Examples Of Art Research Articles

Book Review: Gender, Branding, and the Modern Music Industry, by Kristin J. Lieb

Kristin J. Lieb Gender, Branding, and Modern Music Industry. New York: Routledge Press, 2013. 194 pp.The introduction of MTV to world in 1981 not only Killed Radio Star (MTV's first music video) but also shifted consumption of music from a predomi- nantly audio medium, to one which highlighted visual performance of music. This subject, specifically trajectory of female pop music stars' careers, is subject of Kristin Lieb's book.Gender, Branding, and Modern Music Industry includes data gathered in twenty-one extensive interviews with industry insiders, citing identified sources as well as anonymous contributors. Their frank assessment of sexism that dominates music industry is somewhat surprising, yet assuredly insightful.Lieb's fundamental argument is that while music industry is constantly chang- ing, emphasis on female appearance, and particularly one's sexuality, is a con- stant in world of female pop music stars. By interrogating the social forces underlying patterned and problematic representation of female artists, readers can more fully understand how they become so culturally embedded in today's society (p. 164).Chapter 1 establishes theoretical basis of book by identifying relevant research in sociology, mass communication, and communication studies. Lieb intro- duces notion of Cultural Diamond based on work of Wendy Griswold. The interaction between four key elements-the social world, a cultural object (in this case female artist), creator (the music industry and artist herself), and receiver (or consumer) of music serves as a basis to understand sociological process of constructing female pop music stars. Together with theory, Lieb combines a variety of theoretical constructs to complete framework for studying female pop music stars. Here, Lieb suggests that critical theory is insufficient to explain this phe- nomenon. However, in final analysis of life cycle of female pop music stars (Chapter 6), she draws largely from critical theory scholars, so while it is true that book approaches topic with a broad scope of academic literature, critical theory undoubtedly plays a significant role in conclusions reached.Chapter 2 merges two previously separate components of branding: short-term and person brand. This concept serves as basis for much of analysis that follows. In addition, Lieb explores various strategies, such as an artist's accessibil- ity, which may be used to keep brand relevant. Chapter 3 chronicles evolving nature of music industry (post-MTV) with particular attention to success of sales operations such as Amazon and impact of new technological avenues for obtaining music.Chapters 4 and 5 explore phases through which most successful female pop music stars must traverse. Using wide-ranging examples of artists from Madonna, Brittney Spears, Lady Gaga, Katy Perry, and others, Lieb analyzes evolution of their careers. The phases begin with stereotypic good girl and progress through roles labeled with more explicitly sexual overtones (i.e., temptress, whore, diva) and conclude with less commonly achieved phases such as self-imposed exile, protected status (generally by a male figure), and, finally, legends. …

The Scientific Method and the Creative Process: Implications for the K-6 Classroom

Science and the arts might seem very different, but the processes that both fields use are very similar. The scientific method is a way to explore a problem, form and test a hypothesis, and answer questions. The creative process creates, interprets, and expresses art. Inquiry is at the heart of both of these methods. The purpose of this article is to show how the arts and sciences can be taught together by using their similar processes which might improve student engagement. Arts-integration research from the literature is discussed. Both the scientific method and the creative process are described through examples of scientists and artists in different areas. Detailed learning activities are presented that demonstrate how both the scientific method and the creative process can be implemented into the classroom. Two activities are appropriate for elementary-aged children, grades K-3, while the other activities are geared for intermediate school-aged students, grades 4-6. All activities are written where either a science educator or arts educator could utilize the lessons.

On the Value of Mistranslations and Contaminations: The Category of “Contemporary Choreography” in Asian Dance

This article works through ideas of bad/mis-translation in order to explore some of the cultural politics that undergird the construction of the global stage with specific reference to the idea of contemporary choreography in Asian dance. Bound by contesting flows toward heterogeneity and homogeneity, the global stage begs questions about the categories that pose as neutral signifiers—categories that are deployed in organizing “global” programming, and that ultimately over-determine our reception of difference. The article works through examples of artists working with Asian dance, touring their work on the global circuit, and often engaging in some kinds of mis-alignments or bad translations, thus allowing space for complicated questions of difference to emerge.

Pragmatic Aesthetics and the Autistic Artist

There are many prominent examples of artists with autism. However, even when confronted with evidence of these accomplished autistic savants , pragmatic aesthetic theories cannot adequately account for the work of these accomplished artists as artists . This article first examines the nature of autism and explores a prominent psychological theory that purports to explain autistic symptoms. This prominent theory, the theory of mind thesis, holds that autistic symptoms are the result of the failure of persons with autism to make certain types of second-order propositional attitude attributions. Second, the article describes the work of three visual artists with autism. There can be no doubt that these individuals are in fact artists. Third, the article examines pragmatic aesthetic theory and demonstrates why the pragmatic theory fails to adequately account for the accomplishment of autistic artists. The unique psychological deficits that characterize autism present a challenge to pragmatic aesthetic theories in particular. The conclusion is that the pragmatic theory’s inability to accommodate the artist autistic artist is a profound shortcoming. A revision of the pragmatic theory is called for, as is embracing of the development of the special talents of persons with autism.

Towards renewed descriptions of Canadian disability movements: Disability activism outside of the non-profit sector

There are a limited number of academic accounts of disability movements in Canada; however, the existing literature provides relatively consistent descriptions. According to this literature, the disability movement seeks incremental, rather than radical, change through government-led policy, legislation and legal challenges. This work explicitly or implicitly uses the activities and actors from non-profit disability organizations as the platform for documenting and analyzing the movement. In this article, I argue the documented parameters of the Canadian disability movement are only part of the picture. There is a much broader and conflicted world of activism in Canada, constituting multiple disability movements. This article looks beyond the non-profit sector and incorporates expanded definitions of 'activism' inspired by third-wave feminisms to reveal a more complex picture of contemporary Canadian disability movements. The article proceeds with a brief summary of existing descriptions of the disability movement in Canada. I then discuss the challenges faced by non-profit organizations in a period of hyper-neoliberalism and suggest social and economic factors push radical and creative disability activism outside of this sector. I provide five counter examples of Ontario-based disability activists and artists who disrupt the existing accounts and broaden our understanding of who and what constitute disability activism. The article concludes by providing some questions and tentative characteristics that head towards renewed descriptions of disability movements in Canada.

THE PROTESTAND DISTRIBUTION: THE CASES OF "FEMEN" AND "PUSSY RIOT"

Straipsnyje, remiantis istoriniais pavyzdžiais, protesto grupių Femen ir Pussy Riot atvejais, meno grupių Voina ir Zmena veiklos analize, kalba­ma apie vaizdingų pranešimų manifestacijos, reprezentacijos ir skaitmeninio paskirstymo santykį. Meniškumo mažėjimas ir protesto akcijų rengimas sie­kiant bent iš dalies patenkinti politikos vartotojų geismus ir iš jų kylančius poreikius šiandien derinamas su pilietiniais ir komerciniais siekiniais vienu metu. Meniškumo supaprastėjimas iki elementaraus gatvės, darbininkiško meno, iki populiarių vaizdų pasiūlos, kuri kartu tenkina ir politikos paklau­są socialiniuose tinkluose, dera su didėjančia skaitmeninių technologijų ir pranešimų sklaida. Straipsnyje teigiama, kad ne tiek komunikaciniai veiks­mai, kaip manė J. Habermasas, kiek komercinis ir politinis juslumo ir este­zio paskirstymas – tai aprašė J. Ranciere’as, bei menamai laisvas vartojimas veikia vartotojiškas-pilietines nuostatas. Naujasis komunikacinis, vartotojiš­kas-pilietinis sąmoningumas priklauso nuo skaitmeninėje erdvėje platinamų turinio, kalbos, sukeliamos euforijos, kurią šiuolaikinės kūrybinės ir infor­macinės industrijos išlaiko, reprodukuoja komerciniais tikslais, o ne norėda­mas atitikti specifinius moralinius ar politinius idealus. Tuo galima paaiškinti Femen iš dalies antifeministinį elgesį, nuolatinį apsinuoginimą, komercinį bendradarbiavimą, kuris lemia pilietinį pasirinkimą. Kritinis mąstymas ir lyderystė masinio paskirstymo ir vartojimo atveju yra ne vieno ideologinio naratyvo išpažinimas ir kitų atmetimas, o keleto skirtingų pasakojimų ar vi­zualių siužetų atitikimas. Taip yra sukuriama laisvės, kritiškumo, revoliu­cingumo iliuzija. Kaip priešybė paskirstomajai-spektakliškai manipuliacijai nagrinėjami performatyvaus išcentrinimo ir skaitmeninio kūrybinio situacio­nizmo veiksmai, kuriuos iš dalies atitinka Pussy Riot atvejis. Vis dėlto Voina ir Zmena meno grupių veiklos analizė rodo, kad nekomercinis protestas, be kryptingo informacijos paskirstymo ir sąveikos su masine paklausa elektro­niniuose tinkluose, yra mažai efektyvus. Todėl straipsnio pabaigoje aptaria­ma pasipriešinimo taktika, apie kurią kalbėjo situacionistai (G. Debord’as, R. Vaneigeimas) ar postsituacionistai (J. Boudrillard’as), šiuolaikinio pa­skirstymo kritikai (J. Ranciere’as). Straipsnyje diskutuojama apie kūrybinių situacijų sudarymą ir nekomerciškumą naudojantis skaitmeninėmis erdvėmis ir komercinio paskirstymo analogais.

Facing the Future: The Artistic and Diasporic Afterlife of the Iran-Iraq War

How do the cultural and emotional after-effects of the Iran-Iraq War influence artistic production among Iranian artists living outside of Iran? How do Iranian diaspora self-portraits act as socio-political memoirs? This article addresses these questions by looking at some examples of diaspora artists who through their art somehow remain political 'subjects' of contemporary Iran, even as they grapple with the complexities of 'being away' - if that is ever really possible.

Gut Feeling

ABSTRACTRecently, artists have launched restaurant projects that experiment with aesthetic form and disrupt conventional links between nationality, class, and food consumption. The phenomenon of artists opening restaurants and holding banquets offers audiences an opportunity to ingest artwork and thereby synthesize it on material, aesthetic, and bodily registers. This analysis explores examples of artists' restaurants by Carsten Höller and Dean Baldwin that center on an embodied and sensorial gustatory aesthetic experience.

Code-switching in Art: From Semiotics to Sociolinguistics

Both language and art can be considered as media for expressing meanings. This paper explores some suggestive parallels between meanings expressed through linguistic code-switching and meanings expressed in certain works of art. In particular, recent research on CS makes use of various notions which can be applied in the visual field: (1) heteroglossia/intertextuality: code-switching researchers such as Stroud have adopted this concept from literary studies to describe the exploitation by code-switchers of a ‘double voice’, i.e. the fact that much of what we say involves an implicit reference to the (real or imagined) words of others. (2) Contextualization : this refers to the strategic variations which speakers employ to create meaning within an agreed matrix of conventions. Gumperz developed the idea of contextualization cues, i.e. features of the form of the message which point to how the semantic content is to be understood. (3) Rational Choice v. Conversation Analytic approaches: Myers-Scotton’s ‘Rational Choice’ model suggests that bilingual individuals’ language choices are largely to do with the indexing of varieties to particular sets of ‘rights and obligations’. Auer and Li Wei have shown that this only provides a partial explanation, and that linguistic choices provide a means of structuring conversation independently of such associations. Artistic examples taken from Roman Art, Renaissance Cretan icons and Picasso illustrate how, like code-switched utterances, works of art can derive meaning from (a) duality of reference, (b) the incorporation of an older tradition within a new work, and (c) from their vertical relationship with the context of their production and with their audience. Parallels identified here suggest that some areas of CS research are touching on universal semiotic patterns.

The Prometheus Myth in the Sculptures of Sami Mohammad and the Plays of Aeschylus and Shelley

The Prometheus Myth in the Sculptures of Sami Mohammad and the Plays of Aeschylus and Shelley

The Study of Methods and Trends of Icon Design

Combined with the aspects of standardized, user-friendly, artistic examples, the purpose of this paper is to analyze the major factors involved in computer graphics design process, to explore methods and trends of icon design, which provides useful references for icon designers.

‘Spanish’ Theatre in Occupied France, 1940–1944

This article examines the impact of Spanish exiles on French culture from the outbreak of the Second World War, focusing especially on the influence of Spanish writers, themes, and landscapes in the theatre performed in France during the German Occupation, from 1940 to 1944. It will be argued that Spanish exoticism and themes from seventeenth-century Spanish plays such as grandeur, love, honour, and duty were ideal material for boosting audiences who were suffering from the deprivations of war. Additionally, such plays were far enough removed from the contemporary situation not to raise eyebrows with the German censorship bodies. Some famous examples of artists with close ties to Spain, such as Casarès and Camus, are discussed for their contributions to this trend, as are a few playwrights, such as Montherlant and Claudel, who privileged Spanish themes in their works premiered during this period. It will be seen that French theatre was hugely affected by its Iberian neighbours — as its intellectuals had been by the Spanish Civil War, and that the fashion for ‘Spanish’ theatre in Paris was to increase dramatically in the post-war years.

The Pre‐Raphaelites and the Mythic Image: Iconographies of Women

In this essay, I consider the role of figures of classical mythology in the paintings of Dante Gabriel Rossetti (1828–1882) and Edward Burne‐Jones (1833–1896) for whom myth acted as a metaphor for their lives and loves. In contradistinction to Victorian classicists, such as Frederic Leighton and Edward Poynter, Rossetti's and Burne‐Jones's goddesses were not merely Venuses or Pandoras re‐imagined; instead they spoke in a disguised language of real women in their lives. The new science of archaeology brought to light artistic examples and mythic presences of classical antiquity that Pre‐Raphaelite artists, especially Rossetti and Burne‐Jones, appropriated to represent the present in a metaphorical dialogue of concealed reference, symbols, and tensions.

FRA BIG BROTHER TIL TOILETKUMMER OG MEKANISKE PROTESER – OM KUNST SOM RESSOURCE FOR OVERVÅGNINGSFORSKNING

FROM BIG BROTHER TO TOILET BOWLS AND MECHANICAL PROSTHESES: ART AS RESOURCE FOR STUDYING SURVEILLANCEFor years the concepts of Big Brother and panopticon have dominated the way surveillance is perceived in public debate as well as academic research. Taken together these two concepts substantiate an understanding of surveillance as related to situations of total visibility. Nowhere can citizens escape the all-encompassing gaze of the surveyor. Furthermore surveillance is understood as an automatic process carried from a centre, which is so powerful that resistance is hopeless.Within the field of surveillance studies it has been acknowledged however that this understanding is too narrow and limited, and a search for novel theories and concepts of surveillance has begun.This article argues that contemporary art contains resources that enable an understanding of surveillance as a multifaceted phenomenon. This point is illustrated by analysing Hasan Elahi’s “Tracking Transience: The Big Brother Project” as well as various attempts by Stelarc to upgrade the human body. In sum these artists subvert and extend the concept of surveillance. For example Elahi shows how it is possible for the surveyed to distort the vision of Big Brother and take control over the surveillance situation. In a somewhat different way Stelarc constructs experiments in which the body is linked to surveillance tech nology, but this is done in order to share information and power and with the intent of empowering the body. Surveillance tech nologies are thus not seen as part of a totalitarian regime, but as a possibility for upgrading the body to fit a complex environment.In a situation where even more sophisticated surveillance tech nologies are deployed to almost every corner of everyday life it becomes essential to understand surveillance as an integrated part of society. Although the academic field of surveillance studies contributes to this understanding, it is at the same time limited by the use of a few powerful metaphors. However, by looking at the many interesting examples of artists experimenting with surveillance, the study of surveillance might be able to regain its analytical imagination.

Subversion and Democratization: Some Early and Important Contemporary Artists' Publications in the Ryerson and Burnham Libraries' Collection

Beginning in the mid-twentieth century, artists began to see the book (and serial publications) as a viable avenue to explore artistic concepts. These publications were more readily available and easily circulated to a broader audience than the traditional venues of art exhibition. Inexpensive modes of reproduction and major changes within the art world during the 1950s and 1960s gave rise to notions of the democratization of art. By examining some pivotal examples of artists' publications in the collection of the Ryerson and Burnham Libraries of the Art Institute of Chicago, the author considers the subversive nature of the format.

Professional values: introduction to the theme

A code of practice incorporating a declaration of professional values is both a distinguishing feature and its observance a condition of membership of most professional bodies. It is in effect a summary of important aspects of how members of that body are expected to behave and informs not only the membership itself, but also interested others and the general public. Within the values espoused in such codes, we should expect to be able to identify both generic values, that is those that reflect more general commitments to for instance, honesty, integrity, confidentiality and trustworthiness, but also values that relate directly to the nature of that particular profession or related professions. Thus for healthcare professionals, those values associated with beneficence, respect for autonomy and the centrality of patient care are prominent. The group of papers that follows, evolved from a seminar on professional values in health care held at Cardiff University in August 2007 during the annual European Society for Philosophy of Medicine and Health Care conference. They do not represent a comprehensive summary or review of the values expressed in the various healthcare professionals‘ codes—these are readily available in the publications of the respective professional bodies. The intention of the papers is rather to highlight aspects that reflect either an intrinsic process of evolution in professional values, or a response to changing external demands, both welcome and unwelcome. The relevance of reflexive reasoning is a crucial aspect of a profession that is explored by Edgar (2010) who draws on the example of British artists who successfully began a process of transition from trade to profession at the end of the 18th century. Edgar argues that to establish a profession requires not only a theoretically-informed educational base but also should incorporate processes of on-going reflection on professional objectives and just what it means to be a member of that profession. For artists, unlike craftsmen, a search for beauty cannot be codified or defined prior to its realisation. It is asserted that it is this vital element of reflexivity that distinguishes professions including medicine and other healthcare disciplines from occupations dependent on craft skills alone and for which instrumental reasoning is adequate. But paradoxically, a professional risks being disenfranchised from the members of the public he or she serves who are not party to this reflexive element and thus may not share a common vision of what constitutes a satisfactory outcome. Sellman (2010) highlights the tension between institutional (managerial) and nursing (professional) practices in the UK, cautioning that nursing values, and particularly those associated with patient care are under threat from managerial controls. These threats are a consequence of a struggle by managers to accommodate severely constrained financial and human resources in a target-driven culture. Such drives for economic efficiency risk compromising core nursing values. For Sellman, as with Edgar, there is something over and above the mere mastery of technical skills that roughly equates with the internal goods of nursing. Drawing on the work of MacIntyre and others, Sellman argues that a MacIntyrean concept of (external) goods of effectiveness and (internal) goods of excellence D. Badcott (&) Centre for Applied ethics, Cardiff University, Humanities Building, Colum Drive, Cardiff CF10 3EU, UK e-mail: badcottd@cf.ac.uk

Performing Embodiable Topoi: Strategic Indigeneity and the Incorporation of Ecuadorian National Identity

The rhetorical history of Ecuador is rife with examples of politicians, intellectuals, and artists promoting visions of national identity through images of Ecuador's indigenous population. Between the late nineteenth and mid-twentieth centuries, such depictions became common and displayed increasing emphasis on the physical characteristics of indigenous people. This focus led to appropriations of indigeneity in which white and mestizo Ecuadorians spoke as if indigenous in order to construct arguments about their place in the nation. In the process, they engaged an “embodiable topos” that housed persuasive force within bodily performances of indigenous character. White-mestizo performances of indigeneity engaged embodiable topoi in order to appropriate specific positions associated with indigenous subjects and to establish access to otherwise unavailable forms of rhetorical legitimacy.

The aesthetics of inevitable failure: process and contingency in the presentation of electronic media art

This paper examines the practice of electronic media art from a perspective that stresses the technological and spatial contingencies of presentation. Electronic media art is by nature dynamic, a dynamism that extends to the spatial and technological specificities inherent to the ultimate exhibition of a work. Media artworks are often transformed by the context of exhibition, and it is the question of how to best approach this relationship between artistic intention and local infrastructure that concerns us here. To explore this question, this paper examines how infrastructural issues experienced during the installation of Flow in Toronto (2002) affected the presentation of several artworks. It also looks to the interactive work of Canadian artists David Rokeby and Istvan Kantor as examples of artists whose design and exhibition aesthetic grapples with this question in a productive fashion.

Trespassory Art

The history of art is replete with examples of artists who have broken from existing conventions and genres, redefining the meaning of art and its function in society. Our interest is in emerging forms of art that trespass-occupy space, place, and time as part of their aesthetic identity. These new forms of art, which we call trespassory art, are creatures of a movement that seeks to appropriate cultural norms and cultural signals, reinterpreting them to create new meaning. Marcel DuChamp produced such a result when, in the early twentieth century, he took a urinal, signed it, titled it Fountain, and called it art. Whether they employ twenty-first-century technologies, such as lasers, or painting, sculpture and mosaic, music, theatre, or merely the human body, these new artists share one thing in common. Integral to their art is the physical invasion of space, the trespass, often challenging our conventional ideas of location, time, ownership, and artistic expression. Their art requires not only borrowing the intellectual assets of others, but their physical assets. This is trespassory art-art that redefines and reinterprets space-art that gives new meaning to a park bench, to a billboard, to a wall, to space itself. Our purpose is to propose a modified regime in the law of trespass to make room for the many new forms of art with which we are concerned-art that is locationally dependent or site specific. We begin by briefly describing and characterizing these often-new artistic forms. This provides a jumping off point for addressing the basic question this Article seeks to address-should the law accommodate these new types of art, and if so, to what degree? We first turn to the law of trespass, with particular focus on real property, both public and private, but also with an eye to personal and intellectual property. We conclude that adjusting trespass remedies for artistic trespass through a set of common law privileges would better balance the competing interests of owners and artists than do current trespass rules. We then turn to a set of constitutional issues and conclude that our common law proposal is consistent with, and in some ways perhaps required by, the First Amendment. Finally, we summarize our proposal and then revisit the value of trespassory art as art in our creative culture.

Sprich zu mir in Seuchensprache/Speak to me in plague language (Vanadium-i-ching 1983): An analysis of Einstürzende Neubauten as Artaudian artists

ABSTRACTThis article brings into focus an aspect of Artaud's seminal influence on experimental music which, although ranging from David Tudor to Japanese noise artists, has yet to be fully explored in comparison with available literature on Artaud and theatre. Sprich zu mir in Seuchensprache contributes to this discussion by arguing that the Berlin-based music collective Einstürzende Neubauten are one of the most effective working examples of Artaudian artists. The evidence given is in the musicians' philosophy of music as apocalypse and utopia; in their risk-filled (but disciplined) physicality with their industrial playgrounds and their work with dance troupes; their investigation into, and use of, found sound and unusually constructed instrumentation; their expanded gestural vocalization and their use of the scream. Neubauten's lyrics also support Artaudian concerns in their avoidance of personal shopping and shagging for cosmic, scientific, biological and mythical themes and in the structuring from dreams, lists and chance games. Finally Neubauten pursue the desire to create an artist—recipient shared transforming ‘cruelty’ that reaches beyond the ears and eyes.