Pub Date : 2018-05-01DOI: 10.31566/arts.2018145134
Ayşe Kurşuncu
Seramik kendi icinde sinirlari olan bir malzemedir. Hem teknige hem de malzemenin gecmiste zanaatla kurmus oldugu guclu baglara ait bu sinirlar, seramik egitiminde ogrencilerin onune birer engel olarak cikmaktadir. Seramik egitiminde ogrencinin karsilastigi sinirlar ve egitimcilerin bu sinirlarla kurulan iliskinin nasil olmasi gerektigi konusundaki yaklasimlari, yalnizca bu alana ait degil, tum sanat alanlari icinde gecerli olan pratikleri ortaya koyar. Seramigin zanaatla olan iliskisi ve malzemenin kendine has anlam-teknik iliskileri, verilen egitimde birbirinden farkli ve yok sayilamayacak sabit noktalar olusturmaktadir. Bu noktalara cagdas sanat ve kavramsal calismalar da eklendigi zaman goz onunde bulundurulmasi gereken kriterler artmakta ve siniryaraticilik iliskileri daha da karmasiklasmaktadir. Egitimciler hem zanaat, hem cagdas sanatin kavramsal cerceveleri, hem de teknigin sinirlariyla beraber dusunmeli ve ogrencilerin kendilerine ait seslerini, ozgunluklerini olusturmalari icin yonlendirmelidir. Ayni zamanda ogrencilerin alanlariyla ilgili sinirlar ya da engellerle karsilastiklarinda yapabilecekleri secimleri kesfetmek icin basvuracaklari deneysel calismalarla kendilerine ait cozumleri bulmalari, kendi yollarini cizmeleri konusunda destekleyici olmalari onemlidir. Bu calismada sanat egitiminde karsilasilan sinirlar ve bu sinirlarin yaraticilikla iliskisi, seramik egitimi disiplini uzerinden orneklenerek dusunulecektir.
{"title":"SERAMİK EĞİTİMİNDE SINIRLAR VE YARATICILIK","authors":"Ayşe Kurşuncu","doi":"10.31566/arts.2018145134","DOIUrl":"https://doi.org/10.31566/arts.2018145134","url":null,"abstract":"Seramik kendi icinde sinirlari olan bir malzemedir. Hem teknige hem de malzemenin gecmiste zanaatla kurmus oldugu guclu baglara ait bu sinirlar, seramik egitiminde ogrencilerin onune birer engel olarak cikmaktadir. Seramik egitiminde ogrencinin karsilastigi sinirlar ve egitimcilerin bu sinirlarla kurulan iliskinin nasil olmasi gerektigi konusundaki yaklasimlari, yalnizca bu alana ait degil, tum sanat alanlari icinde gecerli olan pratikleri ortaya koyar. Seramigin zanaatla olan iliskisi ve malzemenin kendine has anlam-teknik iliskileri, verilen egitimde birbirinden farkli ve yok sayilamayacak sabit noktalar olusturmaktadir. Bu noktalara cagdas sanat ve kavramsal calismalar da eklendigi zaman goz onunde bulundurulmasi gereken kriterler artmakta ve siniryaraticilik iliskileri daha da karmasiklasmaktadir. Egitimciler hem zanaat, hem cagdas sanatin kavramsal cerceveleri, hem de teknigin sinirlariyla beraber dusunmeli ve ogrencilerin kendilerine ait seslerini, ozgunluklerini olusturmalari icin yonlendirmelidir. Ayni zamanda ogrencilerin alanlariyla ilgili sinirlar ya da engellerle karsilastiklarinda yapabilecekleri secimleri kesfetmek icin basvuracaklari deneysel calismalarla kendilerine ait cozumleri bulmalari, kendi yollarini cizmeleri konusunda destekleyici olmalari onemlidir. Bu calismada sanat egitiminde karsilasilan sinirlar ve bu sinirlarin yaraticilikla iliskisi, seramik egitimi disiplini uzerinden orneklenerek dusunulecektir.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128809624","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}
Kellie D. Hay, Rebekah Farrugia, Deidre “D.S. Sense” Smith
Long before the hashtag #BlackGirlMagic was popularized on social network sites Black women in Detroit have been employing art in their processes of self-articulation and efforts to deal with the complexities and challenges of life in the city. The scripts of African American women that dominate the commercial hip hop industry and their impacts on girls and women have received thorough analysis in academia; yet, the practices, representations, and discursive articulations of independent, Black women hip hop artists remain underexplored. In particular, this essay draws on Deidre “D.S. Sense” Smith’s spoken word poem “On My Detroit Everything” to illuminate the counter-narratives and scripts that Black women have been creating to document, validate, and voice their experiences at a critical point in Detroit’s history as it underwent and continues to deal with the after effects of bankruptcy. Hip hop artists who use cultural production to accomplish grass roots community-building offer alternative visions of what it means to do political work. More than a strategy, we argue that such practices serve as the foundation for a movement that is significant and worthy of documentation in the contemporary neoliberal moment where in policies are accelerating the continued disenfranchisement of people of color in cities such as Detroit.
{"title":"D.S. Sense’s “On My Detroit Everything”: Self-Articulating Black Girl Magic","authors":"Kellie D. Hay, Rebekah Farrugia, Deidre “D.S. Sense” Smith","doi":"10.3390/ARTS7020017","DOIUrl":"https://doi.org/10.3390/ARTS7020017","url":null,"abstract":"Long before the hashtag #BlackGirlMagic was popularized on social network sites Black women in Detroit have been employing art in their processes of self-articulation and efforts to deal with the complexities and challenges of life in the city. The scripts of African American women that dominate the commercial hip hop industry and their impacts on girls and women have received thorough analysis in academia; yet, the practices, representations, and discursive articulations of independent, Black women hip hop artists remain underexplored. In particular, this essay draws on Deidre “D.S. Sense” Smith’s spoken word poem “On My Detroit Everything” to illuminate the counter-narratives and scripts that Black women have been creating to document, validate, and voice their experiences at a critical point in Detroit’s history as it underwent and continues to deal with the after effects of bankruptcy. Hip hop artists who use cultural production to accomplish grass roots community-building offer alternative visions of what it means to do political work. More than a strategy, we argue that such practices serve as the foundation for a movement that is significant and worthy of documentation in the contemporary neoliberal moment where in policies are accelerating the continued disenfranchisement of people of color in cities such as Detroit.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"375 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122360137","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}
Common dualistic thinking in environmental design education adopts humans and the environment as separate entities, with the environment as raw material stock. This approach affects the intellectual development of landscape architects and limits their ability to create meaningful landscapes. Therefore, it is necessary to explore and highlight new ideas about the more integrated human–environment relationship. Through the films of Hayao Miyazaki, many audiences around the world have encountered a different worldview. By contrast with Western thinking, which adopts human superiority to nature, the worldview that Miyazaki reflects in his films depicts human as an inseparable part of nature. Being inspired by different communities and their relationship to nature in Miyazaki’s films, we propose using anime as a means of analyzing the human–environment relationship. We classified landscapes based on power relations between humans and nature. We explored how communities shape their physical environment based on how they socially construct nature and the resulting landscapes. Thus, through apocalyptic landscapes, the bitter results of exploiting nature were depicted. Wilderness landscapes reflect the bias humanity has about nature as wild and hostile. Responsible landscapes were introduced asway of understanding the unbreakable bond between humans and the environment. Through these animated landscape types, the ways landscape architecture should approach nature in professional practices was discussed, and the importance of creating responsible landscapes was emphasized.
{"title":"Anime Landscapes as a Tool for Analyzing the Human–Environment Relationship: Hayao Miyazaki Films","authors":"S. Mumcu, Serap Yılmaz","doi":"10.3390/ARTS7020016","DOIUrl":"https://doi.org/10.3390/ARTS7020016","url":null,"abstract":"Common dualistic thinking in environmental design education adopts humans and the environment as separate entities, with the environment as raw material stock. This approach affects the intellectual development of landscape architects and limits their ability to create meaningful landscapes. Therefore, it is necessary to explore and highlight new ideas about the more integrated human–environment relationship. Through the films of Hayao Miyazaki, many audiences around the world have encountered a different worldview. By contrast with Western thinking, which adopts human superiority to nature, the worldview that Miyazaki reflects in his films depicts human as an inseparable part of nature. Being inspired by different communities and their relationship to nature in Miyazaki’s films, we propose using anime as a means of analyzing the human–environment relationship. We classified landscapes based on power relations between humans and nature. We explored how communities shape their physical environment based on how they socially construct nature and the resulting landscapes. Thus, through apocalyptic landscapes, the bitter results of exploiting nature were depicted. Wilderness landscapes reflect the bias humanity has about nature as wild and hostile. Responsible landscapes were introduced asway of understanding the unbreakable bond between humans and the environment. Through these animated landscape types, the ways landscape architecture should approach nature in professional practices was discussed, and the importance of creating responsible landscapes was emphasized.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121420485","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}
With the understanding that a substantial commerce in sexually-enabled robots represents a plunge into the unknown for humankind, and at the “deep end of the pool”—i.e., involving one of the most important, complex, and problem-ridden aspects of human existence—it is the goal of this brief opinion piece to help ensure that we remain aware as a society of some of the potential pitfalls—these, as is quite appropriate for an opinion piece of this kind, illustrated via negative but plausible scenarios—and presented as well in the light of the multi-dimensional aspect of human sexuality; and with the reality of a certain level of risk associated with sex-bots having been established, there are presented in conclusion some potentially strategic considerations for those professionals who find themselves involved with their design, production, and/or marketing.
{"title":"Re: Sex-Bots—Let Us Look before We Leap","authors":"Glenn W. Smith","doi":"10.3390/ARTS7020015","DOIUrl":"https://doi.org/10.3390/ARTS7020015","url":null,"abstract":"With the understanding that a substantial commerce in sexually-enabled robots represents a plunge into the unknown for humankind, and at the “deep end of the pool”—i.e., involving one of the most important, complex, and problem-ridden aspects of human existence—it is the goal of this brief opinion piece to help ensure that we remain aware as a society of some of the potential pitfalls—these, as is quite appropriate for an opinion piece of this kind, illustrated via negative but plausible scenarios—and presented as well in the light of the multi-dimensional aspect of human sexuality; and with the reality of a certain level of risk associated with sex-bots having been established, there are presented in conclusion some potentially strategic considerations for those professionals who find themselves involved with their design, production, and/or marketing.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121122620","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 Rock Art Studies Bibliographic Database is an open access; online resource that fulfills the need for a searchable portal into the world’s rock art literature. Geared to the broadest interests of rock art researchers; students; cultural resource managers; and the general public; the RAS database makes rock art literature accessible through a simple search interface that facilitates inquiries into multiple data fields; including authors’ names; title and publication; place-name keyword; subject keyword; ISBN/ISSN number and abstract. The results of a data search can further be sorted by any of the data fields; including: authors’ names; date; title; and so forth. An ever increasing number of citations within the database include web links to online versions of the reference cited; and many citations include full author’s abstracts. The data compilation has been undertaken by Leigh Marymor with the year 2018 marking the 25th year of continuous revision and expansion of the data. Over 37,000 citations are currently contained in the database. The RAS database first launched online as a joint project of the Bay Area Rock Art Research Association and University of California’s Bancroft Library. After thirteen years of collaboration; the project found a new home and collaborator at the Anthropology Department at the Museum of Northern Arizona. The Paleolithic Rock Art bibliography results from an export of data from the RAS database and captures a freeze-frame in the state of the rock art literature for the world’s Paleolithic rock art as compiled here in the year 2018. The online version of the RAS Bibliographic Database at the Museum of Northern Arizona is updated annually; and we refer the reader to that resource for up-to-date bibliographic data revisions and additions. Researchers who consult the online database in concert with their reference to the Paleolithic Rock Art bibliography will discover a powerful ally in further refining geographic and thematic inquiries.
{"title":"Paleolithic Rock Art: A Worldwide Literature Survey Extracted from the Rock Art Studies Bibliographic Database for the Years 1864–2017","authors":"Leigh Marymor","doi":"10.3390/ARTS7020014","DOIUrl":"https://doi.org/10.3390/ARTS7020014","url":null,"abstract":"The Rock Art Studies Bibliographic Database is an open access; online resource that fulfills the need for a searchable portal into the world’s rock art literature. Geared to the broadest interests of rock art researchers; students; cultural resource managers; and the general public; the RAS database makes rock art literature accessible through a simple search interface that facilitates inquiries into multiple data fields; including authors’ names; title and publication; place-name keyword; subject keyword; ISBN/ISSN number and abstract. The results of a data search can further be sorted by any of the data fields; including: authors’ names; date; title; and so forth. An ever increasing number of citations within the database include web links to online versions of the reference cited; and many citations include full author’s abstracts. The data compilation has been undertaken by Leigh Marymor with the year 2018 marking the 25th year of continuous revision and expansion of the data. Over 37,000 citations are currently contained in the database. The RAS database first launched online as a joint project of the Bay Area Rock Art Research Association and University of California’s Bancroft Library. After thirteen years of collaboration; the project found a new home and collaborator at the Anthropology Department at the Museum of Northern Arizona. The Paleolithic Rock Art bibliography results from an export of data from the RAS database and captures a freeze-frame in the state of the rock art literature for the world’s Paleolithic rock art as compiled here in the year 2018. The online version of the RAS Bibliographic Database at the Museum of Northern Arizona is updated annually; and we refer the reader to that resource for up-to-date bibliographic data revisions and additions. Researchers who consult the online database in concert with their reference to the Paleolithic Rock Art bibliography will discover a powerful ally in further refining geographic and thematic inquiries.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131698092","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}
Since the rise of the Islamic State of Iraq and Syria (ISIS, also known as Daesh and ISIL) in 2014, antiquities have been a widely publicized source of funding for what has become one of the most technologically savvy terrorist organizations of the modern era. The globalization of technology and rise of popularity in cryptocurrencies has changed the face of black-market trade and the actors that carry out these crimes. While art and antiquities have long served as a market with susceptibilities to laundering, the emergence of Dark Web markets, identification-masking software, and untraceable cryptocurrencies such as Bitcoin have opened new doors to potential vulnerabilities. The anonymity that is offered by these technologies acts as a roadblock for authorities, while attracting the likes of terrorists and transnational criminals. Investigative research using cyber security platforms to identify digital artifacts connected to potential traffickers provides the opportunity to unmask the seemingly untraceable actors behind these activities. The evidence of illicit antiquities trafficking on the Dark Web displayed in this article can generate a new discussion on how and where to study black-market antiquities to gain needed insight into combating the illicit trade online and the transnational criminal groups it may finance.
自从2014年伊拉克和叙利亚伊斯兰国(Islamic State of Iraq and Syria，简称ISIS，又称达伊沙和伊黎伊斯兰国)崛起以来，文物一直被广泛宣传为现代最精通技术的恐怖组织之一的资金来源。技术的全球化和加密货币的普及改变了黑市交易和实施这些犯罪的行为者的面貌。虽然艺术品和古董长期以来一直是一个易受洗钱影响的市场，但暗网市场、身份屏蔽软件和比特币等无法追踪的加密货币的出现，为潜在的漏洞打开了新的大门。这些技术提供的匿名性为当局设置了障碍，同时也吸引了恐怖分子和跨国犯罪分子。利用网络安全平台进行调查研究，以识别与潜在贩运者有关的数字文物，为揭开这些活动背后看似无法追踪的行动者的面纱提供了机会。这篇文章所展示的暗网上非法古董交易的证据可能会引发一场新的讨论，即如何以及在哪里研究黑市古董，以获得打击网上非法贸易及其可能资助的跨国犯罪集团所需的洞察力。
{"title":"Ancient Artifacts vs. Digital Artifacts: New Tools for Unmasking the Sale of Illicit Antiquities on the Dark Web","authors":"K. A. Paul","doi":"10.3390/ARTS7020012","DOIUrl":"https://doi.org/10.3390/ARTS7020012","url":null,"abstract":"Since the rise of the Islamic State of Iraq and Syria (ISIS, also known as Daesh and ISIL) in 2014, antiquities have been a widely publicized source of funding for what has become one of the most technologically savvy terrorist organizations of the modern era. The globalization of technology and rise of popularity in cryptocurrencies has changed the face of black-market trade and the actors that carry out these crimes. While art and antiquities have long served as a market with susceptibilities to laundering, the emergence of Dark Web markets, identification-masking software, and untraceable cryptocurrencies such as Bitcoin have opened new doors to potential vulnerabilities. The anonymity that is offered by these technologies acts as a roadblock for authorities, while attracting the likes of terrorists and transnational criminals. Investigative research using cyber security platforms to identify digital artifacts connected to potential traffickers provides the opportunity to unmask the seemingly untraceable actors behind these activities. The evidence of illicit antiquities trafficking on the Dark Web displayed in this article can generate a new discussion on how and where to study black-market antiquities to gain needed insight into combating the illicit trade online and the transnational criminal groups it may finance.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116642477","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}
Disability, especially when war-related, is dangerous ground for entertainment films. Depictions of battle-scarred living bodies are necessarily political, since they cannot avoid commenting on the conflict of which they are a stark visual reminder. Yet depictions are politically multivalent: seeing the disabled has a wide range of effects on audiences. Unsurprisingly, then, disabled survivors of the war have rarely appeared on postwar screens. But the trend of avoiding the messy reality of war-related disability, and disabled bodies more generally, has ended, as the emphatic success of period drama Love and Honor (2006) can attest. In the new century, many films have tackled this once-taboo topic, winning success at the box office or, like Caterpillar (2010), at film festivals. In this article, I analyze depictions of disabled war survivors and other disabled bodies in recent Japanese films, drawing a contrast between Love and Honor and the aforementioned Caterpillar; I explore what motivated this more visceral retelling of both war trauma and general disability, and why each succeeded either commercially or critically. The trend towards depicting disability coincides perfectly with Japanese cinema’s resurgent success against Hollywood. Visceral depictions of traumatized bodies that are symbolically—or literally—disarmed have resonated with domestic audiences, perhaps because disability not only emasculates, it can also empower: the disabled, many believe, can speak with greater authority on the war or the human condition than anyone else. But what will they (be made to) say?
{"title":"“Disarmed”: Disability, Trauma, and Emasculation in Contemporary Japanese Cinema","authors":"Seán O’Reilly","doi":"10.3390/arts7010010","DOIUrl":"https://doi.org/10.3390/arts7010010","url":null,"abstract":"Disability, especially when war-related, is dangerous ground for entertainment films. Depictions of battle-scarred living bodies are necessarily political, since they cannot avoid commenting on the conflict of which they are a stark visual reminder. Yet depictions are politically multivalent: seeing the disabled has a wide range of effects on audiences. Unsurprisingly, then, disabled survivors of the war have rarely appeared on postwar screens. But the trend of avoiding the messy reality of war-related disability, and disabled bodies more generally, has ended, as the emphatic success of period drama Love and Honor (2006) can attest. In the new century, many films have tackled this once-taboo topic, winning success at the box office or, like Caterpillar (2010), at film festivals. In this article, I analyze depictions of disabled war survivors and other disabled bodies in recent Japanese films, drawing a contrast between Love and Honor and the aforementioned Caterpillar; I explore what motivated this more visceral retelling of both war trauma and general disability, and why each succeeded either commercially or critically. The trend towards depicting disability coincides perfectly with Japanese cinema’s resurgent success against Hollywood. Visceral depictions of traumatized bodies that are symbolically—or literally—disarmed have resonated with domestic audiences, perhaps because disability not only emasculates, it can also empower: the disabled, many believe, can speak with greater authority on the war or the human condition than anyone else. But what will they (be made to) say?","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"227 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116375834","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}
This paper attempts to meditate upon the transpacific imagination of cyberpunk by reconstructing its literary and cultural heritage. Since the publication of William Gibson’s multiple award winning first novel, Neuromancer (1984), the concept of cyberpunk has been globally popularized and disseminated not only in the field of literature but also in culture. However, we should not forget that cyberpunk is derived not only from the cutting edge of technology but also from “Lo Tek” sensibility cultivated in the Gibsonian picturesque ruins or dark cities such as a major extraterritorial zone in Hong Kong “Kowloon Walled City” nicknamed as “a den of iniquity”, “The Casba of the East”, and “a hotbed of crime”, which was destroyed in 1993, but whose images captured by Ryuji Miyamoto inspired Gibson to come up with the spectacle of the destroyed San Francisco Bay Bridge to be stormed by ex-hippies and former homeless. From this perspective, this chapter focuses on the works ranging from Katsuhiro Otomo’s directed anime Akira (1988), Gibson’s Bridge Trilogy (Virtual Light (1993), Idoru (1996), and All Tomorrow’s Parties (1998)) in the 1990s through Project Itoh’s post-cyberpunk masterpiece Genocidal Organ (2007).
{"title":"Transpacific Cyberpunk: Transgeneric Interactions between Prose, Cinema, and Manga","authors":"T. Tatsumi","doi":"10.3390/ARTS7010009","DOIUrl":"https://doi.org/10.3390/ARTS7010009","url":null,"abstract":"This paper attempts to meditate upon the transpacific imagination of cyberpunk by reconstructing its literary and cultural heritage. Since the publication of William Gibson’s multiple award winning first novel, Neuromancer (1984), the concept of cyberpunk has been globally popularized and disseminated not only in the field of literature but also in culture. However, we should not forget that cyberpunk is derived not only from the cutting edge of technology but also from “Lo Tek” sensibility cultivated in the Gibsonian picturesque ruins or dark cities such as a major extraterritorial zone in Hong Kong “Kowloon Walled City” nicknamed as “a den of iniquity”, “The Casba of the East”, and “a hotbed of crime”, which was destroyed in 1993, but whose images captured by Ryuji Miyamoto inspired Gibson to come up with the spectacle of the destroyed San Francisco Bay Bridge to be stormed by ex-hippies and former homeless. From this perspective, this chapter focuses on the works ranging from Katsuhiro Otomo’s directed anime Akira (1988), Gibson’s Bridge Trilogy (Virtual Light (1993), Idoru (1996), and All Tomorrow’s Parties (1998)) in the 1990s through Project Itoh’s post-cyberpunk masterpiece Genocidal Organ (2007).","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125703444","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 context of a reductive generalisation, it can be affirmed that the supporting structure had a different role in most buildings in the two halves of the previous century. This statement has as reference the examples of the International Style in the first half of the twentieth century and early Postmodernism in the second half. Reinforcing this division, the structure was assigned a representative role in the first part that faded in the second. Based on the abovementioned statement, this work seeks to question the relationship between the design of architecture and structure: How did architectural trends change the drawing of structure in the past? The study is developed through a comparison of two buildings representing opposite positions concerning the structure’s role. The buildings are located in the transition of the two halves of the 20th century, and clearly demonstrate the initial statements. The difference in the position of the structural design in these two projects is revealed in the drawings of slabs, beams and pillars, showing the trends in each.
{"title":"Architectural Trends and Structural Design in the Middle of the Twentieth Century: Two Examples in Portugal","authors":"S. P. Sousa","doi":"10.3390/ARTS7010008","DOIUrl":"https://doi.org/10.3390/ARTS7010008","url":null,"abstract":"In the context of a reductive generalisation, it can be affirmed that the supporting structure had a different role in most buildings in the two halves of the previous century. This statement has as reference the examples of the International Style in the first half of the twentieth century and early Postmodernism in the second half. Reinforcing this division, the structure was assigned a representative role in the first part that faded in the second. Based on the abovementioned statement, this work seeks to question the relationship between the design of architecture and structure: How did architectural trends change the drawing of structure in the past? The study is developed through a comparison of two buildings representing opposite positions concerning the structure’s role. The buildings are located in the transition of the two halves of the 20th century, and clearly demonstrate the initial statements. The difference in the position of the structural design in these two projects is revealed in the drawings of slabs, beams and pillars, showing the trends in each.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114173207","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 digital age, many artists use digital information mixed in various ways to create works of art. The subject of this paper’s discussion, i.e., open database art (ODA), is one such example. This form of art uses database techniques to retrieve and accumulate vast amounts of readily available and participant-contributed data from the internet, for the purpose of using the contents of the artwork. In other words, the work itself has no preset content, and all of the content relies on the import of external data. This paper seeks to hypothetically discuss the movement of data during its entry and the departure from an artwork, to provide a context and perspective for understanding ODA works. This paper also seeks to analyze ODAs through the conceptual notion of the “between”, to systematize and eke out the various directions that an ODA work may take, for the reference of future related studies.
{"title":"“Indirect” and “In-Between” of Open Database Art","authors":"Wun-Ting Hsu","doi":"10.3390/ARTS7010007","DOIUrl":"https://doi.org/10.3390/ARTS7010007","url":null,"abstract":"In the digital age, many artists use digital information mixed in various ways to create works of art. The subject of this paper’s discussion, i.e., open database art (ODA), is one such example. This form of art uses database techniques to retrieve and accumulate vast amounts of readily available and participant-contributed data from the internet, for the purpose of using the contents of the artwork. In other words, the work itself has no preset content, and all of the content relies on the import of external data. This paper seeks to hypothetically discuss the movement of data during its entry and the departure from an artwork, to provide a context and perspective for understanding ODA works. This paper also seeks to analyze ODAs through the conceptual notion of the “between”, to systematize and eke out the various directions that an ODA work may take, for the reference of future related studies.","PeriodicalId":187290,"journal":{"name":"The Artist and Journal of Home Culture","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123476976","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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