Ready-made Objects Research Articles

동시대 패션쇼 공간의 초현실주의적 표현 배경과 의미

The purpose of this study is to examine the meaning of surrealism expression in contemporary fashion show spaces in the context of sustainable development. First, we have derived the spatial characteristics of surrealist painting that freely explores the imagination and unconsciousness. Second, we have selected five luxury brands’ shows held after the UN's Sustainable Development Goals(2015) and analysed how they went against the traditional show paradigm: by recycling existing spaces and ready-made objects and encouraging the coincidental combination of unfamiliar objects in heterogeneous places, the boundaries were blurred. These shows not only stimulated various senses and experiences of spectators, but also transcended time and space, strengthening the brand's identity. As such, the study shows that the spirit of surrealism continues today, representing an important artistic strategy of luxury brands to promote brands' philosophy on a sustainable fashion and culture

조향 시에 나타난 언어유희와 오브제

The purpose of this study is to examine the process of maximizing surrealism through pun and objects, which are representative methodologies shown in Cho Hyang's poetry. pun in Cho Hyang's poetry is the use of homonyms of Chinese characters, the use of phonological pronunciation, or the repetition of tautology by free association. In addition, there is a unique poetic method of creating a sentence by intentionally putting one or two letters in each line. pun may seem like a play on words, but behind it is an unfamiliar environment and a driving force that brings new imagination. In addition, object refers to the case where object A and object B are replaced in an equal relationship, and in particular, symbolic function objects, ready-made objects, and abstract objects appear in various ways. However, it can be said that these objects do not exist independently, but the characteristic of Cho Hyang's poetry is that they abstract objects that are mixed and inverted with each other. pun or objects that appeared in these Cho Hyang's poetry are one of the techniques of surrealism, and their purpose is not to create or understand meaning, but to create unfamiliar landscapes by cutting off images and dissolving meanings. This formalism method can be said to be characteristic of Jo Hyang's poetry.

Object theatre exercises unfolding human-object relations in participatory design processes

This research exposition presents practical object theatre exercises and investigates how these exercises may enhance the designer’s practice to work with objects in participatory design projects. The study was set up in a theatre-design laboratory in collaboration with researcher and lecturer Sean Myatt from Nottingham Trent University and an international cohort of three design graduates with multidisciplinary backgrounds in design, communication, and social work. The exposition showcases three object theatre exercises – The Object Family Tree, Satelliting Objects, and Dance the Object – which were originally developed for exploring the performativity of readymade objects in theatre workshops. I demonstrate and discuss how these exercises can help designers within participatory design to engage with readymade objects and develop their practice further. I suggest that object theatre research methodology can contribute to participatory design processes by opening new potentials of physical object interaction, inviting unexpected perspectives on human-object relations, and exposing experienced object qualities. The designers in the study were able to consider object materiality, human-object relations, and reflective experiences with objects when designing interactions with non-designer participants in early phases of their participatory design research projects.

DECENTRATION OF AUTHENTIC AUTHORITATIVE AUTHOR

The article manifests and analyzes the process of decentration of the Author, which corresponds to a number of trends, such as: decentration of the subject, dividualization, decentralization of information systems, etc., which determine contemporary transformations of the Lifeworld of a human, who appears precisely as a decentralized, multilayered, split, multiple being. It is noted that the model of authorship, which was constituted according to the concept of a centered/holistic subject/individual, which, in particular, is embodied in copyright, needs to be reconsidered. The meaning of such a model, which is conceptualized in the figure of "authenticity of an authoritative author", is reduced to the creation of Surplus Value with behalf of the author of the product/work/goods. The article presents the stages of decentration of the Author, authority and authenticity, which are personified by the figures of S. Kierkegaard, M. Duchamp, and R. Stallman. For Kierkegaard, it is fundamental to separate the function of the author from authority and the formation of existence/singularity, which, in particular, is embodied in his use of pseudonyms. Duchamp problematizes the author as a producer of a product, contrasting him with the practice of using ready-made objects, and contrasts the tradition of the author's signature with the multiplication of names/signatures. Duchamp exposes the exploitative essence of work even in relation to artistic creativity, manifesting as an alternative to laziness/"lazy activity", which allows shifting the emphasis from the production of things to the process of becoming subjectivity. In the end, the author as integrity and unity loses its meaning in the context of the development of contemporary technologies and network communication. Stallman presents a strategy of friendly exchange of free software instead of selling it based on copyright (intellectual property). This is what should increase productive activity and free up time, and in the long run, creativity should hardly be distinguished from laziness. These three examples testify to the possibility and necessity of overcoming the repressive component of authorship and copyright as a way of controlling/restricting human life, which is not a totality, does not have substantial authenticity, does not require authority, and does not focus on authorship.

Domestic space as an institutional place for ready-made objects: Le Corbusier’s bidet case

We will equip in the museum a bathroom with its enamelled bath, its porcelain bidet, its wash-basin, and its glittering taps of copper or nickel. […] Clearly, this museum does not yet exist. Such a museum would be truly dependable and honest; its value would lie in the choice that it offered, whether to approve or reject; it would allow one to understand the reasons why things were as they were and would be a stimulant to improve on them.

Ready-made object and material as found

The topic of Concept and Materiality is discussed here from two points of view: in relation to recent art and architecture theories and as a resonance to current art practices. The first part starts from Marcel Duchamp’s concepts of Infra-thin (Inframince) and Ready-made as materialised in his Large glass, and continues with two architecture projects by Le Corbusier, one from his Purist period and another demonstrating his tactile use of concrete. The expression As found, formulated by the architecture writer Reyner Banham in 1955, further discussed by the architects Alison and Peter Smithson, is not only part of the visual language of New Brutalism, but also of a responsible Postwar ethos. Opening the perspective towards recent critical texts and iconography, we shall question what appears as opposition between Ready-made and As found, and focus on their respective relationship: between an object and its Ready-made quality and between material and its situation, As found. Then the title “Ready-made object and material As found” suggests a new reading of the relation between Ethic and Aesthetic, different from that formulated by Banham. The second part is dedicated to the current art scene, still holding some Postwar resonance of the notions of Ready-made and As found. The focus will move from The Independent Group’s statements to Arte Povera and to the contemporary artist Giuseppe Penone working with both aspects, Ready-made and As found. It is not possible to analyse here the rich historical background of an entire shift of concepts, but just discuss subjective aspects emerging in my practice and theoretical approach. Influenced perhaps by the discussions in the academic circles where I had worked in the 1990s, one is an installation consisting of two laminated glass panels with transparent images inserted in-between layers and another, a “cloud” of transparencies hovering freely above large format monochrome paintings with insertions of As found materials.

Changing students' attitudes toward mathematics through creative steam projects designed and executed by them (smart program)

In recent years the interest in learning mathematics decreased as students do not consider mathematics important for their future and they do not perceive its value. The study reveals the relationship between mathematics and the students as an IKEA effect, that is, when the students go through the process of creating an object and investing thought and time in it, they will perceive it as worthy, as having significant value, and they will desire it more than a ready-made object. To achieve this perception of valuable mathematics students got complex tasks (project), based on questions from the mathematics study material combined with each student's fields of interest. The aim of the research is to test if these projects contribute to a positive attitude towards learning mathematics. A one-group pretest-posttest research design was used. In the research 25 students were involved. During creating the projects, formative technological environments were created through design and handiwork, learning in groups, discourse, and meaningful feedback. The results show that the students developed positive perceptions of mathematics. While creating the original projects the students showed motivation and responsibility for their learning and developed a sense of confidence/competence and design thinking that led to creativity and innovation.

Ethical Dimension of Live Animals as Ready-made Objects in Contemporary Art

Reaction through art, observed among the 20th century artistic movements, can result in artistic works in which animals are made the object of violence. The objections caused by these works sometimes make people question what art is and its value, and sometimes result in legal interventions. It is the forms of expression in contemporary art where idea gets ahead of physical production. In such an atmosphere, 'philosophy of art activities that question what art is' have become almost equivalent to artistic production. However, the controversial works make the concepts of ethics, law or public influence determine what art can or cannot be. In the background of all these developments, advances in the field of biology blurred the boundaries between animals and humans. After such developments, through which the anthropocentric thought system has lost its power, the position of animals in the system will also change. The reappraisal of animals will fundamentally affect the behavior of the human species towards them, undoubtedly. In such a system where the determinants of the concept of ethics are redefined, objectification of animals will not be ethical as before. In this regard, art can no longer be separated from other fields. When the determinant of the boundaries of art is a non-art field, the discussions within the field lose their meaning. This study aims to investigate the limits of contemporary art by examining the reactions to the selected examples of artists whose ways of including animals in their productions are criticized.

The relationship between aesthetic experience and conceptual art

Summary Conceptual art is considered to be one of the branches of postmodern art and as its name suggests, concepts and thought are the main principles of this art. It is also one of the most fascinating and exciting arts of the 20th century, which questions all the rules and regulations of art and how the artistic process works and disrupts the common and stable infrastructure of art. Therefore, this change is remarkable in the process of experiencing and reading the work of art, just as a classical or modern work goes through the process of aesthetic experience for the viewer, the conceptual work carries its own experience. Conceptual art, like classical and modern art, has its own structure in its construction, and this structure affects its experience by the audience. In conceptual art, although it does not carry a visual aesthetic effect, it carries a mental form in its structure, so the perception of this form becomes an aesthetic pleasure for the viewer. Therefore, aesthetic experience is not unrelated to this type of art, even if it does not carry any visual aesthetic effects, decoration and organization in appearance as a ready-made object when displayed in an art exhibition. Keywords: aesthetic experience, aesthetic pleasure, conceptual art, installation, conceptual art.

The Illusionist

The Illusionist

NARRATOR OF UNSHOWED ART

While the 20th century avant-garde criticizes the sanctification of productivity in art, it also reopens the boundaries between the work-gallery, artist-audience with the revolution it created in the art object. Art, which has settled into a provocative attitude with the historical avant-garde, opposes all accepted methods. The practice of making art from ready-made objects, which started with Dada, turned into a process-based idea of art without a work, in the public area, in life, through the body, after the 1960s. Thus, artists approaching commodified art with a critical attitude argue that art is possible without producing an art object to be consumed. The world of show directly shapes the images and objects of art dominated by modern production conditions. In this context, the art placed in the white cube opens a new field for the gallery understanding that shows matter and commodity with the influence of the avant-garde. Yves Klein's 'Void' exhibition and Fernandez Arman's 'Fullness' exhibition can be given as examples. This research presents a critical approach to the occupation of the commodity in social life in the world of the show and includes a historical perspective towards the undisplayed art, which criticizes the idea of the finished work. This research, which was prepared by scanning the literature, opens the art understanding of commodified art, which is based on not showing, to discussion with artist productions.

Dematerialization of Art: Concepts and Its Traces in Contemporary Indian Art

This paper explores the concept of “dematerialization” which was introduced by Lucy Lippard and John Chandler in their work on conceptual art that emerged in the 1960s. Dematerialization stands for the dominance of ideas linked with intelligence on materiality linked with sensory perception. So, dematerialization is a kind of process in which ideas take the lead and become primary, and materiality loses its traditional status and becomes secondary. The notion of dematerialization can be reconsidered on these grounds. First of all, the core of the work is the idea or concept, no material form. Secondly, the core of the artwork is not confined to what the viewer “looks at” as an art object as a final product. Thus, the idea permits the process. The concept of dematerialization gave a new vision to Indian artists to explore their feelings and thoughts through concepts and ideas with readymade objects. By interpreting conceptual art and dematerialization, the author concludes that these tendencies share significant similarities, and that is a beneficial and innovative sight in the contemporary art scene in India.

MIRROR AS A VARIABLE FORM PROPOSAL IN CONTEMPORARY ART

Form discussions, which is one of the main reasons for the great breaks and new beginnings in art, freed the artists by moving art to an experimental field and became effective in the context of the point that today's art has reached. Although the idea of ready-made object was perceived as a kind of mediocrity and loss of aura in art in the early days, this situation, which was shaped under an aesthetic point of view, is no longer in a disadvantageous position as before. Accordingly, the pictorial descriptions of all forms of daily life, as well as the direct or associated use, started with Modernism and continued until today. While the mirror, which is one of these forms, is an image that is frequently used in oil painting descriptions, it has evolved to a conceptual level over time. It has attracted the attention of today's artists because it corresponds to reflection, reflection, showing, hiding, transforming, duplicating and many more. In this context, the methods of using the mirror as an artistic form and how it is positioned as a work of art will be discussed, and within the scope of this article, the works of contemporary artists who have mirror-oriented works will be included. As a research method, besides printed sources, images of artists and works of art will be examined and transferred via internet-based data.

A Study on Teaching Practice-Led Research into Ready-Made Intervene Design in Metalsmithing Education

The cultivation of design talents involves fostering not only basic design ability through design education, but also the ability to solve complex problems, reflect and innovate. The content of traditional metalsmithing courses is mainly based on technical practice. This course intends to enhance students’ design thinking by prompting a metalwork design through ready-made objects to flip inertial and encourage out-of-the-box design thinking. The purpose of this research is to see how ready-made objects as a media could intervene in educational practice to stimulate students’ creative thinking and strengthen their “4I” abilities: Imagination, Insight, Ideation, and Identification. Further, applying the Double Diamond model as a teaching framework to guide students’ innovative thinking and imagination training in the learning process, this research conducts qualitative data analysis through teaching observation, learning process, feedback reflection, interview data, and work achievement. The results show that the ready-made object intervention in educational practice does help students form a contextual design and present multi-faceted creative results.

Desiring-Material

This article tries to develop a complicated relationship between the material-plastic, the desire principle, and its affective dimensions. It explores how plastic “touches” us multi-sensorially through its materiality and materialization. As ready-made, found, waste, abandoned, and obscure objects, plastic triggers and challenges the imagination and builds a variety of aesthetic affordances. It constructs and inheres in a desire-principle where the material goes beyond consumerism, cultural habituality, economic viability, the eco-catastrophic mandate, and spectrality into the (im)pure realm of art and imagination. This demonstrates how the plasticity of plastic and the plasticity of an artistic mind come into a compelling and convulsive interplay. This works through three sections. First, the “collectorial desire” where the artists in question emerge as collectors of plastic objects and construct a deeply invested negotiation with material and aesthetic-affective desire; second, the “ghosting desire” where all plastic artists are shown to have an epiphanous and analytic relationship with plastic objects as they make their way into art forms having a past life to themselves, ghostly in their objecthood and object presence; third, the “connective desire” where plastic becomes the “plastic subject” and initiates manifold becomings through instances like the plastiglomerates, the plastic-rock that expands the human-nonhuman affective arc of transmedial existence. Invested in art-interpretation and poetics of materiality, the article brings home a fresh realm of plastic-art with plastic-desire.

HYBRIDIZATION IN CONTEMPORARY TURKISH PAINTING

The word "hybrid" comes from the Latin "hibrida" root and is used to mean something confused. This can be called a new species, which is formed by combining two different species. Although the word hybrid is used more in the field of biology, it has found a place in many fields with new meanings over time. It is possible to say that the word hybrid also has a place in the art of painting. Because this should be the most appropriate definition for the conclusion reached by arranging different materials pictorially on a surface. Under the influence of changing social orders in the modern age, artists questioned their works and their identity and experienced a profound change in the plastic sense. It is possible to show the collages added to the painting surface, which started with Cubism in the early 20th century, as the earliest examples of hybridization. Later on, Dadaism and Pop-Art found it on the painting surface by using it for purposes other than pure forms of ready-made objects and created a hybridization in the context of homogeneous-heterogeneous mixtures. Although these approaches, other than traditional plastic values, created a great sensation at the time of their emergence, they are highly adopted today. Although we saw the first examples of hybridization in Western painters since the beginning of the 20th century, many Turkish painters also adopted this method in their works. Keywords: Hybridization, Painting Art, Plastic

Marcel Duchamp as Parrhêsiast

미셸 푸코는 자기 자신을 형성하는 태도를 윤리라 부르며, 진실을 용기 있게 말하는 ‘파레시아’를 중요하게 다룬다. 그는 역사적으로 진실의 스캔들을 일으키는 삶의 양식을 이어나가는 파레시아스트들을 나열하면서 현대예술을 예로 든다. 현대예술은 더 이상 현실을 모방하거나 장식하는 데 머물지 않고, 존재의 ‘벗겨진 상태’를 서슴지 않고 증언하는 장이 되었기 때문이다. 본고는 서구 미술 전통과의 단절이자 시기상조적인 스캔들로서 진실을 누구보다도 파격적으로 발언한 예술가 마르셀 뒤샹을 현대예술의 파레시아스트로서 규정하고자 한다. 뒤샹의 예술세계에서 뒤샹 자신은 레디메이드라는 사물, 에로즈 셀라비라는 여성적 자아, 그리고 독신자 기계와 같은 모습으로 ‘되기’를 반복한다. 뒤샹은 우리 안의 비인간을 벌거벗긴 상태 그대로 공공의 영역에 드러냄으로써 아무도 말하지 않는 진실을 말하는 용기 있는 행위를 거듭했다. 이것이 바로 진리의 스캔들을 일으키는 예술가의 삶인 것이다.Michel Foucault calls ethics the attitude of shaping himself, and focuses on Parrhêsia, which means “speak the truth courageously.” He uses modern art as an example, listing the parrhêsiasts who continue the life style that historically causes scandals of truth. This is because modern art no longer stays in imitating or decorating reality. It has become a place of testimony without hesitation to the “laying bare existence.” This study attempts to define Marcel Duchamp as a parrhêsiast in modern and contemporary art, an artist who spoke the truth as a break from the Western art tradition and a premature scandal. In Duchamp’s art world, Duchamp himself repeats “becoming” things like readymade objects, “becoming” a feminine self named Rrose Sélavy, and “becoming” a bachelor machine. Duchamp repeated the courageous act of telling the truth that no one said by exposing the inhuman within us to the public domain. This is the life of an artist who causes scandals of truth.

New Approaches in Contemporary Turkish Ceramic Art: Installation, Expression and Concept

New approaches and means of expression in contemporary Turkish ceramic art have developed rapidly in the last 20 years. This development is proceeding simultaneously with different disciplines of art. Today, means of expression in different disciplines such as painting, sculpture, and ceramics give their place to postmodern statements. Aside from the traditional, there is also a search for new means of expression. Methods such as ready-made objects, reproduction, print, repetition and copying are means of expression in contemporary art. Today, some ceramic art works are built on installations. Installation, expression and concept are important in the works of artists such as Burçak Bingöl, İnsel İnal and Candeğer Furtun. Thus, the means and perception of expression have gone through changes based on societal occurrences. This research includes the works of contemporary Turkish ceramic artists who implement “Installation, Expression and Concept”. It is expected that carrying out an analysis on the works of these artists will determine both the significance of the topic, and the present change and development in Turkish ceramic art.

ОСОБЕННОСТИ ПОДГОТОВКИ 3D-ОБЪЕКТОВ, СМОДЕЛИРОВАННЫХ В BLENDER, ДЛЯ ИМПОРТА В UNITY 3D

When developing a game in Unity using 3D models, it became necessary to create your own 3D models, so Unity's own capabilities were analyzed for creating 3D models. Since Unity's capabilities as a 3D modeling environment are limited, third-party software products designed to model 3D objects were considered. As a result of the analysis, the 3D blender editor was chosen for the development of objects, and therefore there was a need to study the features of importing finished objects from Blender to Unity. Unity's decision to use 3D models created in Blender is based on Unity's limited 3D modeling capabilities. Because of this, a guide was formulated, which describes what you need to pay attention to in order to prepare objects from Blender to Unity. This article provides a brief description of the professional tool for developing 3D models and game engine, which is supposed to export the resulting 3D models, including a brief historical background about them, their main features, features, thanks to which they win among other software products designed for 3D modeling and game creation, as well as information about what areas and how widely these products are used. The main errors that occur when importing ready-made objects are considered, as well as the features of preparing ready-made models from Blender to Unity are described. In addition, the reasons why it is necessary to use several software products to create a full-fledged product are considered. The description of the export process in the considered tool is presented. The step-by-step process of preparing an object for export to Blender is analyzed in detail. The order and features of preparation for exporting objects from Blender to Unity are considered on the example of preparation and export of a model of a toy bear modeled in Blender. For this purpose, a detailed analysis of the subject area was carried out, the results of which are presented in this article in the form of a step-by-step description of the process of preparing the object for export.

ʻ...Finding a smoother pebble or prettier shell than ordinary’ – Non-utilitarian artefacts in the upper palaeolithic – A case study from Mogyorósbánya (Transdanubia, Hungary)

During the excavations of the Upper Palaeolithic site at Mogyorósbánya several non-utilitarian artefacts were found. Beside the earlier published piece of fossil resin (amber) and lumps of red ochre, more than one hundred Palaeogene and Neogene fossil molluscs, large foraminifers, corals and trace fossils from at least three different geological formations, as well as numerous fragments of phyllite were documented. Pebbles of this soft shale were most probably collected from the alluvium of the Danube river. The majority of the pieces show clear traces of scraping and along the periphery of the largest artefact rhythmic incisions are visible. Even if this piece is not a ready-made object, it can be compared to the limestone and sandstone pebbles found on the Epigravettian site of Pilismarót-Pálrét. Another interesting artefact of unknown function is a carefully shaped but strongly fragmented piece with sharp edge. Fossils of the Eocene Epoch were easily accessible in the region of Mogyorósbánya, while the nearest fossiliferous outcrops of the Oligocene and Pannonian sediments are found 15–17 km in south-eastern direction from the site. Few gastropod shells show unambiguous traces of human modification. Typically, among the 16 Melanopsis fossils found in a single square meter only three pieces were manufactured. On the other hand, the majority of the Dentalium and worm tube fragments were cut and their surfaces show intense rounding and shine. The not modified Nummulites, corals and large internal casts of gastropods were most probably collected by Prehistoric humans because of their unusual form. This interesting group of the Mogyorósbánya artefacts and are compared to the fossils published from the Pilisszántó I rockshelter and to the not modified fossils from Moravia and Romania.