Pakulo Politics: Shop 6 and the Material(isms) of Conceptual Art

The article addresses the situation of research in art institutions and its contradictions. Can postresearch become a critical impulse for artistic research? The proposition of “postresearch” was first introduced in the European context of artistic research when the 9th Bucharest Biennale, “Farewell to Research”, curated by Henk Slager in 2020 was announced. The philosopher Peter Osborne consequently analyzed the concept of postresearch and its self-contradictory claim of wanting to leave the research paradigm.1 He emphasized that artistic research must fulfil a non-administrative function, as does the “concept of art” by neglecting or revising its form. In comparison, higher education standards and academic legitimation processes of artistic research follow stricter standardization rules (e.g., written supplements). If artistic research neither competes with the “concept of art” (whatever that is?) nor acts as a legitimate science or discipline and furthermore does not escape administration, should these practices reclaim their status as art? Within the unresolved question of how to position artistic research between art and science – or more specifically in the humanities – lies also its attraction, its character or junction for crossing disciplines and critical studies. Artistic research has what the theorist Natalie Loveless called a polydisciplinamorious character which can lead future debates from methodo- logical introspection to collaborate in postresearch practices.

The concept of abstract art as “world language” became famous after documenta II (1959). Abstract art was considered as universally comprehensible and independent of cultural, political or historical contexts. However, this was never explicitly tested empirically. If these assumptions were true, there should be higher intersubjective coherence in perceiving abstract paintings compared to representational art. In order to test this hypothesis, the authors recorded the eye-movements of 38 participants and collected information on their cognitive and emotional evaluations. The results suggest that the concept of abstract art as a universal language was not confirmed and needs to be revised.

Conflicten over Haagse Stadsbeelden : Van Willemspark tot Spuiforum

Conflicten over Haagse stadsbeelden

Gifts from Our Elders: African Arts<i>and Visionary Art History</i>

Deutsch-deutsche Kunstgeschichte am Beispiel von Hanne Darboven und Werner Tübke The histories of art in former East and West Germany have been described as evolving synchronously. This article, arguing from another point of view, analyzes two works from the 1980s, both of them outstanding in purpose and size: Werner Tübke’s monumental painting Frühbürgerliche Revolution in Deutschland in the Museum Bad Frankenhausen (formerly GDR) and Hanne Darboven’s Bismarckzeit in the Kunstmuseum Bonn (FRG). The investigation into their subjects, forms, and contents within their historical contexts – the period of Erich Honecker’s claim for a socialist tradition and Helmut Schmidt’s Realpolitik, respectively – reveals a greater distinctness grounded on different concepts of art, i.e., anti-modern (Tübke) versus modernist (Darboven). Nevertheless, in their view of German history a common kind of scepticism about teleology may be discerned, which is based on the artists’ shared experiences of Germany’s disastrous contribution to the twentieth century.

With the development of science and technology, the speed of information transmission is also rapidly increasing, and culture and art from all over the world come to our eyes through this network, and when we are immersed in and marvel at Western culture and art, we gradually ignore traditional culture and craftsmanship. This project aims to provide a new perspective for the creation and development of visual art, fully integrate national elements and spirit, and integrate contemporary art into the cultural and historical context. Through reviewing the literature, we collected the cultural and artistic value of the image of the gods and monsters of the Shan Hai Jing in artistic creation, and analyzed its artistic concepts, and explored the artistic feasibility of combining visual design with the images of the gods and monsters of the Shan Hai Jing. And through case studies of works in contemporary visual design, Trying the mythological images and artistic conceptions in the Shan Hai Jing as the source of inspiration for this article, closely following the development characteristics of the current era, and analyzing the meaning of the application of elements in contemporary design, it provides new research ideas and theoretical foundations for the development of visual design and the combination of traditional culture. Explore the practical significance of Chinese mythological elements in modern visual design.

The article discusses the concept of public space. The research is aimed at identifying the connection between modern socio-cultural trends and the formation of public spaces. In the course of the research, the following tasks are solved: consideration of the issue of the development of public spaces in a historical context; analysis of the formation of requirements for its organization over time; assessment of modern approaches and solutions to the formation of public spaces and identification of promising trends at the turn of the XX-XXI centuries. If the first public spaces were formed spontaneously within the grid of streets laid out in the city, then over time special territories were allocated in the urbanized space – play areas for children, places of communication for residents, etc. The author examines the influence of modern socio-cultural trends on the formation of public spaces, the relationship between urban development and the socio-cultural framework. Currently, the modern socio-cultural framework includes sites and environmental elements related to open urban spaces. These include territories of spare, free cars; linear, street structures; landscape components of man-made or natural properties; sections of house territories by complexes, etc. One of the promising areas for creating spaces in demand by socio-cultural content is the revitalization of abandoned territories and buildings that are excluded from the functional and objective life of the city – former factory and warehouse zones. The author considers successful solutions for inclusion in the socio-cultural framework of these territories. The author concludes that it is necessary to form, develop and subsequently maintain urban public spaces in order to improve the quality of life.

The Royal Academy of Arts has remained a national institution, though the scope and power of that notion have perhaps never been greater than they were in its formative period. By1820 the Academy had educated some 1,200 students free of charge: the very best rose to international fame; those lacking sufficient talent for the higher branches worked as drawing masters and in the applied arts and manufacturing design across the country. The income generated by the national showcase for British art had allowed the Academy to dispense more money in relief of artists than any other society. At least for the short period between the 1790s and 18rns, the Academy, Reynolds, his concept of art, and his followers were widely recognized as pivotal to an emerging native artistic tradition. Art institutions in England’s provincial towns, her sister kingdoms, and her former North American colonies had benefited from Academicians’ resources, advice, and prestige. As the national pool of artistic and aesthetic expertise with a genteel residence at Somerset House, the Academy had raised the prestige of the fine arts and its professors at home and abroad. Drawing on its royal connections and lobbying government and Parliament with consider able success, it had helped shape the professional identity of artists, spread the notion of the arts as a national resource, and made substantial contributions to the creation of the St Paul’s pantheon, the acquisition of the Elgin Marbles, and the movement towards a National Gallery.

Romance «Blacked Night» by O. Tadeush based on Sappho’s poem: dialogue in “large time”

This research delves into the linguistic and historical dimensions of Padang Lawas, a region in North Sumatra, Indonesia, by conducting an in-depth analysis of ancient Malay inscriptions originating from Hindu-Buddhist antiquities. The central objective of the study is to identify traces of Proto-Austronesian, the ancestral language of the Austronesian language family, within these inscriptions and to place them within their broader historical and cultural context. The linguistic analysis begins with the identification of linguistic features, including vocabulary, phonological elements, and syntactical structures, that echo Proto-Austronesian characteristics. By comparing these features with reconstructed Proto-Austronesian and related languages, the research aims to shed light on the linguistic evolution of the Malay language and its historical connections. The historical context is illuminated by examining the inscriptions within the framework of the Hindu-Buddhist period in Padang Lawas. This entails a thorough exploration of religious practices, trade networks, and societal structures that defined the region during this era. Additionally, the inscriptions' references to both Hindu and Buddhist deities reveal the syncretism of beliefs that characterized the cultural landscape. Regional variations in the inscriptions highlight the diversity of cultures and dialects within Padang Lawas, enriching our understanding of linguistic and cultural interactions. Ethical considerations have guided the research, emphasizing the preservation of cultural heritage, responsible research, and collaboration with local communities and authorities. The findings of this research have profound implications. They contribute to the fields of linguistics, history, and archaeology, offering fresh insights into language evolution, historical context, and the interplay of cultures in Southeast Asia. Furthermore, they advocate for the preservation of cultural heritage, responsible research practices, and interdisciplinary collaboration as models for future investigations.

Cultural heritage is an extensive body of knowledge that encapsulates the historical and cultural context of a site’s creation and its present actualisation. While existing studies have defined traditional transportation, they have also recognised its importance as both tangible and intangible heritage, leading international organisations to advocate for its preservation. The tangible aspects pertain to the physical artefacts of the transportation vehicles, and intangible aspects refer to the cultural and historical context in which the transportation artefacts were used. In this study, we aim to explore the anthropological aspects of digitally preserving the historical and cultural context of significant transportation in a multi-cultural trading port. Primary sources were gathered through narrative interviews with individuals who have knowledge of the old transportation situations in Weld Quay, a cultural heritage centre from the 19th century. Secondary sources, including relevant and appropriate visual materials, were also analysed to discover information on the transportation situations. The findings of this study were synthesised through photorealistic visualisations of the artefacts’ forms to effectively convey information based on the comparative, textual, and visual data collected. Our research demonstrates the importance of transportation heritage and its potential to raise awareness among Penang communities of their living heritage. Our conclusion highlights the significance of digitally preserving transportation heritage to ensure its preservation for future generations.

The so-called “Corona Blue” decline in mental health after the COVID-19 outbreak. This study examines how COVID-19 risk perception affects mental health via urban space usage in Seoul, Korea, and Shanghai, China. It uniquely explores direct PR-MH and OS-MH effects, along with indirect effects mediated by pandemic-driven changes in urban space utilization. Results reveal that visits to urban destinations and open spaces mediate the relationship between perceived risk and MH, with differing significance levels between the two cities. In Seoul, disruptions in daily life negatively affected mental health through decreased interactions with urban destinations and outdoor spaces, with a statistically significant impact on stress through urban destinations. This suggests that maintaining access to and engagement with these spaces is crucial for mental health during crises. Conversely, Shanghai showed indirect effects predominantly through perceptions of safety, which significantly influenced anxiety levels through urban destinations, but did not manifest similarly through interactions with outdoor spaces. Caution in interpretation is necessary for better generation, but the outcomes of this study underscore the importance of considering cultural, historical, and political contexts in understanding the varying impacts of future pandemic policies on mental health.

This chapter reconstructs the neo-Wittgensteinian proposals, and re-examines the “family resemblances” passages from the Philosophical Investigations. Arthur Danto chooses to explain the historically contextual nature of art in some of the same terms as Wittgenstein sketches for language. The neo-Wittgenstein view is typically reconstructed as a conjunction of two claims about the concept of art: the concept is not definable and it needs to be understood along the lines of Wittgenstein's discussion of “family resemblances.” The concept of art evolves historically with different uses and conditions of application in different historical contexts. Wittgenstein briefly invokes resemblances among family members to characterize such networks of overlapping similarities and immediately proceeds to apply the idea to numbers. Danto's considered view is that the diversity of art is a matter of the historicity of both meaning and embodiment.

Problem statement: Studying infill architecture in historic contexts requires an interdisciplinary approach in an interactive framework involving architecture, urbanism, and restoration. Neglecting this interaction may cause irreversible damage to the values of historic contexts, such as the Bazaar Context of Tabriz, and hinder the realization of expectations from infill architecture.Purpose: The purpose of this research is to explain infill architecture in historic Contexts via an interactive framework involving urbanism, architecture, and restoration. This will provide us with a deeper insight into the quiddity of infill architecture and help us formulate a design and evaluation model in the framework of an interdisciplinary perspective. Then, we will use this model to evaluate Mashruteh Complex as part of the Historic Bazaar Context of Tabriz.Research method: The study uses a descriptive-analytic research method from an applied perspective. In this way, by studying the theories related to the concept of infill architecture in historic urban contexts, we will provide a model that explains interdisciplinary relations and, then, use it as the basis for evaluating the case study.Conclusion: The results show that infill architecture should be considered in an interdisciplinary framework composed of urbanism (i.e., smart development, sustainable development and new urbanism), restoration (i.e., urban restoration and architectural restoration) and architecture (i.e., preservationism, contemporization and moderationism). An interdisciplinary approach contributes to explaining infill architecture in terms of reciprocating patterns among the three fields mentioned above. Our study of Mashruteh Commercial Complex in the Historic Bazaar Context of Tabriz from the perspective of infill architecture shows that the building conforms to urban restoration in terms of preservation; sustainable development and new urbanism in terms of urbanism; and, contemporization in terms of architecture. The results of our SWOT analysis also suggest that the addition of this new construct, along with the strengths and opportunities, has led to some weaknesses and threats which need to be eliminated based on strength-threat, strength-opportunity and weakness-opportunity axes.