Land Art Math: una actividad STEAM para fomentar la competencia matemática en Educación Infantil

El objetivo de este artículo es mostrar una actividad STEAM en Educación Infantil en la que, a través del arte, se trabajan conocimientos matemáticos y científicos con el objeto de fomentar, entre otras, la competencia matemática. La actividad, denominada Land Art Math, se ha llevado a cabo con 85 niños y niñas de 3 a 6 años y sus respectivas maestras, y ha contemplado 7 fases de trabajo: 1) selección de los materiales naturales; 2) organización de los materiales, clasificándolos; 3) análisis de las características de los materiales: colores, formas, tamaños, pesos, etc.; 4) interacción, negociación y diálogo con los alumnos para diseñar el Land Art Math; 5) creación de la composición, generando diálogo para que se fijen en las formas, posiciones, etc.; 6) representación en el papel; y 7) puesta en común final, reforzando el vocabulario matemático.

Understanding the Creation of Abstract Concepts beyond the Intangible and Tangible Materials of Land Art

Background and objective: Understanding abstract art as an art form requires depth of thought. Moreover, understanding land art as abstract art is challenging, given its focus on the minimalism and abstract concepts. Much focus, research, and work were actively conducted in the 1970s, as it represented an abstract expression of minimalism. The characteristics of minimalism connote abstract meanings in the use of materials. Nevertheless, the original research of works or artists has often been mentioned, but few studies have analyzed the abstract language of land art materials. The aim of this study is to thus determine the abstract meanings of materials in land art from the 1970s to the 2010s.Methods: Art-based research was employed to address the aim. This study classified the land art materials into intangible and tangible materials, where intangible materials focused on lines, circles, and labyrinths, and tangible materials focused on the earth, stones, wood, and snow.Results: Intangible and tangible materials of land art conveyed various abstract meanings. Intangible materials were reflective of connection and symbiosis with nature, delivering abstract languages of ‘take-nothing,’ ‘reflection’ and ‘opportunity.’ Tangible materials reflected the abstract concepts of ‘intervention,’ ‘resistance,’ ‘unliving,’ and ‘change,’ and conveyed caveats. In other words, taken together, intangible and tangible materials were presented in symbiosis–and with caveats–and delivered messages for the present and the future. Interestingly, intangible materials inherently reflect symbiosis and communicate caveats in works based on a non-contextualized present and future.Conclusion: Interpretation of the abstract languages derived from intangible and tangible materials could imply a symbiosis between humans and nature, while conveying the message that caveats, to humans, are still ongoing. This relationship plays a significant role in an artist’s selection of a medium, which is reflective of abstract beliefs reflected in contemporary, nature-based works created on Earth.

Determining the age of paintings at JSARN-113/23, Jawoyn Country, central-western Arnhem Land plateau

Western Arnhem Land in northern Australia has the rare distinction, both at national and global scales, of containing a vast landscape of many thousands of rockshelters richly decorated with art, some of which was probably made tens of thousands of years ago, others as recently as a few decades ago. Yet the challenge remains as to how to date this art, how to find out how old it is. While relative dating methods have been commonly applied, in particular patterns of superimposition and changing faunal themes supposedly signalling changing environmental conditions, we still lack a clear understanding of the age of almost all the region’s art styles or conventions.Other chapters in this volume report direct dates for Arnhem Land art using radiocarbon determinations on beeswax figures with the likelihood that the ‘art event’, the time when a beeswax figure was made, is at most a few years different from the ‘carbon event’, the time of the last biological capture of atmospheric carbon, which is the actual date measured by radiocarbon. But many, in fact most, sites have no beeswax figures or other ways directly to date the art. Sometimes, as again reported in this volume, there is some indication of date when a radiocarbon determination is obtained on, for instance, charcoal in an archaeological deposit that can be related to the art. Often that route is also blocked: many a painted surface without beeswax figures is in no close relation to a deposit that might so be dated. What can be done then? Here we present results of investigations at a small rockshelter in Jawoyn Country, in the centralwestern part of the Arnhem Land plateau. Since its art cannot be directly dated, we follow a different path. In the first instance, we aim to understand the history, and antiquity, of the decorated rock surfaces, since the exposed surfaces of the boulder have undergone repeated transformations over a long time. Determining when now-decorated rock surfaces were formed can give us maximum possible ages for the art, since we can date when the surface first was available. Taken with related archaeological evidence from deposits, such as ochre fragments with signs of use, we can arrive at some indications for the age of the art, or at least how the range of possible dates is constrained. This approach is akin to that used at other sites in Jawoyn Country (see Chapters 11 and 15)

PROBLEMS OF TERMINOLOGY WITHIN THE CONCEPT OF «UKRAINIAN LAND ART»

Fundamental art studies in the field of land art are not yet available in Ukraine, and individual articles in periodicals do not reveal the principles of the formation of the actual Ukrainian art of the environment, its features and differences from abroad land art. To date, the phenomenon of Ukrainian land art has not received its own term and for thirty years in a row uses the borrowed foreign name «land art», while the uniqueness of domestic environmental art is an indisputable fact. The article considers the peculiarities of the formation of land art abroad and in the system of Ukrainian contemporary art. The analysis and clarification of terminology related to land art in Ukraine has been carried out. The author's term for the phenomenon of the Ukrainian land art is offered. The study found that the application of the foreign term «land art» to the domestic art of interaction with the environment is not exhaustive, because it does not reveal the full range of creative communication of artists with the environment and is too narrow in relation to it. At that time, the term «mystectvo dovkillja» («art of the environment»), introduced by P. Bevza, is too wide a range of artistic creativity, where «environment» is used in the sense of «environment» as one that contains the entire surrounding space. Therefore, it isn't inexpedient to apply the foreign term «land art» to the creative practices of Ukrainian artists. At the same time, «art of the environment» is too abstract a concept for the term «land art», which aims at a specific creative interaction with the earth. Environmental art aims to decorate and equip a person's place of residence, which expresses his utilitarianism and may include: both landscape art and landscape design and monumental art, site-specific art, ecological art, as preservation and repair of the Earth's resources, etc. Domestic artists work with natural materials in the natural environment in order to create a new art product. Accordingly, instead of the term «Ukrainian land art» it is appropriate to use the term «pryrodotvorche mystectvo» («natural creative art»), because the context of the Ukrainian art form is characterized by creative interaction with the natural environment and materials as a way to create a new art product. Theoretical research of the work is the basis for further in-depth scientific development of the problem, namely, the phenomenon of land art in the system of contemporary art of Ukraine.

The Last Resort: Building Big Architecture in Big Landscapes

<p>Accommodating large groups of people typically requires large architecture. However, in precious landscapes, such as National Parks, large architectural interventions are often opposed on the grounds of an aesthetic cost to the landscape. Most of the building activity that has attracted this opposition detracts from the natural environment by both dominating the landscape and being indifferent to it. In attempts to mitigate aesthetic damage, other buildings are composed in such a way that is ‘sympathetic’ with the landscape. Employing strategies of fragmentation, dispersion, miniaturization, and camouflage, the ideal of these approaches is an invisible building. But because no building is invisible, this is an unproductive direction for the discipline. The high-end resort typology would require a relatively large footprint and would suffer the same critique as the approaches noted above. What strategies do architects need to take to develop large buildings in the landscape that are neither invisible nor an aesthetic expense? And, in the pursuit of large architectural interventions, how can these operations enhance the qualities of the landscape, such that the landscape is made more intelligible, more spectacular, more powerful or more dramatic? Forming the first section of this thesis, a proposed high-end resort development at Waikaremoana critically explores formal solutions that enhance the Urewera landscape. Employing a research through design methodology, a critical analysis of both problematic and exemplary precedents has unearthed a range of formal strategies that enhance and detract from the landscape respectively. A ‘before and after’ comparison technique has been employed throughout this analysis - and the design process - to determine whether the interventions strengthen or weaken the landscape. In response to the densely forested site, the scheme employs cutting as a general formal gesture - generating both an ecological and cultural cross section through the site, while providing pedestrian access from road to lake. Developed through an intuitive design process, the scheme has tested the architectural possibilities of occupying a cut and how such an intervention may enhance the dramatic qualities of the landscape. Highlighting the intellectual implications of the issues raised throughout the design process, a written argument forms the second section of this thesis. This proposition looks to the cutting formal traditions of land-art, particularly of the 1960s-70s, for insight into architectural forms that enhance the landscape. Reading the cut as “not landscape” and “not architecture,” Rosalind Krauss’s (1979) “Sculpture in the Expanded Field” provides a starting platform for this inquiry. Several overlooked cutting interventions within Te Urewera build on this knowledge, rethinking various aspects of the cut and how it can operate to enhance the landscape. Providing connectivity, security and a place for confrontation, a cutting formal strategy offers opportunities to enhance both architecture and the landscape.</p>

The Last Resort: Building Big Architecture in Big Landscapes

<p>Accommodating large groups of people typically requires large architecture. However, in precious landscapes, such as National Parks, large architectural interventions are often opposed on the grounds of an aesthetic cost to the landscape. Most of the building activity that has attracted this opposition detracts from the natural environment by both dominating the landscape and being indifferent to it. In attempts to mitigate aesthetic damage, other buildings are composed in such a way that is ‘sympathetic’ with the landscape. Employing strategies of fragmentation, dispersion, miniaturization, and camouflage, the ideal of these approaches is an invisible building. But because no building is invisible, this is an unproductive direction for the discipline. The high-end resort typology would require a relatively large footprint and would suffer the same critique as the approaches noted above. What strategies do architects need to take to develop large buildings in the landscape that are neither invisible nor an aesthetic expense? And, in the pursuit of large architectural interventions, how can these operations enhance the qualities of the landscape, such that the landscape is made more intelligible, more spectacular, more powerful or more dramatic? Forming the first section of this thesis, a proposed high-end resort development at Waikaremoana critically explores formal solutions that enhance the Urewera landscape. Employing a research through design methodology, a critical analysis of both problematic and exemplary precedents has unearthed a range of formal strategies that enhance and detract from the landscape respectively. A ‘before and after’ comparison technique has been employed throughout this analysis - and the design process - to determine whether the interventions strengthen or weaken the landscape. In response to the densely forested site, the scheme employs cutting as a general formal gesture - generating both an ecological and cultural cross section through the site, while providing pedestrian access from road to lake. Developed through an intuitive design process, the scheme has tested the architectural possibilities of occupying a cut and how such an intervention may enhance the dramatic qualities of the landscape. Highlighting the intellectual implications of the issues raised throughout the design process, a written argument forms the second section of this thesis. This proposition looks to the cutting formal traditions of land-art, particularly of the 1960s-70s, for insight into architectural forms that enhance the landscape. Reading the cut as “not landscape” and “not architecture,” Rosalind Krauss’s (1979) “Sculpture in the Expanded Field” provides a starting platform for this inquiry. Several overlooked cutting interventions within Te Urewera build on this knowledge, rethinking various aspects of the cut and how it can operate to enhance the landscape. Providing connectivity, security and a place for confrontation, a cutting formal strategy offers opportunities to enhance both architecture and the landscape.</p>

Linguagens ambientais não hegemônicas: Land Art e Museu do Lixo de Florianópolis

O campo museal passou por reconfigurações nos seus pressupostos teóricos e práticos, a partir da década de 1980, e, permitiu a inserção de novas categorias de museus como Museu do Lixo, personagens, objetos e coleções. Inserida neste contexto, arte ambiental concebida como uma arte efêmera, em diálogo com novos movimentos artísticos, deu visibilidade a uma ampla gama de trabalhos e artistas como Richard Long, o casal Christo e Jeanne Claude e o brasileiro Vik Muniz, que fizeram e fazem uso de novas composições e linguagens no seu fazer artístico em espaços não tradicionais. É destacado o trabalho do artista Valdinei Marques, do Museu do Lixo de Florianópolis (SC) em diálogo com outros artistas que fazem uso de materiais descartados e objetos provenientes do lixo para a composição dos seus trabalhos artísticos. As reformulações no campo dos museus e campo do patrimônio permitem que o lixo da sociedade do consumo seja ressignificado e reconhecido como museália no Museu do Lixo. Quando o acervo já não é mais colocado numa avaliação que determina o seu grau de importância, tudo passa a ser digno de museu, o que não está isento de contradições e embates práticos e teóricos.

WOOD PROCESSING TECHNIQUES AS A MEANS OF CREATION OF LAND ART OBJECTS

The purpose of the article is to study the land art objects created from the wood by various techniques used by the artists. To achieve the purpose, the following tasks have been identified and solved: the analysis of means of wood processing used by the artists to create the works of land art has been performed; the types of materials used to create installations have been determined; modern wood processing techniques and their characteristic features introduced in the land art objects have been studied. Methodology. The system approach, methods of typological, comparative-historical, reconstructive, structural-functional analysis, etc. are used. Results of the research. The study of wood processing techniques used by the artists of land art in their works has been conducted. The special decorative significance of wood processing techniques during the realization of the art object and their influence on the concept of the work have been determined. It has been found that the main trends in modern art are the environmental friendliness of materials used by the artists of land art, the use and restoration of ethnographic techniques and methods of creating art objects, but giving the work its own semantic component, often environmental one. The scientific novelty is to determine the author`s artistic techniques and approaches used for the creation of objects of land art in wood processing techniques, to develop the typologies of objects of land art from wood, as well as to determine the impact of traditional wood processing industries on the work of the artists of land art of our days. The practical significance lies in the fact that the materials presented in the article, their analysis and generalization can be used in research on the development of land art in Ukraine and the world, as well as for further implementation in the author`s art projects.