Design/Arts/Culture最新文献

{"title":"SL METAVERSE: MEDIA ANTHROPOLOGY","authors":"David Serra Navarro","doi":"10.12681/dac.31322","DOIUrl":"https://doi.org/10.12681/dac.31322","url":null,"abstract":"The metaverse that Neal Stephenson conceptualized in Snow Crash is much the same as the one that has evolved in recent years to accommodate networked virtual platforms. In anthropology these spaces are known as meta-places: a remix of information. Proposals like Second Life (SL), Fortnite or The Sims are already a name in the history of virtual universes, while worlds like The Sandbox, Decentraland or Axie exemplify contemporary decentralized organizations through their blockchain technology. The following contribution of ethnographic graphic story, experiential captures of virtual non-places, wants to document processes of appearance and disappearance through the image. Meanings, symbolisms, self-referentialities, ephemeral landscapes, mimesis of realities, dystopias or info-communicational disfigurements are some of the realities that hide behind each virtual creation or virtual island. Capturing these experiences in the first person over these years means approaching the logic and synergies of these meta-places. Specifically, the visual material shown is linked to the virtual world of Second Life. This metaverse constitutes one of the platforms most explored by the author, and currently retains its interaction design devised in 2003. Possibly Second Life, and its virtual peripheries, have given life to the burbclaves (isolated sites) and their social niches that Stephenson described to us, but also to a way of understanding the world inside and outside the interface.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132279004","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"STONES, WORDS, IMAGES","authors":"Mabe Bethônico and Radu Lilea","doi":"10.12681/dac.32025","DOIUrl":"https://doi.org/10.12681/dac.32025","url":null,"abstract":"Cultural memory, as viewed by historian Alexander Etkind, influenced by the world of computers, from where he takes this blatant yet effective reference, is binary: there is a “soft memory” preserved mostly in texts, and a “hard memory” stored primarily in monuments (Etkind, 2013, p. 177). His perspective on how cultural memory crystallizes, functions and then moulds people’s lives and communities was laid out in a study devoted to Soviet cultural heritage, particularly to those memorial practices engendered by an unburied past which always seems to be resurfacing. It is precisely this way of understanding memory, as an interconnected system whose parts can only work together, that can be further applied beyond the cultural space presented in Etkind’s book. This is, in fact, quite obvious in the works of Mabe Bethônico, a Brazilian visual artist which brought to my mind this insightful way of perceiving cultural memory. Her art projects explore and probe into the veins descending deep into both her country’s past and the earth’s belly – historical and geological veins that, under contemplation, take on more than just a literal meaning. They acquire, simultaneously, new metaphorical and universal interpretations, rendering the artist’s work extremely relevant outside the immediate Brazilian context. Mabe Bethônico’s artistic practice operates in this fuzzy elusive space, where soft and hard memory meet and converge. Her art successfully turns narratives around, fills voids and uncovers histories that have been silently living among us. The text below is based on an interview she kindly gave us. Nevertheless, for the sake of brevity and to observe the formality of the Portfolio section, we have turned the questions into themes. Therefore, this is the artist’s ‘curated’ testimony that, in a different setting, would most likely have taken a different form.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114288618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"SOMNIFERA","authors":"Elin Tanding Sørensen","doi":"10.12681/dac.31472","DOIUrl":"https://doi.org/10.12681/dac.31472","url":null,"abstract":"“Somnifera” explores interactions between the opium poppy and humans. In their exploration of new habitats, human tribes curiously tested out plants that could help them transcend their “normal” state into expanded experiences, possibly communicating with their ancestors or gods, as part of their experimental quest for knowledge. Since the dawn of time, we have milked the benefits of the opium plant, while politics, religion, and a cynical multinational drug and pharmaceutical industry have assigned the plant a controversial role on the world stage. The plant’s power to both save life and take life is the essence of this artwork with the intention to contribute to a holistic debate about the opium poppy’s potential: To lift it out of the shadow of condemnation and give it its rightful bright place among us. This narrative dips in and out between trance-states and every-day-states-of-mind, while the author’s alter ego Sigma Woman enters love and grief – transitioning from emotional breakdown to possible healing. The figurative language of this text, and its accompanying images, are from visions emerging from ecstatic trance – described as the primaeval technique of a safe, natural physiological transition to direct experience of the eternal now and ancestral wisdom. In one of the trance-sessions we concentrated on the three-thousand-year-old figurine “The Poppy Goddess and Patron of Healing.” This inner journey gave rise to the idea of exploring reenactment, inspired by experimental archaeology.  Approaching the goddess figure, the author anoints her body with Caput Mortuum-colored oxidized magnetite, adorns herself with poppy capsules, and mimics the statue’s apparent hibernation. In the attempts to find “surfaces of contact” between today’s imaginary world and prehistoric times – through speculation whether we and our ancestors can “meet” in some way – the methods used to develop the artwork range from knowledge acquisition through scientific papers to techniques for embodying knowledge. As part of the artistic research project Matter, Gesture and Soul (MGS), which seeks encounters and alignments between art and archaeology, my artistic contribution seeks to question how multispecies storytelling may connect us emotionally to our ancient distant past.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128589645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MEMORY AND OBLIVION: TANGIBLE IMAGES AND UTOPIA","authors":"L. Oosterbeek","doi":"10.12681/dac.33699","DOIUrl":"https://doi.org/10.12681/dac.33699","url":null,"abstract":"The thesis of W. Benjamin on the concept of History echoes as almost an anti-postmodernism manifesto: the approach to the past is structured through images, not narratives. Indeed, in the tension between history (the universal past rooted in agreed replicable methodologies for a human archetype) and memory (the ego or sociocentric past rooted in individual experiences), egos design narratives and try to fit evidence into them, whereas the historical past is constantly reconstructed through zooming in details that generate new images. The image in history, as the mental image in individuals, is not a layer of arrival, nor even a point of departure, but a vehicle of transformation of how space is perceived (as Kant argued) or constructed (following Bachelard), the phenomenological process of performing tasks in space being the driver of such construction (as argued by Ingold). The design of history through images is, in this sense, the process of social construction of cultural landscapes, i.e., of the poetics of space. This is a process that encompasses four mechanisms of change: identification (based on senses and, primarily, on touch and sound), adaptation (the Kantian perception of the space as the scenario of human aptitude), transformation (the poetics of the making, creating new landscapes by changing their core images) and method (namely the dialectics of tangible and intangible dimensions). The tension between image and narrative is, ultimately, the root of the tension between ego/socio-centered memories and the anthropic-rational history. In such a process, history builds from memories, by overcoming their narratives and preserving basic units of information that may be recombined, to create novel images of the past, but also of the present and the future. In such a process, history considers memory oblivion and an indicator of reliability or not of those memories. In this paper we discuss how material culture is the backbone of mental images and why it has a much more plastic and transformative nature than intangible narratives, which are expressions of the consolidation (and conservation) of understandings. The keyword in such a memory process is oblivion: images allow us to forget fossil narratives and to move into new utopias.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"132 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116115760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"FRAGMENTS OF MEMORY IN RESIDENTIAL INTERIOR ARCHITECTURE","authors":"Loukia Martha","doi":"10.12681/dac.31291","DOIUrl":"https://doi.org/10.12681/dac.31291","url":null,"abstract":"The present paper tackles the concept of memory as a compositional tool employed in the architectural spatialization process. More specifically, it focuses on residential interior architecture in the work of Greek architect Takis Marthas, placing special emphasis on the conjunction of tradition and Modernism, a binary vividly captured in the architecture and visual arts of the 1930s, to which Marthas belongs. In Marthas’ oeuvre, design and composition are locked in a dialectical relationship by way of cross-pollination, juxtaposition, complementarity, or the introduction of intact fragments of memory into space. Marthas’ architectural style could thus be construed as an attempt of combining the past and the present in the form of a creative process whereby elements–mental or material–are drawn from diverse places and historical periods, only to be repurposed and integrated into a unified whole, retaining their autonomy and alluding to a hybrid architectural model. As far as the composition of the residence is concerned, memory is conveyed through images of the past rendered either as an integral spatial transfer or as mental and material architectural constructions, material elements, textures and colour. These spatial elements evoke and restore images and sensations of the past. Within the architectural creation of the residence, compositional gestures linked with memory can be freely expressed, connecting the past and the present, architecture and place, as well as bringing together the space and users/residents’ personal experiences. Fraught with a number of tensions typical of the 1930s generation, such as the abovementioned attempt to bring together the past and the present, but also to pursue Greekness through both references to antiquity and references to Greek folklore tradition, Marthas’ oeuvre is adumbrated by using residential works as well as written and oral testimonies dating from the 1930s-1960s as methodological tools.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114154152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PHOTOGRAPHY OF TIME","authors":"Nicolae Coșniceru","doi":"10.12681/dac.31585","DOIUrl":"https://doi.org/10.12681/dac.31585","url":null,"abstract":"Seeing the configuration of a place firsthand, we can believe that it has always been like that and we don’t ask ourselves questions about how it looked five years ago or 20 years ago and what processes and changes have taken place. It is possible that it was an unhealthy place and became a point of attraction where the community could spend time and carry out cultural or recreational activities, or it was a protected natural site and interventions beyond the limit of the law would have transformed it into an industrial, residential or commercial area, which led to overcrowding and pollution. Documentaries of the respective place taken at different times can help preserve local history and bring the community awareness of the recent history and the changes that have taken place. They will claim a lost inheritance if this is the case and if social promoters will campaign in this sense. But above all, they need to know the context in which they are. Because they were the object of my study or because I accidentally encountered places that had undergone significant changes and had previous documentation, I proposed to provide documents of organic changes or actions that must be under the lens of criticism. I am motivated by the need to draw attention to the worrying aspects of everyday life, before being too late for public reactions. In a country with a fragile democracy where the authorities do not hear the voice of civil society, I want to bring to the public conscience the negative aspects that are happening here and now, which can have significant implications for the present and future of the population.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115248580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE MEMORY OF THE BODY AS TRANSPERSONAL ARCHETYPE","authors":"A. Lucaciu","doi":"10.12681/dac.31321","DOIUrl":"https://doi.org/10.12681/dac.31321","url":null,"abstract":"The paper proposes a perspective based on a research through art at the crossroads between personal memory, corporeality, transpersonal archetypes and drawing. If art can be admitted as a way of ‘writing’ through images, self-reflexive art can be considered a self-description, as well as an ‘autograph’, which is not reduced to affectivity. From here it is only a step to notice that the ‘disguised’ revelation of the self as our memory archived it, by artistic works, turns out to be a symbolic narrative, expressed through metaphors with autobiographical overtones. The artistic act placed outside of creation in relation to the evaluative factors, is exempt from gratuity because it responds to at least one existential need – that of self-expression, which becomes paramount in historical, social and private history contexts. It plays a main role in documenting actual life and preserving it for the future, like reveries of dissolution and permanence.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125244044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"SENSING THE PAST: AN EXPLORATION OF ART AND ARCHAEOLOGY","authors":"Elizabeth Poraj-Wilczynska","doi":"10.12681/dac.31358","DOIUrl":"https://doi.org/10.12681/dac.31358","url":null,"abstract":"This portfolio deals with the work I have been undertaking for the past 20 years. Investigating sense of place at Belas Knap Neolithic long barrow, Cotswolds, England. I have taken an holistic approach in the creation of art that aims to bridge the sensory experience of archaeology, memory and culture. Over the last twenty years I have been responding through my art to place and memory, mapping, interpreting and connecting to the seasonal changes at Belas Knap, a laterally chambered Neolithic long barrow located in the Cotswold Hills, Gloucestershire, South West England (NGR: SP0209 2554).","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133351453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PHOTOGRAPHY AS ANTI-MEMORY","authors":"Fotis Kangelaris","doi":"10.12681/dac.31241","DOIUrl":"https://doi.org/10.12681/dac.31241","url":null,"abstract":"It is widely known that photography is related to memory. The invention of photography was inextricably linked to memory, as a more effective and direct way than painting. A more effective and direct way to depict the object to be remembered such as the rulers’ portraits or the painted depictions of animals and plants that navigators met while discovering the world, always having a painter with them. However, in the present study, we attempt to show that the innermost reason for the invention and use of photography was never related to memory, and if it was related, the reason was to make us forget what we were aiming to remember. The inner cause of photography’s position in human history and art was: 1) To bring us into contact with the invisible: to that, photography is analysed through philosophy’s prism and especially as Romanticism’s offspring that attempts to go beyond reality and connect us with alterity and the invisible which dictates the visible. 2) To offer a sense of reality to the structural void on which the human psyche is composed: to that, photography is analysed through the prism of psychoanalysis as a symbolic mirror of the photographer’s and viewer’s psyche, a process based on the “mirror stage” (Lacan, 1966). 3) To make us forget: to that, photography is analysed through an anthropological regard where, via common mechanisms which are related to Magic, the photographer and the viewer have the potential to surpass reality’s flow through amnesia.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124120188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"CLAY – A VEHICLE OF MEMORY","authors":"V. Basarab","doi":"10.12681/dac.31574","DOIUrl":"https://doi.org/10.12681/dac.31574","url":null,"abstract":"Through my ceramic work and my experience in working with clay in various parts of the world, I look at how clay and ceramics have been forms of communication and are means of transmitting memory. I found in clay’s geologic transformations and in the human interventions it underwent, a metaphor to comment on both fragility and permanence of the human condition, as well as on the different perceptions of time and memory. Giving form out of clay is like writing, composing new meaning from a large database, yet it is empowering when you dig your own clay to know that you are the first human to touch it and are free to make anything you want out of it. My aim for the artwork that I produce is to generate a thought process in regards to how memory is transmitted and oftentimes altered, how accurate information is in general.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121964983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}