This study investigated traditional conservation and storage methods for Chinese silk manuscripts containing painting and calligraphy from the Warring States period (475–221 BC), the Qin dynasty (221–207 BC), the Han dynasty (202–8 BC; AD 25–220), and from the end of the Han to the present. At present, there is gap in the literature regarding the application of such methods to these works. The study methods include a literature review (classical and contemporary sources), expert interviews, and observation of traditional masters. The findings provide an improved understanding of the development of traditional technologies used for painting and calligraphy conservation since 475 BC. In this way, this work contributes to the body of knowledge regarding traditional conservation and storage methods, including mounting practices, scroll unfolding, and box storage.
{"title":"Traditional Conservation and Storage Methods for Ancient Chinese Painting and Calligraphy on Silk Manuscripts","authors":"Wei Ren, Na Cao","doi":"10.3390/ARTS10020034","DOIUrl":"https://doi.org/10.3390/ARTS10020034","url":null,"abstract":"This study investigated traditional conservation and storage methods for Chinese silk manuscripts containing painting and calligraphy from the Warring States period (475–221 BC), the Qin dynasty (221–207 BC), the Han dynasty (202–8 BC; AD 25–220), and from the end of the Han to the present. At present, there is gap in the literature regarding the application of such methods to these works. The study methods include a literature review (classical and contemporary sources), expert interviews, and observation of traditional masters. The findings provide an improved understanding of the development of traditional technologies used for painting and calligraphy conservation since 475 BC. In this way, this work contributes to the body of knowledge regarding traditional conservation and storage methods, including mounting practices, scroll unfolding, and box storage.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124456531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Street Photography Reframed","authors":"S. Schwartz","doi":"10.3390/ARTS10020029","DOIUrl":"https://doi.org/10.3390/ARTS10020029","url":null,"abstract":"Afraid of contagion [...]","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114936947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The recent emergence of new regions in the global art market has been structured by hub cities that concentrate key actors, such as global auction houses, influential art fairs, and galleries. Both Singapore and Hong Kong have developed explicit strategies aimed at positioning themselves as Asia’s art market hub. This followed the steep rise of the Chinese art market, but also the general perception of Asia as the world’s most dynamic art market. While Hong Kong’s emergence derives from its status as gateway to the Chinese market, and has been driven by key global players, such as the auction houses Christies’ and Sotheby’s, the Art Basel fair, and mega-galleries, Singapore’s strategy has been driven by the state. At the end of the 2000s, the city identified the art market as a new growth sector, and proactively invested, by creating a cluster concentrating international galleries and supporting art fairs, art weeks, and new world-class cultural institutions. Based on comparative fieldwork, and interviews with actors of the Singapore and Hong Kong art markets, this article shows that the two cities’ distinct strategies have generated contrasted models of “cultural hubs”, and that they play complementary roles in the structuration of the region’s art market.
{"title":"Becoming Asia’s Art Market Hub: Comparing Singapore and Hong Kong","authors":"Jérémie Molho","doi":"10.3390/ARTS10020028","DOIUrl":"https://doi.org/10.3390/ARTS10020028","url":null,"abstract":"The recent emergence of new regions in the global art market has been structured by hub cities that concentrate key actors, such as global auction houses, influential art fairs, and galleries. Both Singapore and Hong Kong have developed explicit strategies aimed at positioning themselves as Asia’s art market hub. This followed the steep rise of the Chinese art market, but also the general perception of Asia as the world’s most dynamic art market. While Hong Kong’s emergence derives from its status as gateway to the Chinese market, and has been driven by key global players, such as the auction houses Christies’ and Sotheby’s, the Art Basel fair, and mega-galleries, Singapore’s strategy has been driven by the state. At the end of the 2000s, the city identified the art market as a new growth sector, and proactively invested, by creating a cluster concentrating international galleries and supporting art fairs, art weeks, and new world-class cultural institutions. Based on comparative fieldwork, and interviews with actors of the Singapore and Hong Kong art markets, this article shows that the two cities’ distinct strategies have generated contrasted models of “cultural hubs”, and that they play complementary roles in the structuration of the region’s art market.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129668375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
S. Gawroński, Dariusz Tworzydło, Kinga Bajorek, Łukasz Bis
This article deals with the issues of architectural elements of public space, treated as components of art and visual communication, and at the same time determinants of the emotional aspects of political conflicts, social disputes, and media discourse. The aim of the considerations is to show, with the usage of the principles of critical analysis of media discourse, the impact of social events, political communication, and the activity of mass communicators on the perception of the monument of historical memory and the changes that take place within its public evaluation. The authors chose the method of critical analysis of the media discourse due to its compliance with the planned purpose of the analyses, thus, providing the opportunity to perform qualitative research, enabling the creation of possibly up-to-date conclusions regarding both the studied thread, and allowing the extrapolation of certain conclusions to other examples. The media material relating to the controversial Monument to the Revolutionary Act, located in the city of Rzeszow (Poland), was selected for the analysis. On this example, an attempt was made to evaluate the mutual relations between politically engaged architecture and art, and the contemporary consequences of this involvement in the social and political dimension.
{"title":"A Relic of Communism, an Architectural Nightmare or a Determinant of the City’s Brand? Media, Political and Architectural Dispute over the Monument to the Revolutionary Act in Rzeszów (Poland)","authors":"S. Gawroński, Dariusz Tworzydło, Kinga Bajorek, Łukasz Bis","doi":"10.3390/ARTS10010008","DOIUrl":"https://doi.org/10.3390/ARTS10010008","url":null,"abstract":"This article deals with the issues of architectural elements of public space, treated as components of art and visual communication, and at the same time determinants of the emotional aspects of political conflicts, social disputes, and media discourse. The aim of the considerations is to show, with the usage of the principles of critical analysis of media discourse, the impact of social events, political communication, and the activity of mass communicators on the perception of the monument of historical memory and the changes that take place within its public evaluation. The authors chose the method of critical analysis of the media discourse due to its compliance with the planned purpose of the analyses, thus, providing the opportunity to perform qualitative research, enabling the creation of possibly up-to-date conclusions regarding both the studied thread, and allowing the extrapolation of certain conclusions to other examples. The media material relating to the controversial Monument to the Revolutionary Act, located in the city of Rzeszow (Poland), was selected for the analysis. On this example, an attempt was made to evaluate the mutual relations between politically engaged architecture and art, and the contemporary consequences of this involvement in the social and political dimension.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123823388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the 1970s, choreographer Lucinda Childs developed a reductive form of abstraction based on graphic representations of her dance material, walking, and a specific approach towards its embodiment. If her work has been described through the prism of minimalism, this case study on Calico Mingling (1973) proposes a different perspective. Based on newly available archival documents in Lucinda Childs’s papers, it traces how track drawing, the planimetric representation of path across the floor, intersected with minimalist aesthetics. On the other hand, it elucidates Childs’s distinctive use of literacy in order to embody abstraction. In this respect, the choreographer’s approach to both dance company and dance technique converge at different influences, in particular modernism and minimalism, two parallel histories which have been typically separated or opposed.
{"title":"Towards an Embodied Abstraction: An Historical Perspective on Lucinda Childs’ Calico Mingling (1973)","authors":"Lou Forster","doi":"10.3390/ARTS10010007","DOIUrl":"https://doi.org/10.3390/ARTS10010007","url":null,"abstract":"In the 1970s, choreographer Lucinda Childs developed a reductive form of abstraction based on graphic representations of her dance material, walking, and a specific approach towards its embodiment. If her work has been described through the prism of minimalism, this case study on Calico Mingling (1973) proposes a different perspective. Based on newly available archival documents in Lucinda Childs’s papers, it traces how track drawing, the planimetric representation of path across the floor, intersected with minimalist aesthetics. On the other hand, it elucidates Childs’s distinctive use of literacy in order to embody abstraction. In this respect, the choreographer’s approach to both dance company and dance technique converge at different influences, in particular modernism and minimalism, two parallel histories which have been typically separated or opposed.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133615867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Star Wars films have probably spawned more video game adaptations than any other franchise. From the 1982 release of The Empire Strikes Back on the Atari 2600 to 2019’s Jedi: Fallen Order, around one hundred officially licensed Star Wars games have been published to date. Inevitably, the quality of these adaptations has varied, ranging from timeless classics such as Star Wars: Knights of the Old Republic, to such lamentable cash grabs as the Attack of the Clones movie tie-in. But what makes certain ludic adaptations of George Lucas’ space opera more successful than others? To answer this question, the critical response to some of the best-reviewed Star Wars games is analysed here, revealing a number of potential factors to consider, including the audio-visual quality of the games, the attendant story, and aspects of the gameplay. The tension between what constitutes a good game and what makes for a good Star Wars adaptation is also discussed. It is concluded that, while many well-received adaptations share certain characteristics—such as John Williams’ iconic score, a high degree of visual fidelity, and certain mythic story elements—the very best Star Wars games are those which advance the state of the art in video games, while simultaneously evoking something of Lucas’ cinematic saga.
{"title":"The Force Is Strong with This One (but Not That One): What Makes a Successful Star Wars Video Game Adaptation?","authors":"M. Barr","doi":"10.3390/arts9040131","DOIUrl":"https://doi.org/10.3390/arts9040131","url":null,"abstract":"The Star Wars films have probably spawned more video game adaptations than any other franchise. From the 1982 release of The Empire Strikes Back on the Atari 2600 to 2019’s Jedi: Fallen Order, around one hundred officially licensed Star Wars games have been published to date. Inevitably, the quality of these adaptations has varied, ranging from timeless classics such as Star Wars: Knights of the Old Republic, to such lamentable cash grabs as the Attack of the Clones movie tie-in. But what makes certain ludic adaptations of George Lucas’ space opera more successful than others? To answer this question, the critical response to some of the best-reviewed Star Wars games is analysed here, revealing a number of potential factors to consider, including the audio-visual quality of the games, the attendant story, and aspects of the gameplay. The tension between what constitutes a good game and what makes for a good Star Wars adaptation is also discussed. It is concluded that, while many well-received adaptations share certain characteristics—such as John Williams’ iconic score, a high degree of visual fidelity, and certain mythic story elements—the very best Star Wars games are those which advance the state of the art in video games, while simultaneously evoking something of Lucas’ cinematic saga.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"158 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122688418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The past 20 years have seen a shift in Icelandic photography from postmodern aesthetics towards a more phenomenological perspective that explores the relationship between subjective and affective truth on the one hand, and the outside world on the other hand. Rather than telling a story about the world as it is or as the photographer wants it to appear, the focus is on communicating with the world, and with the viewer. The photograph is seen as a creative medium that can be used to reflect how we experience and make sense of the world, or how we are and dwell in the world. In this paper, I introduce the theme of poetic storytelling in the context of contemporary photography in Iceland and other Nordic Countries. Poetic storytelling is a term I have been developing to describe a certain lyrical way to use a photograph as a narrative medium in reaction to the climate crisis and to a general lack of relation to oneself and to the world in times of increased acceleration in the society. In my article I analyze works by a few leading Icelandic photographers (Katrin Elvarsdottir, Heiða Helgadottir and Hallgerður Hallgrimsdottir) and put them in context with works by artists from Denmark (Joakim Eskildsen, Christina Capetillo and Astrid Kruse Jensen), Sweden (Helene Schmitz) and Finland (Hertta Kiiski) artists within the frame of poetic storytelling. Poetic storytelling is about a way to use a photograph as a narrative medium in an attempt to grasp a reality which is neither fully objective nor subjective, but rather a bit of both.
在过去的20年里，冰岛摄影从后现代美学转向了现象学的视角，一方面探索主观和情感真相之间的关系，另一方面探索外部世界。与其说是讲述一个关于世界的故事，或者是摄影师想要它出现的故事，不如说重点是与世界和观众交流。照片被视为一种创造性的媒介，可以用来反映我们如何体验和理解世界，或者我们是如何生活在这个世界上的。在本文中，我在冰岛和其他北欧国家当代摄影的背景下介绍了诗意叙事的主题。诗意的叙事是我一直在发展的一个术语，用来描述一种抒情的方式，用照片作为叙事媒介来应对气候危机，以及在社会加速发展的时代与自己和世界普遍缺乏联系。在我的文章中，我分析了几位冰岛著名摄影师(Katrin Elvarsdottir, heija Helgadottir和hallger & ur Hallgrimsdottir)的作品，并将它们与丹麦(Joakim Eskildsen, Christina Capetillo和Astrid Kruse Jensen)，瑞典(Helene Schmitz)和芬兰(Hertta Kiiski)艺术家的作品放在诗意叙事的框架内。诗意的叙事是一种使用照片作为叙事媒介的方式，试图抓住既不完全客观也不完全主观，而是两者兼而有之的现实。
{"title":"Poetic Storytelling in Contemporary Photography. Relation to Nature and the Poesis of Everyday Life in Works of Selected Artist in Iceland and Other Nordic Countries","authors":"S. Sigurðardóttir","doi":"10.3390/arts9040129","DOIUrl":"https://doi.org/10.3390/arts9040129","url":null,"abstract":"The past 20 years have seen a shift in Icelandic photography from postmodern aesthetics towards a more phenomenological perspective that explores the relationship between subjective and affective truth on the one hand, and the outside world on the other hand. Rather than telling a story about the world as it is or as the photographer wants it to appear, the focus is on communicating with the world, and with the viewer. The photograph is seen as a creative medium that can be used to reflect how we experience and make sense of the world, or how we are and dwell in the world. In this paper, I introduce the theme of poetic storytelling in the context of contemporary photography in Iceland and other Nordic Countries. Poetic storytelling is a term I have been developing to describe a certain lyrical way to use a photograph as a narrative medium in reaction to the climate crisis and to a general lack of relation to oneself and to the world in times of increased acceleration in the society. In my article I analyze works by a few leading Icelandic photographers (Katrin Elvarsdottir, Heiða Helgadottir and Hallgerður Hallgrimsdottir) and put them in context with works by artists from Denmark (Joakim Eskildsen, Christina Capetillo and Astrid Kruse Jensen), Sweden (Helene Schmitz) and Finland (Hertta Kiiski) artists within the frame of poetic storytelling. Poetic storytelling is about a way to use a photograph as a narrative medium in an attempt to grasp a reality which is neither fully objective nor subjective, but rather a bit of both.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122458223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Steven Soderbergh’s pandemic thriller Contagion (2011) was trending strongly on streaming services in the US in the early days of COVID-19 restrictions, where the fiction took on an unforeseen afterlife amid a real pandemic. In this new context, many viewers and critics reported that the film seemed “uncanny,” if not prophetic. Frameworks such as Priscilla Wald’s notion of the “outbreak narrative,” as well Richard Grusin’s “premediation,” may help to theorize this affective experience on the part of viewers. Yet the film was also designed as a public health propaganda film to make people fear and better prepare for pandemics, and the present account works to recover this history. Although the film takes liberties with reality, in particular by proposing an unlikely vaccine-development narrative, Soderbergh and screenwriter Scott Z. Burns consulted prominent scientists and policymakers as they wrote the film, in particular Larry Brilliant and Ian Lipkin. These same scientists were consulted again in March 2020, when an effort spearheaded by Columbia University’s Mailman School of Public health reunited the star-studded cast of Contagion, who created at home a series of public health announcement videos that might be thought of as a kind of re-adaptation of the film for the COVID-19 era. These public service announcements touch on key aspects of pandemic experience premediated by the original film, such as social distancing and vaccine development. Yet their very production as “work-from-home” illustrates how the film neglected to address the status of work during a pandemic. Recovering this history via Contagion allows us to rethink the film as a cultural placeholder marking a shift from post-9/11 security politics to the pandemic moment. It also becomes possible to map the cultural meaning of the technologies and practices that have facilitated the pandemic, which shape a new social order dictated by the fears and desires of an emerging work-from-home class.
史蒂文·索德伯格(Steven soderberg)的流行病惊悚片《传染病》(Contagion, 2011)在新冠肺炎疫情限制的早期，在美国的流媒体服务上很受欢迎，在一场真正的流行病中，这部小说出人意料地结束了生命。在这种新的背景下，许多观众和影评人认为这部电影即使不是预言，也显得“不可思议”。普里西拉·沃尔德(Priscilla Wald)的“爆发叙事”概念以及理查德·格鲁辛(Richard Grusin)的“预先调解”等框架，可能有助于将观众的这种情感体验理论化。然而，这部电影也被设计成一部公共卫生宣传片，让人们对流行病感到恐惧，并为之做好更好的准备，而这部电影则是在还原这段历史。尽管电影对现实进行了自由处理，特别是提出了一个不太可能的疫苗开发叙事，但索德伯格和编剧斯科特·z·伯恩斯在写电影时咨询了著名的科学家和政策制定者，尤其是拉里·布里连特和伊恩·利普金。2020年3月，哥伦比亚大学梅尔曼公共卫生学院(Columbia University 's Mailman School of Public health)牵头的一项努力再次征求了这些科学家的意见，当时《传染病》(Contagion)的明星阵容重新聚集在一起，他们在家里制作了一系列公共卫生公告视频，这些视频可能被认为是对2019冠状病毒病时代电影的一种重新改编。这些公共服务公告涉及由原电影预先准备的大流行经验的关键方面，例如社交距离和疫苗开发。然而，他们作为“在家工作”的制作说明了这部电影是如何忽视了在大流行期间的工作状况。通过《传染病》还原这段历史，让我们重新思考这部电影是一个文化占位符，标志着从9/11后的安全政治向流行病时刻的转变。也有可能描绘出促进这种流行病的技术和做法的文化意义，这些技术和做法形成了一种新的社会秩序，这种秩序是由新兴的在家工作阶层的恐惧和愿望所支配的。
{"title":"Readapting Pandemic Premediation and Propaganda: Soderbergh’s Contagion amid COVID-19","authors":"K. Moore","doi":"10.3390/arts9040112","DOIUrl":"https://doi.org/10.3390/arts9040112","url":null,"abstract":"Steven Soderbergh’s pandemic thriller Contagion (2011) was trending strongly on streaming services in the US in the early days of COVID-19 restrictions, where the fiction took on an unforeseen afterlife amid a real pandemic. In this new context, many viewers and critics reported that the film seemed “uncanny,” if not prophetic. Frameworks such as Priscilla Wald’s notion of the “outbreak narrative,” as well Richard Grusin’s “premediation,” may help to theorize this affective experience on the part of viewers. Yet the film was also designed as a public health propaganda film to make people fear and better prepare for pandemics, and the present account works to recover this history. Although the film takes liberties with reality, in particular by proposing an unlikely vaccine-development narrative, Soderbergh and screenwriter Scott Z. Burns consulted prominent scientists and policymakers as they wrote the film, in particular Larry Brilliant and Ian Lipkin. These same scientists were consulted again in March 2020, when an effort spearheaded by Columbia University’s Mailman School of Public health reunited the star-studded cast of Contagion, who created at home a series of public health announcement videos that might be thought of as a kind of re-adaptation of the film for the COVID-19 era. These public service announcements touch on key aspects of pandemic experience premediated by the original film, such as social distancing and vaccine development. Yet their very production as “work-from-home” illustrates how the film neglected to address the status of work during a pandemic. Recovering this history via Contagion allows us to rethink the film as a cultural placeholder marking a shift from post-9/11 security politics to the pandemic moment. It also becomes possible to map the cultural meaning of the technologies and practices that have facilitated the pandemic, which shape a new social order dictated by the fears and desires of an emerging work-from-home class.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115723483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his seminal comprehensive history of music(s) in the Balkan region, Jim Samson avoided the term “Balkan music” in favor of the less-binding title Music in the Balkans (Leiden: Brill, 2013). This, however, should not hinder us from probing the term “Balkan music” and its many connotations. In this editorial article for the Special Issue Balkan Music: Past, Present, Future, I aim to dissect the umbrella term “Balkan music” and its actual and presumed meanings and implications, while overviewing many different music traditions and styles that this term encompasses. I will also make a case for the establishment of Balkan Music Studies as a discipline and attempt to outline its scope and outreach.
{"title":"Making a Case for Balkan Music Studies","authors":"I. Medić","doi":"10.3390/ARTS9040099","DOIUrl":"https://doi.org/10.3390/ARTS9040099","url":null,"abstract":"In his seminal comprehensive history of music(s) in the Balkan region, Jim Samson avoided the term “Balkan music” in favor of the less-binding title Music in the Balkans (Leiden: Brill, 2013). This, however, should not hinder us from probing the term “Balkan music” and its many connotations. In this editorial article for the Special Issue Balkan Music: Past, Present, Future, I aim to dissect the umbrella term “Balkan music” and its actual and presumed meanings and implications, while overviewing many different music traditions and styles that this term encompasses. I will also make a case for the establishment of Balkan Music Studies as a discipline and attempt to outline its scope and outreach.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122257861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Circus Wols is a multimedia spectacle conceived by Wols during World War II at the Camp des Milles where he was interned between May and October 1940. As a German citizen, the artist was considered an enemy of France and Circus helped him bear the harsh conditions of his imprisonment. Wols envisioned a show of high intellectual and aesthetic value that would employ advanced technology but remain accessible to the masses. As such, it is comparable to a utopian avant-garde total artwork. However, through its assumed incompletion and fragmentation, Circus Wols destabilized the ambitions of the avant-garde and modernism; it even went further, rejecting anthropocentrism. Shortly after his liberation from the camp, Wols began to claim that his art should not be considered a human creation. Prefigured by Circus Wols, the artist’s dismissal of European humanism as a valid social and cultural paradigm only grew after the war. His stance is best understood in relation to the contemporaneous notion of “abhumanism”, first theorized by playwright Jacques Audiberti, and embraced by Wols’s close friend, artist and poet Camille Bryen. The article argues that approaching Wols through the lens of abhumanism highlights the pressing historical concerns of his work, which, associated with post-war Parisian Abstraction, is usually depoliticized.
{"title":"“Cemetery=Civilization”: Circus Wols, World War II, and the Collapse of Humanism","authors":"Iveta Slavkova","doi":"10.3390/arts9030093","DOIUrl":"https://doi.org/10.3390/arts9030093","url":null,"abstract":"Circus Wols is a multimedia spectacle conceived by Wols during World War II at the Camp des Milles where he was interned between May and October 1940. As a German citizen, the artist was considered an enemy of France and Circus helped him bear the harsh conditions of his imprisonment. Wols envisioned a show of high intellectual and aesthetic value that would employ advanced technology but remain accessible to the masses. As such, it is comparable to a utopian avant-garde total artwork. However, through its assumed incompletion and fragmentation, Circus Wols destabilized the ambitions of the avant-garde and modernism; it even went further, rejecting anthropocentrism. Shortly after his liberation from the camp, Wols began to claim that his art should not be considered a human creation. Prefigured by Circus Wols, the artist’s dismissal of European humanism as a valid social and cultural paradigm only grew after the war. His stance is best understood in relation to the contemporaneous notion of “abhumanism”, first theorized by playwright Jacques Audiberti, and embraced by Wols’s close friend, artist and poet Camille Bryen. The article argues that approaching Wols through the lens of abhumanism highlights the pressing historical concerns of his work, which, associated with post-war Parisian Abstraction, is usually depoliticized.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128019116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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