art and cinema. The film in question, The Disappearing ofVincent Gambini (2021) by Augusto Corrieri and Hugo Glendinning, came about in responseto the closure of UK theatres at the start of the pandemic in 2020. Thearticle, written by one of the film’s makers, details the process that led tothe collaborative work; it then focuses on two key scenes from the film, anddiscusses these in relation to the works of 20thand 21st century artists,including Chantal Akerman, Tacita Dean and Robert Rauschenberg. What emerges isan understanding of how artistic processes can embrace and work withdisappearance and erasure; the essay concludes by proposing that amazement andwonder might lie less in the execution of successful magic, but rather in amode of perception attuned to the present, whatever it may hold. @font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:1;mso-generic-font-family:roman;mso-font-format:other;mso-font-pitch:variable;mso-font-signature:0 0 0 0 0 0;}@font-face{font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;mso-font-charset:0;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-536870145 1073786111 1 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0cm;margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:12.0pt;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;mso-fareast-language:EN-US;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;mso-fareast-language:EN-US;}div.WordSection1{page:WordSection1;}

Dialogs ar vizuālo mākslu: mākslinieks un mākslas darbs

2021 ◽  
pp. 183-191
Author(s):  
Inta Klāsone ◽  
Solvita Spirģe-Sēne
Keyword(s):  
21St Century ◽  
Social Life ◽  
Visual Art ◽  
Personal Values ◽  
Historical Context ◽  
Cultural Environment ◽  
Learning And Development ◽  
Daily Lives ◽  
Wide Range ◽  
Public Consciousness

Nowadays, various forms of visual art have brought closer people’s daily lives to the processes that occur in the society. At the same time, the visually fulfilled environment has created favourable conditions for misunderstanding the contexts and meanings of artworks. This article draws attention to the fact that dialogue with visual art can be an important tool for developing personal values and promoting the spiritual understanding of a cultural environment. The topicality of the issue is supported by the educational trends of the 21st century – to educate comprehensive people who are capable of doing a wide range of tasks, constantly continuing their learning and development. Art plays an initiator’s role in social life and it encompasses all spiritual realms of humanity, which cannot be accomplished by other forms of public consciousness. A work of art can be viewed as a multi-layered expression of thoughts in an artistic form of images and symbols. The artist's work means producing a coded text or message. This article includes insights of scholars and artists developing an understanding of the artist’s work and artworks in a cultural and historical context to enrich the individual's competence base, and examples of the work and beliefs of particular artists of the 21st century.

scholarly journals Art of the second half of XX — early XXI centuries as visual philosophy

2021 ◽  
Vol 4 ◽  
pp. 95-106
Author(s):  
Natalia Dyadyk ◽  
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
21St Century ◽  
Visual Art ◽  
Conceptual Art ◽  
Early 21St Century ◽  
The World ◽  
Analysis And Synthesis ◽  
Death Of The Author ◽  
Contemporary Artists

Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.

scholarly journals ECSCW 2011 Conference Supplement: European Conference on Computer-Supported Cooperative Work Aarhus, 24.-28. September 2011

2011 ◽  
Vol 40 (594) ◽  
Author(s):  
Susanne Bødker
Keyword(s):  
Eye Tracking ◽  
Collaborative Work ◽  
Cooperative Work ◽  
Computer Supported Cooperative Work ◽  
Tracking Data ◽  
Font Size ◽  
European Conference ◽  
Task Specificity ◽  
The Gaze ◽  
Common Task

<span style="font-family: Arial; font-size: x-small;"><span style="font-family: Arial; font-size: x-small;"><p>Dual eye-tracking (DUET) is a promising methodology to study and support</p> <p>collaborative work. The method consists of simultaneously recording the gaze of two</p> <p>collaborators working on a common task. The main themes addressed in the workshop</p> <p>are eye-tracking methodology (how to translate gaze measures into descriptions of joint</p> <p>action, how to measure and model gaze alignment between collaborators, how to address</p> <p>task specificity inherent to eye-tracking data) and more generally future applications of</p> <p>dual eye-tracking in CSCW. The DUET workshop will bring together scholars who</p> <p>currently develop the approach as well as a larger audience interested in applications of</p> <p>eye-tracking in collaborative situations. The workshop format will combine paper</p> <p>presentations and discussions. The papers are available online as PDF documents at</p> <p>http://www.dualeyetracking.org/DUET2011/.</p></span></span>

scholarly journals Negotiating Styles Among American Purchasing Managers In The 21st Century: Revisited

2011 ◽  
Vol 1 (8) ◽  
Author(s):  
Abdalla Hageen ◽  
Sushila Kedia ◽  
Diana Oubre
Keyword(s):  
21St Century ◽  
Global Economy ◽  
Organizational Characteristics ◽  
Font Size ◽  
Significant Relationships ◽  
Collaborative Negotiation ◽  
Negotiation Style ◽  
Purchasing Managers

<p class="MsoNormal" style="text-align: justify; margin: 0in 0.5in 0pt;"><span style="font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; mso-bidi-font-size: 10.0pt; mso-bidi-font-style: italic;"><span style="font-size: x-small;">This study addresses whether the collaborative negotiation style is the most prevalent among American purchasing managers in the 21<sup>st</sup> century&rsquo;s landscape created by the global economy. It also examines whether there are relationships between the purchasing manager&rsquo;s negotiation styles and selected personal and organizational characteristics that may affect negotiation styles. The results of the study reveal that the collaborative style is predominant. There are also significant relationships between the purchasing manager&rsquo;s negotiation styles and personal and organizational characteristics.</span></span></p>

scholarly journals Jamming the Works: Art, Politics and Activism Introduction

2014 ◽  
Vol 100 ◽  
pp. 133-138
Author(s):  
Linda Dittmar ◽  
Joseph Entin
Keyword(s):  
Fresh Water ◽  
21St Century ◽  
Social Order ◽  
Visual Art ◽  
San Diego ◽  
Cell Phones ◽  
University Of California ◽  
The Social ◽  
Border Crossers ◽  
The University

As we enter the second decade of the 21st century, art that aims to actively challenge the social order continues to spark controversy and encounter resistance. In one recent instance, the University of California at San Diego threatened to revoke the tenure of Ricardo Dominguez, a professor of visual art, who developed what he calls “transborder immigrant tools”—recycled cell phones loaded with GPS software that point border-crossers to caches of fresh water in the desert. Dominquez has called the phones, which feature an audio application that plays inspirational poetry to migrants, a “mobile Statue of Liberty.”

scholarly journals The Director in Puppet Theatre

2018 ◽  
Vol 51 (51) ◽  
pp. 180-188
Author(s):  
Marek Waszkiel,
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Visual Art ◽  
Private Enterprises ◽  
Object A ◽  
Puppet Theatre ◽  
Classical Style

In the Polish theatre of the second half of the 20th century, and it seems that also in that of the first quarter of the 21st century, the most important person is the director. Was it always so that puppet theatre equals the director? So, the objectives of this study to determine this problem. It was only in the 20th century, beginning with the period of the great reform of theatre, that the director was given unlimited competencies. In puppet theatre this process took much longer, because the classical style of theatre organization, derived from unaccompanied and private enterprises of particular creators, also endured for longer. This profession was slow in developing. Today, it is the director that rules supreme in a puppet theatre. But we are still taking about directorial space delineated a few decades ago. In practice, Polish directors are still convinced today that theatre is intended to tell stories. This process eliminates puppetry as an independently existing art based primarily on the abilities of the craftsmen; on the miracle of animating a lifeless object, a puppet, whose magical life has so much to offer the spectators. On the contrary, axis of this process stand the artists who see the meaning of their theatrical expression in bring lifeless matter to life. This – when puppet theatre is, after all, a show; it is visual art in motion, not storytelling.

scholarly journals Bringing English into the 21st century: A view from India

2012 ◽  
Vol 1 ◽  
pp. 103 ◽  
Author(s):  
Rukmini Bhaya Nair
Keyword(s):  
21St Century ◽  
Indian Subcontinent ◽  
Economic Liberalization ◽  
Colonial History ◽  
Language Policies ◽  
Font Size ◽  
Indian English ◽  
Technological Growth ◽  
Urban India ◽  
The Many

<strong><strong></strong></strong><p align="LEFT">E<span style="font-family: DejaVuSerifCondensed; font-size: small;"><span style="font-family: DejaVuSerifCondensed; font-size: small;">nglish in India has had an extended and elite colonial history. It was the </span></span>dominant language of governance in the 19<span style="font-family: DejaVuSerifCondensed; font-size: xx-small;"><span style="font-family: DejaVuSerifCondensed; font-size: xx-small;">th </span></span><span style="font-family: DejaVuSerifCondensed; font-size: small;"><span style="font-family: DejaVuSerifCondensed; font-size: small;">and 20</span></span><span style="font-family: DejaVuSerifCondensed; font-size: xx-small;"><span style="font-family: DejaVuSerifCondensed; font-size: xx-small;">th </span></span><span style="font-family: DejaVuSerifCondensed; font-size: small;"><span style="font-family: DejaVuSerifCondensed; font-size: small;">centuries till India became </span></span>independent and a new set of language policies came into being. This paper traces the narrative of English on the Indian subcontinent from its genesis as a foreign and imperial tongue to its acceptance and ‘democratization’ as one amongst the many languages of India. It is emphasized that English in India has always existed in a vibrant multilingual environment and that the emergence of Indian English as a ‘world’ variety owes much to this fact. A detailed analysis of the lexicon, grammar and pragmatics of the English spoken today in urban India especially by India’s youth who comprise over <span style="font-family: DejaVuSerifCondensed; font-size: small;"><span style="font-family: DejaVuSerifCondensed; font-size: small;">65% of India’s population is undertaken in the paper with </span></span>a view to demonstrating that radical and striking shifts in attitudes toward English in India have occurred over the last few decades of economic liberalization and technological growth. Yet, the timeline created in this paper also shows that many of the paradoxes and dilemmas that attended English from its inception in India have not quite been banished. Rather, they have taken on new, acutely self-reflexive and challenging forms that will require a radical reassessment in the 21st century.</p>

scholarly journals Bioshield: Linking Bioscience, Biosecurity and Strategic Plan for Biodefense in Pandemics

2020 ◽  
Vol 1 (supplement) ◽  
pp. 7
Author(s):  
Wasim Sajjad
Keyword(s):  
21St Century ◽  
Global Economy ◽  
Collaborative Work ◽  
National Level ◽  
Strategic Plan ◽  
Mitigation Strategies ◽  
Endemic Region ◽  
Health Security ◽  
Military Health ◽  
Wide Range

Biological threats, whether intentional, unintentional or natural are considered most dangerous hazards worldwide, seriously affecting the health system and global economy. In 21st century where scientists were busy to create superhuman, COVID-19 outbreak spread to 212 countries, struck the world and we found ourselves ill equipped as international comity to defeat the virus. The economic, health and political foundation were shacked globally and exposed the global health security system due to poor implementations of the policy guidelines. Similarly, Pakistan being an endemic region for emerging and reemerging infectious diseases, encountered badly by numerous different outbreaks in past. Pakistan share border with China, India, Iran and Afghanistan and increase influx of travelers through both air and land route puts Pakistan at high risk to the infectious agents. In 21st century the game of bio warfare cannot be eliminated and pose significant challenges to the security. Countries who learned from past like Korea, China with best preparedness readiness and response tackled the situation as they have best biosecurity, biorisk management system. Biosecurity as biodefense against outbreaks, pandemics, biological warfare and bioterrorism has been underestimated in developing countries like Pakistan and therefore need to highlight the urgency at national level to cope with any future outbreaks. Risk assessment, and mitigation strategies through collaborative work should need to adopt by stakeholders for strategic plan of biosecurity. Better means to protect military, health care workers operating in difficult environment are also needed. A national biosecurity system in response to outbreaks, prioritizing the emergency R&D in diagnostics, establishing high containment facilities, vaccination should be initiated. Moreover, a permanent national defense force or bio-umbrella on biosecurity should be established to shield the country from biological, chemical, nuclear and radiological threat agents. National Biological Defense Program (NBDP) should be initiated to train and protect military personnel against wide range of biological threat.

scholarly journals Petra Bauer and SCOT-PEP’s ‘Workers!’: renewing the aesthetics and politics of 1970s feminism

2019 ◽  
Keyword(s):  
Twentieth Century ◽  
Sex Work ◽  
Visual Art ◽  
Collective Actions ◽  
Aesthetics And Politics ◽  
Research Project ◽  
Sex Worker ◽  
Chantal Akerman ◽  
Mary Kelly

This article explores the film and research project Workers!, by the Swedish artist Petra Bauer and Scot-Pep – a Scottish sex worker collective. The film is set in the soon to be demolished Scottish Union HQ, and the film places sex work in relation to the labour movements of the twentieth century, using strategies of 1970s film and visual art, such as Mary Kelly and Chantal Akerman. It also makes links to the Suffragist movement and feminist collective actions.

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