AM Journal of Art and Media Studies最新文献

{"title":"Heidegger’s Indiana by Panoply Performance Lab","authors":"Esther Neff","doi":"10.25038/am.v0i29.558","DOIUrl":"https://doi.org/10.25038/am.v0i29.558","url":null,"abstract":"<jats:p>/</jats:p>","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"60 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83745403","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":"Intertextuality in Contemporary Architectural Practice: Citation, Analogy, and the Fabrication of Referentiality in the Hypertextual Environment","authors":"Tijana Mačkić","doi":"10.25038/am.v0i29.563","DOIUrl":"https://doi.org/10.25038/am.v0i29.563","url":null,"abstract":"The contemporary cultural context is shaped by hyperlinks as a tool for establishing references that form our interpretations of notions, concepts, and phenomena into a cohesive narrative. This paper aims to examine the practice of visual citing in the architectural discipline as a methodology that takes the principle of intertextuality from the discourse of literary art and introduces it into the design process. Furthermore, the work intends to conceptualize a framework of stylistic functions that references serve in the design process relative to aesthetic qualities valued within different cultural and social conditions. Concerning examples of the analogical method in postmodern stylistic expression, the paper tries to translate the principles inherently found in the architectural discipline into the context of contemporary practice. In the process, the question of anonymous reference sources is posed due to the lack of a unifying method for their notation. Finally, by comparing the notions of hypertext and intertext, the intention is to understand the semiological relations established between the works of independent authors and the causes of the disparity between references used in the design process and those subsequently created.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83865551","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":"Artistic Future","authors":"Asen Ou","doi":"10.25038/am.v0i29.557","DOIUrl":"https://doi.org/10.25038/am.v0i29.557","url":null,"abstract":"<jats:p>/</jats:p>","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"17 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80768692","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":"We Are All Monsters: Radical Relationality During Planetary Crisis","authors":"L. Lorenz","doi":"10.25038/am.v0i29.552","DOIUrl":"https://doi.org/10.25038/am.v0i29.552","url":null,"abstract":"Earth’s climate is ever changing; yet for the first time in our planet’s history, Homo sapiens are the primary agents of this change. With this realization in mind, some geologists hope to rename our current terrestrial epoch the Anthropocene. Critical theorists have responded with alternate names – such as the Capitalocene or the Plantationocene – that point directly to the kinds of human activity that have led our planet to its current predicament. This paper begins with the premise that we are currently living through what environmental philosopher and multispecies feminist theorist Donna J. Haraway has named the Chthulucene: the age of monsters. If rationalocentric thinking of Enlightened Man helped bring about the Anthropocene, then what kind of worlds can emerge by turning away from Man and towards a radical reimagining of ourselves as monsters? What can chthonic stories teach us about how to live and die well together during a time of mass extinction? Drawing primarily from the emerging interdisciplinary field of art, science, and technology studies (ASTS), this paper offers a creatively narrated analysis of three chthonic narratives: Cold War satirical film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, Octavia E. Butler’s post-nuclear-apocalyptic novel Dawn, and my own psychotic episodes involving nuclear apocalypse. These narratives, along with the Chthulucene itself, challenge the Western cultural distinction between the real and the imagined in order to make room for radical forms of relationality that can change how we Earthly beings identify, respond to, and care for each other as we collectively move through our planetary crisis and into other possible worlds.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"213 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85520619","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":"Deconstruction of the Landscape in Contemporary Art Based on the Example of the Installation Do Plants Dream of the Future? by Igor Eškinja","authors":"K. Rukavina","doi":"10.25038/am.v0i29.564","DOIUrl":"https://doi.org/10.25038/am.v0i29.564","url":null,"abstract":"In Igor Eškinja’s installation Do Plants Dream of the Future? the main artistic motif is the living plant world growing in specific locations. The theme is therefore a landscape, but at the same time an anti-landscape because the plants are weeds, and the location is not determined by the natural, but by the industrial environment. The artist scrutinizes the plants in such an artificial environment and the nature here is inseparable from the urban layer. Moreover, the binarity of nature and culture is illustrated throughout the entire artwork, as well as the paradoxical nature of this relationship. This text aims to demonstrate to what extent is Eškinja’s installation is a landscape and what it tells us about the topic of nature in contemporary art.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"64 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77940425","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":"Licking Meteorites and a Pharmacy of un·Earthing","authors":"Ralo Mayer","doi":"10.25038/am.v0i29.559","DOIUrl":"https://doi.org/10.25038/am.v0i29.559","url":null,"abstract":"In this text, I discuss my recent artistic work with meteorites in relation to possible future schemes to exploit non-terrestrial resources. Meteorites have been entangled with human cultures for thousands of years, from tool-making to religious practices, in scientific research and as commodities in online-markets. Whereas space mining has been a staple of Science Fiction narratives for over a century, national legislations have recently started to allow for actual future extraction and commercial use of resources on other celestial bodies. By employing the conceptual framework of “un·Earthing” as a transdisciplinary approach to explore existing and potential transformations of humans by and in outer space, I approach meteorites and their current commodification as a “pre-enactment” of these possible future scenarios of interplanetary extractivism. In collaboration with the Institute of Pharmaceutical Technologies at the University of Vienna, I produced pharmaceutical products containing meteoritic material and documented the process as well as my performative attempts to approach non-terrestrial material. The resulting short film raises questions about meteorites as a pharmakon of the ambivalent processes of un·Earthing and human-non-earthly relations.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"22 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83297711","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":"Արդի հայ թատրոնի մասին առաջին գիտական միջազգային դիսկուրսը","authors":"Անուշ Ասլիբեկյան","doi":"10.54503/2579-2830-2022.2(8)-283","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-283","url":null,"abstract":"","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"210 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80112092","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 World Through the Lens of the Photographer Ara Güler","authors":"Yvette Tajarian","doi":"10.54503/2579-2830-2022.2(8)-167","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-167","url":null,"abstract":"The art of photography appeared in Turkey between the XIX and XX centuries. In the beginning, because of the high price of the service, only the rich could afford it. The first photography studio in the Ottoman Empire was established in the Bera district of Constantinople (presently, the Beyoglu district of Istanbul), where most of the population was Christian. Here, in 1857, Pascal Sebah of Armenian descent opened a photography center. He was one of the few to be awarded the Third-Class Order of the Medjidie by Sultan Abdulmejid. Unfortunately, all his photographic works were burnt in the great fire of 1881. The sons of Sarraf Mikayel Abdullahyan – Vichen, Gevorg and Hovsep Abdullah, also occupy an important place in the history of Turkish photography. They held a monopoly on dissemination of photography throughout the Empire. In 1836, the Abdullahyan brothers became special photographers fоr Sultan Abdul Aziz. In 1867, near the Russian Embassy in Bera, they opened a photography studio named “Abdullah Brothers”. A great number of photographers of Turkish and foreign descent, working in Turkey, namely, the Gulmez brothers, Ashil Samanj, Jerome Savajian, the Papazyan brothers, Antoine Zilipojian, Othmar Pfersci, Ismayin Nesmi, Ahmed Polat and others, furthered the development of Turkish photography. Ara Güler is one of those, who played a big part in the history of photography, having created with his outstanding works a whole new world in that field.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"180 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80139588","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":"Мастерская Мартироса Сарьяна в Доме Перцова в Москве. Малоизвестная страница биографии художника","authors":"Рузан Сарьян","doi":"10.54503/2579-2830-2022.2(8)-234","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-234","url":null,"abstract":"Биография выдающегося художника ХХ века Мартироса Сергеевича Сарьяна хранит множество тайн и интересных фактов, которые до сих пор остаются малоизученными. Абзац из «Автобиографии» мастера с упоминанием о его мастерской в Доме Перцова послужил поводом для нашего исследования. В результате выяснилось, что мастерская Сарьяна с конца 1900-х до 1915 года, где были созданы его самые известные произведения данного периода, находилась в стенах одного из самых оригинальных зданий Москвы. К счастью, упоминания об этом факте сохранилось не только в «Авто-биографии» художника, но и в воспоминаниях его современников Артавазда Туманяна, сына великого армянского поэта Ованеса Туманяна, и жены писателя Алексея Толстого, художницы Софьи Исааковны Дымшиц-Толстой. Возможно, наша публикация послужит тому, чтобы имя Сарьяна в дальнейшем упоминалось в ряду тех известных людей, которые в разное время снимали мастерские в Доме Перцова. Среди них Павел Соколов-Скаля, Роберт Фальк, Василий Рождественский, Натан Альтман, Александр Куприн и др. Этот перечень имен сам по себе подсказывает и такую тему для дальнейшего исследования, как «Круг друзей Сарьяна, проживающих в Доме Перцова».\u0000The biography of the famous painter of the XX century Martiros Saryan hides a great many secrets and interesting facts, hardly studied to date. A paragraph from the master’s “Autobiography” with the mention of his studio in the Pertsov House prompted us to conduct this study. As a result, it was found out that, from the late 1900s through the year 1915, Saryan’s studio, where his famous works of the said period were painted, was located in one of Moscow’s most extraordinary buildings. Fortunately, mentions of this fact survived not only in the painter’s “Autobiography”, but also in the memories of his other contemporaries, such as Artavazd Tumanyan, the son of the great Armenian poet Hovhannes Tumanyan, and the painter Sofya Dymshits-Tolstaya, the wife of the writer Aleksey Tolstoy. This publication of ours may possibly encourage that in the future, Saryan’s name be included among those who rented studios in the Pertsov House. They were Pavel Sokolov-Skal, Robert Falk, Vasily Rozhdestvensky, Nathan Altman, Alexander Kuprin, and others. This list by itself is a topic for a further investigation titled “Saryan’s circle of friends from the Pertsov House”.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"93 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85695466","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":"Театральное искусство и его зритель в зеркале социологии","authors":"Армен Саакян, Равиль Талибович Насибуллин, Салават Сагитов","doi":"10.54503/2579-2830-2022.2(8)-257","DOIUrl":"https://doi.org/10.54503/2579-2830-2022.2(8)-257","url":null,"abstract":"В статье театр рассматривается как вид искусства, который живет в зрелищно-игровом действии в непосредственном присутствии зрителя. Уважаемому читателю предложенная тема может показаться несколько непривычной. Мы привыкли относиться к театру преимущественно как к коллективу людей весьма специфических творческих профессий, труд которых направлен на то, чтобы занять своеобразной «игрой на тему» свободное от основного вида общественно-полезной деятельности время зрителя, попутно давая ему возможность расслабиться, отдохнуть от повторяющейся изо-дня в день рутины, побыть в окружении прекрасного, пообщаться, наконец, с приятелями, обменяться информацией и т.д. Надеемся, что статья будет воспринята как точка зрения авторов, имеющих опыт исследования театра в качестве социального организма, функционирование которого с неизбежностью предполагает общение сo зрителем.\u0000In the paper, the theatre is considered as an art form that lives in a show-and-play action in the direct presence of the audience. The proposed topic may seem somewhat unusual to the readers. We are used to treating the theatre mainly as a team of people of specific creative professions, whose work is aimed at entertaining the spectators during their time off from their main socially useful activity, performing some kind of “play on a topic” and thereby letting them relax, take a break from their endlessly repeating day-to-day routine, be surrounded by the beautiful, communicate with friends and exchange information, etc. We hope that the article will be perceived as the viewpoint of the authors, who have vast experience in studying the theatre as a social organization, the functioning of which inevitably involves communication with the audience.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"61 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73832739","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}