Design/Arts/Culture最新文献

{"title":"FROM CAMERA AS PART OF THE BODY, TO CAMERA – THE BODY PART","authors":"Danica Dimitrijevič","doi":"10.12681/dac.31361","DOIUrl":"https://doi.org/10.12681/dac.31361","url":null,"abstract":"The digital world is where 3.4 billion people communicate via digital images through social media. On average, each one of us spends 6 hours each day in front of a screen. The digital images rapidly appearing and disappearing under our scrolling fingers shape our perception, time and body movements, brain structure, and responses in a complex neurological way. The camera enables the formation of our identity, social development, aesthetic value, and cultural participation. Without this camera image, one is isolated, unable to speak. Moreover, without storage where we save images, we are exempt from personal history, narratives, and memory. Once we integrated a camera into the smartphone, we produced an extra organ. With the Orion visual cortical prosthesis medical study that implants a camera into the eyes to restore vision, face emotional surveillance project VibeCheck, and BeAnotherLab software, swooping through virtual reality the bodies, this article follows the socio-philosophical and technological shifts through the history of the camera and photography in object production, body perception, their definition, interaction, and final merge between body and camera object. Through the reference of the theoretical works of Roland Barthes, Maurice Merleau-Ponty, Karen Barad and Tim Ingold, the article follows how we have produced camera images through time and how camera images have been producing us. The camera transforms from a separate room or device to a prosthetic/inherent part of the body, without which the body is not fully functional. Today, a person without a phone camera is marginalized and handicapped. The deficit of not having an image-generating tool turns out to be a sensual deprivation, social limitation and discrepancy in identity.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"36 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":"132819655","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 AND MEMORY","authors":"Nayeli Fabiola Moctezuma Moreno","doi":"10.12681/dac.31214","DOIUrl":"https://doi.org/10.12681/dac.31214","url":null,"abstract":"This paper intends to analyze the relationship between memory, aesthetics, and politics in Gustavo Germano Ausencias’s (Absences) series. The text will consist of three parts. In the first section, it is presented a brief journey from photography as a “mirror with memory” to photography as art. The second section reviews the political power of the image during the post-dictatorship. The third section makes a brief analysis of photography as artistic creation and memory builder, as well as its political function, through Gustavo Germano’s photographic essay Ausencias (Absences).","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":"128708918","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":"PROJECT SPINOZA: RE/MEMBERING SENSORIAL COGENCY – (Part one)","authors":"Theodor Barth","doi":"10.12681/dac.31357","DOIUrl":"https://doi.org/10.12681/dac.31357","url":null,"abstract":"The purpose of this article is to present a research portfolio – composed of an online archive and an index from 2020-22 – and perform its outcomes in a memory-theatre. The design needed for this theatre is modelled on Baruch Spinoza’s Ethica, in which the order of a geometrical demonstration hosts a philosophical investigation. The non-same rules/ heteronomy of the host and the guest, in Spinoza’s opus magnum, is an instance of a wider phenomenon which the article seeks to explore and exploit: the docking of an investigation, by the means of a contraption that is foreign to it, intercepting images of what the present may have in store (whether past, present, or future). The sensorial cogency that picks up on elements it can comprehend, but never fully contain: the mnemonic slippery nature of the image. On this backdrop, the article discusses different ways of pairing up with the environment, through media that are hosted rather than belonging there: the different terms of populating the present, being together or forming a group, serve to elucidate certain aspects of memory – mnemonic devices with an environmental footprint – in fieldwork, laboratory research, digital culture or presently the electrosphere. The article thereby seeks to develop and propose some designs to work with the problem of interception – picking up changes in the ‘memory of the present’ (Bergson, 2021): what it holds and what it has in store. The article seeks to establish a parity between apparatuses with such impact, in view of comparing them: whether they are as simple as 1) a post in a hole (a datum), or more complex as 2) a computer docked to a home-office (another datum). In the presentation of the portfolio, a framework for partaking of such changes, compiling the experience prompted by them, is proposed (Benjamin, 1999). The major feature of this framework is then deepened in a situated case-study: here, positions coexisting and valued on different terms, in the presence of a cabin in reconstruction, shift as they are logged in a guest book. In a section on design, the article probes a broader applicability of what has been found in the case-study, based on a wider fieldwork experience. Principle: repair also writes re-pair. In the conclusion, a design for a ‘contemporary interception’ is demonstrated visually.  The anthroponomical framework is conceived as a scholarly contribution to art, and an artistic contribution to science, through a mnemonic understanding of the technical image.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"96 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":"121996880","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":"BALANCE OF PRIVATE IMAGE AND MEMORY","authors":"Nina Kotamanidou","doi":"10.12681/dac.31499","DOIUrl":"https://doi.org/10.12681/dac.31499","url":null,"abstract":"The invention of photography was followed by its extensive usage as visual documentation of any possible scene, by nature, human, object or event. The watchful eye of the camera was hailed as an impassive observer of facts, a witness that tells no lies entrusted with the preservation of public and personal histories. Under these assumptions it was connected with the crystallization of collective memory as well as the wide initiation of private archiving in the form of the family album, especially when easy-to-use camera technology became commercially affordable. In this short essay, accepting a line of continuity between snapshots and networked photographs despite technological and cultural ruptures, their attributes and uses will be held accountable for providing a mediated, visual shelter to notions of personal and collective memory. Although this kind of imagery is deemed non-art, my approach is conducted as an art-fuelled investigation, with a mind to set a field of potent exchanges between memory function and images for cultural negotiation. For that, using interdisciplinary discursive analysis I will look at the evolution of photographic imagery from snapshot to networked within a branch of personal, self-produced representations that have affected both our autobiographical referencing and collective remembrance. The notion of memory, as the performative interaction between person, technology, media and narrative will be seen against snapshot and networked photography as an informal, meaning-making tactic. In particular, network photography is acknowledged mainly through its manifestations on visual posts on Facebook or Instagram. While snapshots as a genre satisfied the need to handle privately the visual documentation of our past and allegedly keep time frozen, networked photographs establish memory in fluidity as remembrance of the present moment just-turned-into-past. The above positioning prompts a bipartite question: (a) do networked photographs support memory on a personal and collective level in ways similar to snapshot culture, and (b) in the advent of changes has the flow of memory been altered?","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"356 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":"133725227","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 HAND MEMORY","authors":"Giulio Calegari","doi":"10.12681/dac.31616","DOIUrl":"https://doi.org/10.12681/dac.31616","url":null,"abstract":"Traces of ancient gestures are recalled and re-interpreted in an artistic way. Prehistoric chipped stone artefacts: preserve techniques, gestures, sounds and memories. Maybe stories. Just like in a book or in a musical score. We can reconstruct these ancient artefacts and use them to verify their function. ","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"24 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":"116682663","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":"ABSTRACT ART IN GREECE: THE PIONEER ARCHITECTS","authors":"V. Sarakatsianou","doi":"10.12681/dac.27731","DOIUrl":"https://doi.org/10.12681/dac.27731","url":null,"abstract":"The early years of the 20th century is a period of deep intellectual reappraisal as well as social and intellectual change. The modern painters’ experiments have come right to the forefront of artistic attention. Modernism was the point when the idea of radical and innovating arts, the experimental, technical, aesthetic idea reached a formal crisis, leading to abstract art. Modernism predicates the origins of post-war art as Post-Modernism adds to the abundance of versions of Modernism. After World War II abstract expressionism achieved international influence.On the contrary, in Greece during the first half of the 20th century, abstract art was absent.  It actually appeared in the 1950s but it became dominant in the 1960s. In the post-war period, there were many talented Greek architects such as, Marthas, Xenakis, Proveleggios, Tsingos, Fatouros who became interested in painting, following the contemporary art tendencies. This paper focuses on abstract painting in Greece both in the early years of the 20th century as well as in the 1950s and 1960s. In this context, the contribution of Greek architects as pioneer visual artists in the 1950s and 1960s to the gradual establishment of abstract painting in Greece is probed, using as a methodological tool mainly artworks and written sources of that period. It is argued that Greek architects with their artworks and their wide range of activities in the field of visual arts express the modern consciousness and pave the way for abstract art in Greece.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133115245","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":"Readymade-image-sentence: protest aesthetics in a time of democracy post-1989","authors":"A. McInneny","doi":"10.12681/dac.27489","DOIUrl":"https://doi.org/10.12681/dac.27489","url":null,"abstract":"ABSTRACTJacques Rancière perceives the image as what is sayable and visible and 20C film montage as an Image-sentence: the closest proximity of parallel realities (Rancière 2007). Prohibited from public view, Marcel Duchamp’s 1917 Readymade revolution is re-membered in a photographic image: a fountain-urinal. On the mourning after WWII, George Orwell noted readymade-sentences of what could(n’t) be said (Duchamp 1997). Captured by Rene Magritte, the treachery of a painted-word-image-thought, could have been a film about what it wasn’t (Flavia, 2014). About now, Walter Benjamin saw an optical unconscious in the photograph miraculously inverting the awe of culture and nature. (Benjamin 2004) After 1989, Bruno Latour held this modern Constitution as equally anti-modern (before ever having been modern) and postmodern, after which there would be nothing, except the digital image (Latour 1993). Before this, Situationist International and Fluxus showed life as the other side art. Keep your coins, I want change, read millennial graffiti’s signature anonymity . With no True North, this portfolio-essay presents an Image of protest aesthetics in a time of democracy post-1989. Before, from a North in the South; after from southern hemisphere parallels; in-between from a South in the North. Overarching is a Pacific mirror. Each readymade-image-sentence has four cartoons and four, 200-word max. abstract captions.Keywords –  aesthetics, protest, city, North-South, East-West","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114582000","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":"ERT 2013","authors":"Panos Vardopoulos","doi":"10.12681/dac.27433","DOIUrl":"https://doi.org/10.12681/dac.27433","url":null,"abstract":"In June 2013, the memorandum Greek government decided to shut down the public radio and television broadcaster, ERT. This is a photographic documentary of the anti-government protests in the courtyard of ERT headquarters, during the occupation of the premises by the majority of employees, trying to keep the voice of public broadcaster alive. ","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"6 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131883858","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 CHALLENGE OF THE EMERGENCY REMOTE TEACHING IN THE EDUCATION OF ART CONSERVATORS. EXPERIENCES AND REFLECTIONS","authors":"A. Alexopoulou","doi":"10.12681/dac.27458","DOIUrl":"https://doi.org/10.12681/dac.27458","url":null,"abstract":"COVID-19 pandemic and the measures to constrain it have influenced, among others, every dimension of the cultural heritage; from research, conservation and preservation projects to training and education. The closure of training buildings and campuses, the cancellation of face-to-face classes and labs and other learning experiences forced a shift to emergency remote teaching. Especially, for art conservators education, as the field of heritage conservation is powered by art history, technology and science, any deceleration has an important impact on it.  Moreover, conservators have to be in contact with the real object, to be present physically in the archaeological sites, to interact with the material of the monuments and traditionally they work very close to them.  The closure of the education domain deprived conservation students from the physical contact with the objects, but had fostered the digital transformation of the heritage sector, as well as the academic conservation education. The goal of this paper is to discuss advantages and weaknesses of emergency remote teaching comparing to face-to-face teaching and online teaching too, as well as to record the experience of the remote teaching in the Department of Conservation of Antiquities and Artworks and the opportunities emerged for the curricula of the Department.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122751965","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":"RUINS NARRATE THE HISTORY OF THE ISLET OF AGIOS GEORGIOS IN SALAMIS THROUH A CULTURE ROUTE","authors":"Maria Athanasios Delazanou","doi":"10.12681/dac.27446","DOIUrl":"https://doi.org/10.12681/dac.27446","url":null,"abstract":"This paper deals with ruins and deliberate abandonment, through the “experience” of a cultural route that will bring back memories from the dark pages of history, where “mourning” awakens social consciences so that, future generations can have a better future. The research took place in the islet of Agios Georgios, in historic Salamis. Rich photographic material captures a haunted landscape that through its endless silence, the echo of the wilderness is heard,   whispering towards Perama and Paloukia,   unknown stories of people who lived, were abandoned and left their last breath there.The proposed cultural route consists of nine thematic stops, which narrate the daily routine in a lazaretto quarantine island. Each stop connects the ruins with their past. Each building illustrates traumatic memories contributing to an interpretation of our history, highlighting and raising awareness of the character of this dark heritage. The ultimate goal and vision of this cultural route is to be included in the tourist map of Greece, inspiring respect, not only for the martyrdom events but also for the natural and architectural landscape of the islet of Agios Georgios.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125205237","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}