Preservation Of Art Research Articles

Philosophy of Street Art: Identity, Value, and the Law

AbstractWe are living in the era of street art. Since Nick Riggle’s pivotal work on the definition of street art, several philosophers have addressed issues in the philosophy of street art. The goal of this paper is to summarize the literature. I consider the following matters, which have been at the core of philosophical discussions on street art: demarcation, value, illegality, and the ethical foundation of intellectual property (IP) protection. In answering the question ‘What is street art?,’ philosophers have generally resisted skeptical approaches by developing a wide range of real and essentialist definitions of street art (Section 2). When considering street art’s value, I distinguish between aesthetic and non‐aesthetic centered accounts. If the former focus on the aesthetic side of our experience of street art, the latter generally place emphasis on its activist nature and political significance (Section 3). In discussing the relationship between street art and illegality, I canvas different takes on the issue. If for some scholars illegality is either a necessary or sufficient condition for street art, philosophers tend to agree that it is neither, while not denying its relevance at the level of identity and authenticity (Section 4). Finally, I consider matters of IP protection of street art. On the one hand, copyright optimists defend the view that current IP legislations may very well have a positive impact on the promotion and preservation of street art. Pessimists, on the other hand, argue that an extension of copyright privileges to works of street art is likely to jeopardize the counter‐cultural and rebellious nature of this urban art kind (Section 5).

Development of a fixative protocol using formaldehyde and gluteraldehyde for preservation of microbial art on agarplates.

AimsAgar art bridges the gap between science and art using microbes instead of paint. Afterwards, the art can change in response to microbial fluctuation, meaning preservation of the original art is essential. Here, formaldehyde and glutaraldehyde were investigated as preservatives, involving techniques used in healthcare settings to preserve samples.Methods and ResultsFormaldehyde was tested at 1.0%, 2.0% and 3.7%, w/v, whereas glutaraldehyde was tested at 1% and 2.5%, w/v. Both compounds and respective concentrations were tested for different time periods. Escherichia coli, Serratia marcescens, Staphlococcus aureus and Micrococcus luteus were used as bacteria for “drawing” the works of art. The effectiveness of fixation was determined using integrated densities and visual assessment. Initially, both compounds showed potential promise, albeit with a loss of bacteria. Ser. marcescens was prone to colour changes and glutaraldehyde caused discolouration of agar and bacteria. These could be caused by a pH decrease in the agar, due to residual free aldehyde groups. Reduction of this was tested using 300 mM sodium metabisulfite to neutralize excess aldehydes. This initially led to reduced bacterial loss and avoided colour changes, however measurements 24 h post‐fixation showed colour loss to some bacterial clusters.ConclusionsHere, at least 2% formaldehyde for a short fixation period, typically 1 min, depending on the species, was most promising for the preservation of art. Given the success of this with different bacteria, it would make a good starting combination for anyone trying to fix agar art, although methodology refinement may be needed for optimisation depending on the bacterial species used.Significance and Impact of StudyThis study shows, for the first time, successful fixation and preservation of different bacterial species on agar. The impact of this is to preserve agar art while making it safe and non‐infective to those in contact with the microbial art.

A Multi-Analytical Approach to Infer Mineral–Microbial Interactions Applied to Petroglyph Sites in the Negev Desert of Israel

Petroglyph sites exist all over the world. They are one of the earliest forms of mankind’s expression and a precursor to art. Despite their outstanding value, comprehensive research on conservation and preservation of rock art is minimal, especially as related to biodeterioration. For this reason, the main objective of this study was to explore the factors involved in the degradation of petroglyph sites in the Negev desert of Israel, with a focus on biodegradation processes. Through the use of culture-independent microbiological methods (metagenomics), we characterized the microbiomes of the samples, finding they were dominated by bacterial communities, in particular taxa of Actinobacteria and Cyanobacteria, with resistance to radiation and desiccation. By means of XRF and Raman spectroscopies, we defined the composition of the stone (calcite and quartz) and the dark crust (clay minerals with Mn and Fe oxides), unveiling the presence of carotenoids, indicative of biological colonization. Optical microscopy and SEM–EDX analyses on thin sections highlighted patterns of weathering, possibly connected to the presence of biodeteriorative microorganisms that leach the calcareous matrix from the bedrock and mobilize metal cations from the black varnish for metabolic processes, slowly weathering it.

PH Switchable Water Dispersed Photocatalytic Nanoparticles

Photogeneration of Reactive Oxygen Species (ROS) finds applications in fields as different as nanomedicine, art preservation, air and water depollution and surface decontamination. Here we present photocatalytic nanoparticles (NP) that are active only at acidic pH while they do not show relevant ROS photo‐generation at neutral pH. This dual responsivity (to light and pH) is achieved by stabilizing the surface of TiO2 NP with a specific organic shell during the synthesis and it is peculiar of the achieved core shell‐structure, as demonstrated by comparison with commercial photocatalytic TiO2 NP. For the investigation of the photocatalytic activity, we developed two methods that allow real time detection of the process preventing any kind of artifact arising from post‐treatments and delayed analysis. The reversibility of the pH response was also demonstrated as well as the selective photo‐killing of cancer cells at acidic pH.

Gesture, Music and Computer: The Centro di Sonologia Computazionale at Padova University, a 50-Year History.

With the advent of digital technologies, the computer has become a generalized tool for music production. Music can be seen as a creative form of human–human communication via a computer, and therefore, research on human–computer and computer–human interfaces is very important. This paper, for the Sensors Special Issue on 800 Years of Research at Padova University, presents a review of the research in the field of music technologies at Padova University by the Centro di Sonologia Computazionale (CSC), focusing on scientific, technological and musical aspects of interaction between musician and computer and between computer and audience. We discuss input devices for detecting information from gestures or audio signals and rendering systems for audience and user engagement. Moreover, we discuss a multilevel conceptual framework, which allows multimodal expressive content processing and coordination, which is important in art and music. Several paradigmatic musical works that stated new lines of both musical and scientific research are then presented in detail. The preservation of this heritage presents problems very different from those posed by traditional artworks. CSC is actively engaged in proposing new paradigms for the preservation of digital art.

미메시스 관점에서 본 이은주류 살풀이춤

This study tried to explore one aspect of traditional dance through aesthetic experience from the perspective of the artist, the work of art, and the viewer, which are the three structures of art, in order to interpret the Eun-Joo Lee styled Salpuri-chum based on the mimesis, a concept in the art award. It is not an exaggeration to say that Lee Eun-Joo styled Salpuri-chum was designated as Seoul Intangible Cultural Heritage No. 46 in 2015 and aims for perfect form and perfection of work, and it is not an exaggeration to say that it has stood at the center of the unconscious historical narrative as our own cultural heritage for a long time. In other words, this study emphasized the preservation of intangible art, which has high historical and artistic value, targeting the Lee Eun-Joo styled Salpuri-chum, a cultural product of Korea, through aesthetic interpretation. In conclusion, this attempt is to expand the value of Salpuri-chum, an intangible cultural asset of Korea, with a new meaning, and to represent and re-examine the long history and status of traditional dance. And the presentation of a new communication method through a mimetic point of view has the effect of creating a new Korean traditional dance, Eun-Joo Lee styled Salpuri-chum, which is our unique cultural asset.

Classical Painting of Wayang Kamasan to be UNESCO Intangible Cultural Heritage

In the past, Balinese artists have been perfecting their skills in arts as an expression of gratitude to the Higher being or as a service to the community. One of the classic painting styles that endured through time in Bali since the days when King Anak Wungsu reigned. The classic art is the painting style from Kamasan village, Klungkung, known as Lukisan Wayang Kamasan or Kamasan Shadow Puppet Painting. Kamasan puppet painting is an expression of Wayang performance, composed into a 2-dimensional painting. The method of storytelling in the form of painting developed rapidly during the reign of ancient Bali, especially by the people who lived in the Kamasan village of ??Klungkung. The steps in determining the layout of the image, the drawing process, color making, and the coloring process of the Kamasan puppet painting are still used traditionally. The Indonesia Education and Culture ministry announced the submission of the Wayang Kamasan painting to UNESCO in early February 2022. This submission is a re-submission after the Kamasan puppet painting was proposed as an Intangible Cultural Heritage in 2018 by the Indonesian Government. However, the submission of the Kamasan Wayang painting as an intangible cultural heritage in 2018 was rejected because the documents were incomplete. The purpose of the protection in this convention is for art preservation, especially, for future generations. It means that anyone can use it, not just the group to whom the recognition of ownership of the intangible cultural heritage is given.

From Cultural Heritage Preservation to Art Craft Education: A Study on Taiwan Traditional Lacquerware Art Preservation and Training

In Taiwan, preservation and training policies of intangible cultural assets are highly valued by the government. In this study, lacquerware art craft education as intangible cultural heritage is the subject of this study. We conducted in-depth interviews and secondary data collection to obtain research data and carried out a grounded theory data analysis method through expert meetings to explore the passing on education strategy of “lacquerware art craft” in Taiwan. Firstly, based on Bloom’s educational objectives, the study analyzed three aspects of lacquer art education: cognitive, affection and skill, and proposed a “Lacquerware Art Passing-On Education Framework Diagram”. Later, the analysis results of the grounded theory enable us to summarize the “Lacquerware art value and learning structure diagram”. In this structure, it reveals that the Lacquerware artist’s way of thinking about the craft levels can echo the system of the Three Extremes of the Tao in the Book of Changes and divide the value levels of creation into the levels of tools of livelihood, way of living and philosophy of life.

Introduction: Cabinet, elaboratory, gallery 1500–1800. The preservation of art and material culture in Europe

Introduction: Cabinet, elaboratory, gallery 1500–1800. The preservation of art and material culture in Europe

REGISTER ISTILAH BAHASA INGGRIS BIDANG KONSERVASI DAN PRESERVASI SENI WARISAN BUDAYA

<p><em>Indonesia is rich in cultural heritage which is well-known in the world and most has been recognized by UNESCO. Cultural heritage can be in the form of objects, such as monuments, artefacts, and regions, or no objects, such as tradition, language, and ritual. The study discusses the register of English terms in the realm of conservation and preservation of cultural heritage art. It is aimed at learning English terms in the realm of conservation and preservation of cultural heritage to enrich English vocabulary, finding the form of specific terms in the field of conservation and preservation of cultural heritage, and providing an alphabetical list for terms in the field of conservation and preservation of cultural heritage in English and Indonesian. It is descriptive qualitative research with discourse analysis as a data analysis technique. Data collection techniques used are identification techniques in journal articles and books that discuss the conservation and preservation of cultural heritage. The use of registers in writing out the language in the field of art conservation and preservation, and a glossary of terms arranged systematically and in alphabetical order are urgently needed by academics, conservators, and students. Besides, the English terms in the field of conservation and preservation of the art of cultural heritage are aimed to facilitate students, lecturers, researchers, conservators, and others in understanding and applying them.</em></p>

The use of AR to preserve and popularize traditional Chinese musical instruments as part of the formation of the tourist attractiveness of the national art of Guizhou province

Abstract This article explores augmented reality (AR) possibilities for the preservation of national cultural art, popularization of Chinese musical instruments among the youth, and meeting the tourist interest in the cultural heritage of China in a fascinating interactive form. Using the generated database containing information on traditional musical instruments of the Guizhou province, the authors have developed an AR application adapted for educational and tourist purposes. Its central aim was to acquaint people with traditional Chinese musical instruments in the context of familiarization with the national culture of China. Testing of the developed application was carried out by hundred students from Guizhou Minzu University (College of Tourism and Steward, the College of Media, the College of Music and Dance, and the College of Data Science and Information Engineering) as part of the National Culture and Art study course. As a result, the created AR app was proved to expand the understanding of the culture and traditions of the Chinese people, intensify the perception of national musical identity, increase interactivity-caused inspiration and involvement (89%), and enhance interest in new knowledge (93%). Based on the obtained research outcomes, a model for the popularization of traditional Chinese musical instruments in the structure of the integrated national tourism product of Guizhou province was developed. The article is believed to be useful for individuals studying the national cultural heritage of China and educators seeking innovative solutions that improve the educational practice.

Politics of the Blessed Lady: Catholic Art in the Contemporary Hungarian Culture Industry

I examine Hungary’s Catholic arts industry and its material practices of cultural production: the institutions and professional disciplines through which devotional material objects move as they become embedded in political processes of national construction and contestation. Ethnographic data come from thirty-six months of fieldwork in Hungary and Transylvania, and focuses on three museum and gallery exhibitions of Catholic devotional objects. Building on critiques of subjectivity- and embodiment-focused research, I highlight how the institutional legacies of state socialism in Hungary and Romania inform a national politics of Catholic materiality. Hungarian cultural institutions and intellectuals have been drawn to work with Catholic art because Catholic material culture sustains a meaningful presence across multiple scales of political contestation at the local, regional, and state levels. The movement of Catholic ritual objects into the zone of high art and cultural preservation necessitates that these objects be mobilized for use within the political agendas of state-embedded institutions. Yet, this mobilization is not total. Ironies, confusions, and contradictions continue to show up in Transylvanian Hungarians’ historical memory, destabilizing these political uses.

Supporting Decision-Making when Conserving Contemporary Art: A Model for Identification and Categorization of Stakeholders

ABSTRACT Authenticity in flux and value-led approaches are crucial elements in the conservation of contemporary art. Both depend on stakeholders: those involved in the artwork's historiography, who can promote value attribution and knowledge production towards the works, and those who could be affected by the conservation process. Identifying relevant stakeholders for contemporary art conservation becomes an imperative. This article introduces a model for identifying and categorizing relevant stakeholders for contemporary art conservation and preservation and attempts to support questions such as: Who are the stakeholders involved in the conservation process? What should be their involvement? How do they impact the conservation process? Who should identify them? How could it be done? In the suggested model, identification of relevant stakeholders is led by (1) the conservator as an analyst or an agent of change and (2) by a set of twelve “boundary questions” used to provoke and define situational framings. The categorization of relevant stakeholders is presented according to (1) their nature (human and non-human) and (2) their relevance and impact on/from the conservation and presentation process. Thereby, four groups of stakeholders are identified: human actors actively involved, human actors passively involved, non-human actors actively involved, and non-human actors passively involved.

КАЗАХСКАЯ ЭЛИТА И МУЗЫКА (1920-1930)

The article discusses specific period in development of the Kazakh music in the XX century and the tasks of its adequate scientific interpretation. In the new development of the stage of the 1920s-1930s. the formulation of a complex of historical and theoretical problems is proposed, which corresponds to the modern level of musicology and related disciplines. This approach is aimed at filling the “white spots” in the culture of Kazakhstan, which are still numerous. In this context, exploring the selfless activity of the national intelligentsia of that time, who made special contribution to the preservation of traditional art, is relevant. The creative figures of musicians-performers, including eminent and, for some reasons, unknown ones in broad and professional circles, will be shown not only through various components of their artistic individuality, but also in connection with problems that go back to anthropological, worldview, psychological and other research aspects. On this basis, through the enrichment of factual base, it is planned to generalize their experience to ensure continuity and inviolability of spiritual priorities and values.

The syncretic work of Edige Nabiyev - a traditional performer, master

This article discusses the main reasons for the development, preservation and continuity of Kazakh art in the new era in the framework of the project «Performing Art of Kazakhstan: National Style, Traditions and Role in the Transformation of Society» AP №05135997 according to the program of the First President of the Republic of Kazakhstan N. Nazarbayev «Rukhani Zhangyru: a look into future» and Seven faces of the Great Steppe. It also analyzes the continuity of those few qualities that are transmitted to one of our great ancestors. The prerequisites for the continuation of such values are characterized by the fact that they begin with family education, towards societies, in the field of artistic skills, in communication with experts in this field and in their quest for self-determination. Kuyshi Edige Nabiyev, who has similar syncretic properties in traditional art, is considered a model, and the authors propagate issues of continuity, reproduction and development in this area. The article is intended for art historians, scientific researchers of traditional art, undergraduates and students

Cuidar para valorizar. Estratégias de preservação no âmbito do Mercado da Arte

In the art market, it is a real possibility that the conduct to be adopted in the preservation of contemporary art cannot be put into practice without secession with the conservation and restoration guidelines. The aim of this study is to analyse if the most prominent professional guidelines fit into the market framework, or if it is possible to find divergences or reasons to lay aside in commercial practice. The work compared the fundamental guidelines with the practical objectives of the art market, qualitatively analyzing the results with the personal testimony collected from the agents of the national market on the issue raised. From this analysis, it was possible to identify the need for diagnostic models balanced with the safeguard of the commercial circumstance of the assets, seeking to develop a line of diagnostic guidelines that offer analytical usefulness to the conservator, in actions in the context of the contemporary art market in Portugal.

Perception of Gallery Managements on Optimisation of Daylighting for Energy Efficiency in the Post Construction Architecture of Gallery Spaces

Lighting in art galleries is fundamental to the building’s function and has a direct impact on the visual experience, preservation of art and most importantly the energy used. Despite the recent advancements in architecture, most galleries are yet to embrace the use of day lighting for its cost effectiveness and energy efficiency. This study therefore evaluated the perception of gallery managements in selected galleries on the optimization of day lighting with a view to proposing an art gallery in Eko-Atlantic, Lagos State. The study purposively selected 15 most visited galleries of the known 21 art galleries in Lagos state. The sample size was distributed across the three prevalent gallery typologies which are purpose-built, converted and space-in-facilities galleries which are leased spaces in other facilities. Total enumeration sampling technique was used to survey the responses of the members that constitute the management team in the art galleries 100 copies of questionnaire were administered based on staff strength of existing galleries to obtain information on socio-economic characteristics of respondents, sources and cost of power Designer’s observation was used to assess the characteristics of the galleries and a lux meter was used to measure illumination levels. Frequency counts and percentages were used to explain socio-economic characteristics of the respondents, cross tabulation was employed to analyze the gallery types with cost of power supply and Likert scale was used to evaluate staff perception on the use of day lighting. Power Usage Index (PUI) was developed to measure respondents’ perceived most important areas for power usage in the gallery space. Supply, staff members’ perception on optimisation of day lighting and use of artificial lighting. The study revealed that Majority (68.9%) of the galleries were converted spaces. All the gallery types relied on generators and electricity supply from the national grid for lighting, hence over (N100, 000) hundred thousand was spent monthly to power the galleries. The highest value of PUI (4.73) was established for lighting being the most important reason for power in the gallery. The study showed that majority (68.7%) of the respondents agreed the use of daylight was cost-effective and energy-efficient. However, only 14.3% of the galleries utilized the north-south orientation to maximize solar gain during the daytime. The study concluded that the strategic adoption of day lighting was considered a significant tool for energy and cost efficiency in the gallery space. The study recommended the need to adopt the north-south orientation to maximize solar gain Keywords: Art gallery, Optimization, day lighting Energy efficiency, Visual experience DOI: 10.7176/JEES/11-5-07 Publication date: May 31 st 2021

Rajabhat University Education Policy and Image of Suan Sunandha Rajabhat University’s Thai dance and theatre

This article aims to study the relations between Rajabhat university education policy and the image of Thai Classical Dances Program of Suan Sunandha Rajabhat University. The scope of the study focuses on the policy of Suan Sunandha Rajabhat University, located in Bangkok, between 2004 – 2021, by studying from document, interview, observation, and small group discussion. The results showed that, the prominent policy of Suan Sunandha Rajabhat University is to be the smart archetypal university of the society in education, research, academic service, and preservation of art and culture. With the mission to become the university for community, this emphasizes the image of the Faculty of Fine and Applied Arts, Department of Performing Arts (Thai Classical Dances). The faculty has various personnel with outstanding identity, who are academic practitioners, proficient in communication, skillful in thinking, and full of public mind. The contribution to the public can be divided into 4 categories; teaching and practice service, performing arts documentary research, field study, and experimental service; academic service with innovative teaching methods; performance arrangement service, academic seminar, research, and activities for the community; preservation service for art and culture, conservation, succession, and development according to the royal initiative of King Rama X. With the variation in image and organization culture that support for self-development of the personnel and organization as a whole, the Thai Classical Dances Program of Suan Sunandha is well known in both national and international level..

Strategy Management of Thai Kite Art and Cultural Revitalization and Preservation by the Participation of the Laksi Communities, Bangkok, Thailand

The objectives of this research were to 1) investigate the body of knowledge of Thai kite art and culture, 2) investigate the community participation of Thai kite art and culture restoration and preservation, and 3) analyze strategy management of Thai kite art and cultural revitalization and preservation by the participation of community people Laksi District, Bangkok. This research was a community-based research (CBR). The research methodology was mixed methods approach: qualitative and quantitative research design. The results showed that Laksi Thai kites had distinctive identity. Regarding the community participation, they did not participate in any Thai kite art and culture programs. The wisdom owners of the local Thai kite art and culture preserved their art and culture themselves without any support from the public sectors in Laksi District. The art of kite-making was gradually disappearing, despite the fact that its identity had been in the community for a long time. Besides, the majority of the community people intended to participate in the restoration and preservation of Laksi Thai kite art and culture programs. Moreover, the results of the analysis of the strategy management revealed that there were attempts of having the cooperative learning with the community in all phases: initiation, sharing ideas, controlling, operating, evaluating, and receiving benefits. In order to establish the community participation, it was necessary to have well-accepted leader in the community; public sectors to facilitate activities, and networks in all sectors.

Sustainability of Arts and Culture a Comparative Case Study of Cultural Village, Chiang Kham District, Phayao Province, Thailand and Luang Prabang, World Heritage City, Laos

Phayao University has operated the project, 1 faculty 1 model since fiscal year 2012 by assigning the Faculty of Architecture and Department of Science Responsible for Chiang Kham District, Phayao Province. Operating under 3 missions: Research, Academic service to society and the preservation of art and culture by shifting researchers to take responsibility for the project continuously for each fiscal year. Until now 2019, totaling 8 years, the first year that the faculty has adjusted the research model to integrate science. In which 5 disciplines are Architecture, Interior Design, Art and Design, Performing Arts, and Western Music to do a project together with an emphasis on working on the inheritance of Tai Lue wisdom and art and culture in conjunction with the project, together with the academic service project. To develop teachers' potential and arts and culture preservation projects in promoting student quality to drive the organization of the turbocharged, the operational area is Tai Lue Cultural Village, Yuan Subdistrict, Chiang Kham District, Phayao Province, Thailand. Comparing with Tai Lue cultural villages in a country that is culturally close to the culture is Tai Lue village, Na Yang Tai village, Nam Bak, Luang Prabang Province, Lao PDR by studying the context of the change in arts and culture among the Tai Lue ethnic groups. To analyze for good development practice Integrated Science Research Project on the changing of the world and culture including the development of research administration and develop research groups within the faculties, and to achieve co-operation networks until leading to the exchange of knowledge between researchers and students at the international cooperation level for the purposes. They are (1) to study the relationship between Tai Lue culture in Phayao Province, and Tai Lue, Luang Prabang Province, Laos, in the arts and culture that will lead to the development of design and creation. (2) To manage research projects in the form of integration of science with all disciplines involved. It is expected that there will be a way to produce creative works, designs and/or academic articles from 5 disciplines and international activities.