Jelaga atau PM 2.5 merupakan salah satu partikel polusi yang dihasilkan dari pembakaran tidak sempurna dari mesin pembakaran yang biasa digunakan pada kendaraan bermotor. Pada masa ini di kota metropolitan seperti Jakarta, konsentrasi jelaga di udara terus meningkat sehingga mengancam kesehatan manusia dan keseimbangan lingkungan. Faktor-faktor utama yang menyebabkan peningkatan konsentrasi jelaga di Jakarta adalah peningkatan jumlah kendaraan bermotor sebagai alat transportasi sehari-hari. Penelitian ini bertujuan untuk merancang sebuah alat pengumpul jelaga yang mudah digunakan dan dipasang ke kendaraan bermotor serta efisien dalam ekstraksi jelaga. Penulis merancang produk ini juga bertujuan untuk mengurangi jelaga di udara dan membantu mengajak masyarakat terlibat dalam proses tersebut. Dalam proses perancangan, penulis melakukan studi literatur, observasi pada knalpot kendaraan bermotor, mencari data statistik, menyusun analisa permasalahan, dan eksperimen. Data-data yang terkumpul kemudian diuji berdasarkan beberapa prinsip desain sehingga menghasilkan solusi yang ideal. Studi ini merupakan pengembangan prototype pertama yang masih dalam tahap pengembangan dan produk yang dirancang oleh penulis berhasil menarik perhatian calon pengguna dari segi konsep dan eksekusi desain.
{"title":"Perancangan Alat Pengumpul Jelaga di Kendaraan Beroda Empat","authors":"Vanessa William, David Widyanto","doi":"10.24821/ars.v26i1.6959","DOIUrl":"https://doi.org/10.24821/ars.v26i1.6959","url":null,"abstract":"Jelaga atau PM 2.5 merupakan salah satu partikel polusi yang dihasilkan dari pembakaran tidak sempurna dari mesin pembakaran yang biasa digunakan pada kendaraan bermotor. Pada masa ini di kota metropolitan seperti Jakarta, konsentrasi jelaga di udara terus meningkat sehingga mengancam kesehatan manusia dan keseimbangan lingkungan. Faktor-faktor utama yang menyebabkan peningkatan konsentrasi jelaga di Jakarta adalah peningkatan jumlah kendaraan bermotor sebagai alat transportasi sehari-hari. Penelitian ini bertujuan untuk merancang sebuah alat pengumpul jelaga yang mudah digunakan dan dipasang ke kendaraan bermotor serta efisien dalam ekstraksi jelaga. Penulis merancang produk ini juga bertujuan untuk mengurangi jelaga di udara dan membantu mengajak masyarakat terlibat dalam proses tersebut. Dalam proses perancangan, penulis melakukan studi literatur, observasi pada knalpot kendaraan bermotor, mencari data statistik, menyusun analisa permasalahan, dan eksperimen. Data-data yang terkumpul kemudian diuji berdasarkan beberapa prinsip desain sehingga menghasilkan solusi yang ideal. Studi ini merupakan pengembangan prototype pertama yang masih dalam tahap pengembangan dan produk yang dirancang oleh penulis berhasil menarik perhatian calon pengguna dari segi konsep dan eksekusi desain.","PeriodicalId":31329,"journal":{"name":"ARS","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41666607","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}
Imrich Esterházy is one of the most important 18th century patrons, yet his patronage in present-day Slovakia, Hungary and Croatia has not been analysed. Detailed iconological research on his commissi-ons is lacking as well. The aim of this study is to summarize and briefly analyse his extensive, but still not comprehensively processed, historiography. The latter constitutes the basis for further research, especially in the field of iconology and patronage, and thus will be able to make future research faster and easier. I will focus on literary and archival sources related to the person of the Primate, most of which are still unknown in our region.
{"title":"Imrich Esterházi a jeho historiografia pri výskume dejín umenia","authors":"Katarína Orviská","doi":"10.31577/ars-2022-0011","DOIUrl":"https://doi.org/10.31577/ars-2022-0011","url":null,"abstract":"Imrich Esterházy is one of the most important 18th century patrons, yet his patronage in present-day Slovakia, Hungary and Croatia has not been analysed. Detailed iconological research on his commissi-ons is lacking as well. The aim of this study is to summarize and briefly analyse his extensive, but still not comprehensively processed, historiography. The latter constitutes the basis for further research, especially in the field of iconology and patronage, and thus will be able to make future research faster and easier. I will focus on literary and archival sources related to the person of the Primate, most of which are still unknown in our region.","PeriodicalId":31329,"journal":{"name":"ARS","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47460593","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":"Dominikánsky kostol v Košiciach – niekoľko poznámok k pretrvávajúcim dilemám","authors":"Bibiana Pomfyová","doi":"10.31577/ars-2022-0008","DOIUrl":"https://doi.org/10.31577/ars-2022-0008","url":null,"abstract":"","PeriodicalId":31329,"journal":{"name":"ARS","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48003438","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":"Communicating Identity of Patrons Through Works of Art: Donatello’s David and the Medici. Reflections and Interpretations","authors":"M. Mrázová","doi":"10.31577/ars-2022-0009","DOIUrl":"https://doi.org/10.31577/ars-2022-0009","url":null,"abstract":"","PeriodicalId":31329,"journal":{"name":"ARS","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41962932","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}
After the battle of Mohács, the new king Ferdinand of Habsburg had the relics of the Saint John the Merciful (Almsgiver) placed in the St. Martin‘s Cathedral in Bratislava. The city became the capital of the Kingdom of Hungary and, between 1563 and 1830, the place where members of the Habsburg dynasty were crowned Hungarian kings. The relics served not only for religious purposes but also for the specific needs of the dynasty or the ruler in the context of the time – political, power or propaganda. The paper will try to approach the fate of the relics and the cult of St. John the Merciful in Bratislava and related questions: what role did the saint‘s relics play in legitimizing the rule of the new Habsburg dynasty in the Kingdom of Hungary, or how did they contribute to the formation and establishment of its identity in the Central European space? Were they influential in shaping the identity of Bratislava as the capital of the Habsburg monarchy, with St. Martin‘s Cathedral as the main coronation church of the Habsburgs?
{"title":"Patrón dynastie a mesta? Sv. Ján Almužník a jeho kult pri formovaní dynastickej a mestskej identity","authors":"Veronika Kucharská","doi":"10.31577/ars-2022-0010","DOIUrl":"https://doi.org/10.31577/ars-2022-0010","url":null,"abstract":"After the battle of Mohács, the new king Ferdinand of Habsburg had the relics of the Saint John the Merciful (Almsgiver) placed in the St. Martin‘s Cathedral in Bratislava. The city became the capital of the Kingdom of Hungary and, between 1563 and 1830, the place where members of the Habsburg dynasty were crowned Hungarian kings. The relics served not only for religious purposes but also for the specific needs of the dynasty or the ruler in the context of the time – political, power or propaganda. The paper will try to approach the fate of the relics and the cult of St. John the Merciful in Bratislava and related questions: what role did the saint‘s relics play in legitimizing the rule of the new Habsburg dynasty in the Kingdom of Hungary, or how did they contribute to the formation and establishment of its identity in the Central European space? Were they influential in shaping the identity of Bratislava as the capital of the Habsburg monarchy, with St. Martin‘s Cathedral as the main coronation church of the Habsburgs?","PeriodicalId":31329,"journal":{"name":"ARS","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48461781","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}
On the south facade of the chapel of St. Margaret of Antioch in Kopčany (Slovakia), there are two stones with engraved symbols. On one of the stones, the signs X, X in a rectangular frame and a schematically depicted face surmounted by three crosses are engraved. On the second stone, only the signs X and some simple lines are carved very indistinctly. Only the signs on the first stone are the subject of the analysis. The sign X can be interpreted as a Christogram. The rectangular frame around the second sign X can be interpreted as a symbol for the whole world or universe. The face with the three crosses can be considered an image of Christ. The signs as a whole composition probably symbolize Christ, his sacrifice, salvation through his death on the cross, the universal effect of salvation and saving from eternal death and perdition. The symbols had probably a protective function for the church and for the community of the faithful who used the church as well as for the buried in the cemetery. For these symbols, their meaning and function can be found analogies made in similarly reduced form and dimensions from the early Middle Ages (6 th –10 th centuries) in the territory of France, Germany, Switzerland or Austria.
{"title":"Pokus o interpretáciu rytých symbolov na fasáde kaplnky sv. Margity Antiochijskej v Kopčanoch","authors":"Martin Illáš","doi":"10.31577/ars-2022-0006","DOIUrl":"https://doi.org/10.31577/ars-2022-0006","url":null,"abstract":"On the south facade of the chapel of St. Margaret of Antioch in Kopčany (Slovakia), there are two stones with engraved symbols. On one of the stones, the signs X, X in a rectangular frame and a schematically depicted face surmounted by three crosses are engraved. On the second stone, only the signs X and some simple lines are carved very indistinctly. Only the signs on the first stone are the subject of the analysis. The sign X can be interpreted as a Christogram. The rectangular frame around the second sign X can be interpreted as a symbol for the whole world or universe. The face with the three crosses can be considered an image of Christ. The signs as a whole composition probably symbolize Christ, his sacrifice, salvation through his death on the cross, the universal effect of salvation and saving from eternal death and perdition. The symbols had probably a protective function for the church and for the community of the faithful who used the church as well as for the buried in the cemetery. For these symbols, their meaning and function can be found analogies made in similarly reduced form and dimensions from the early Middle Ages (6 th –10 th centuries) in the territory of France, Germany, Switzerland or Austria.","PeriodicalId":31329,"journal":{"name":"ARS","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44484436","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 article addresses the topic of the significance of the law of the frame in academic discussion, the classification of artworks, and the pursuit to understand the formal aspects of artistic objects. It has been demonstrated how frequently and to what extent the law of the frame is included in cross-sectional publications on the history of art. The analysis has confirmed considerable importance of the said law in the teaching of the history of Romanesque art. Consequently, the basis of the conside-rations contained herein is a wide selection of, mostly, academic and popular academic syntheses, in which – inspired by the idea of the law of the frame and function – original observations were made already in the 1930s and in which the law of the frame was discussed to define and describe the form of artworks. The law of the frame has remained significant until today.
{"title":"The Right of Art, the Principle of the Artist, the Imperative of the Scholar. The Example of a Romanesque Sculptor’s Workshop in the Context of the Law of the Frame","authors":"P. Waszak","doi":"10.31577/ars-2022-0007","DOIUrl":"https://doi.org/10.31577/ars-2022-0007","url":null,"abstract":"The article addresses the topic of the significance of the law of the frame in academic discussion, the classification of artworks, and the pursuit to understand the formal aspects of artistic objects. It has been demonstrated how frequently and to what extent the law of the frame is included in cross-sectional publications on the history of art. The analysis has confirmed considerable importance of the said law in the teaching of the history of Romanesque art. Consequently, the basis of the conside-rations contained herein is a wide selection of, mostly, academic and popular academic syntheses, in which – inspired by the idea of the law of the frame and function – original observations were made already in the 1930s and in which the law of the frame was discussed to define and describe the form of artworks. The law of the frame has remained significant until today.","PeriodicalId":31329,"journal":{"name":"ARS","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46962879","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 paper focuses on some fundamental issues of landscape representation systems in connection with new technologies and scopic regimes. It is based mainly on environmental aesthetics and ecology criteria, which present it as a summary and complex space with certain specific natural, social, eco nomic and political relationships. In this sense, it also follows the basic theses of the Anthropocene philosophy and its iconography using non-traditional artistic methods combining creativity and research with digital visualisation possibilities. Using examples from contemporary art, text mainly reflects the visualisation of the landscape in three systems of its technical representation, namely projects that use mapping, graphic data and technical images of satellite technologies as well as Google Earth imaging systems, GPS method and neutrality of Google Street View Photography. It shows how the original sensory-perceptual, ideologically uninterested approach to depicting the landscape has now changed to the so-called visually objectified and ecologically engaged. The text aims to demonstrate that from the point of view of art history, the application of digital, especially satellite technologies in the field of artistic creation, also calls for some comparisons with older models of landscape and world representation.
{"title":"K problému nových systémov reprezentácie krajiny","authors":"Zora Rusinová","doi":"10.31577/ars-2022-0002","DOIUrl":"https://doi.org/10.31577/ars-2022-0002","url":null,"abstract":"The paper focuses on some fundamental issues of landscape representation systems in connection with new technologies and scopic regimes. It is based mainly on environmental aesthetics and ecology criteria, which present it as a summary and complex space with certain specific natural, social, eco nomic and political relationships. In this sense, it also follows the basic theses of the Anthropocene philosophy and its iconography using non-traditional artistic methods combining creativity and research with digital visualisation possibilities. Using examples from contemporary art, text mainly reflects the visualisation of the landscape in three systems of its technical representation, namely projects that use mapping, graphic data and technical images of satellite technologies as well as Google Earth imaging systems, GPS method and neutrality of Google Street View Photography. It shows how the original sensory-perceptual, ideologically uninterested approach to depicting the landscape has now changed to the so-called visually objectified and ecologically engaged. The text aims to demonstrate that from the point of view of art history, the application of digital, especially satellite technologies in the field of artistic creation, also calls for some comparisons with older models of landscape and world representation.","PeriodicalId":31329,"journal":{"name":"ARS","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46884581","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 is composed of two parts. The first one deals with the question of modes of depiction (notations, diagrams, algorithms, sketches) related to the scientific and artistic study of natural and cultural systemic phenomena, dynamic systems and open systems, including extra-systemic phenomena, singularity, and a chance. The question is how system-related scientific and artistic modes of depiction inspire each other? The second part of this paper tackles a question of scientific and artistic imagina tion in the concept of poetic science (Augusta Ada, Lady Lovelace). This first part traces answers to the questions mentioned above in Ada Lovelace‘s education, study and work preceding her translation and interpretation of Babbage‘s Analytical engine. The number of her diagrammatic notes also included a first known (computer) algorithm. At that time, landscape painters studied scientific diagrams of atmospheric phenomena (rainbow, clouds, light reflection and refraction etc.) and developed specific approaches to sketching and notating air motion and light changes in the Earth‘s atmosphere that are associated with weather and climate and transformed them in accordance with their painting programs. This process is traced in sketches, paintings and texts of landscape painters Constable, Turner and Ruskin. Ruskin‘s ty pology of sketches concludes this part by referring to his drawings, paintings, and daguerreotypes. This first part aims to offer an introductory differentiation of possible and actual relations between scientific and artistic depictions introducing notations, diagrams, and algorithms in comparison with three of Ruskin‘s types of sketches: 1) experimental, 2) determinant, 3) commemorative.
{"title":"A. A. L. / A. L. L. alebo Ada (časť I.)","authors":"Monika Mitášová","doi":"10.31577/ars-2022-0001","DOIUrl":"https://doi.org/10.31577/ars-2022-0001","url":null,"abstract":"This paper is composed of two parts. The first one deals with the question of modes of depiction (notations, diagrams, algorithms, sketches) related to the scientific and artistic study of natural and cultural systemic phenomena, dynamic systems and open systems, including extra-systemic phenomena, singularity, and a chance. The question is how system-related scientific and artistic modes of depiction inspire each other? The second part of this paper tackles a question of scientific and artistic imagina tion in the concept of poetic science (Augusta Ada, Lady Lovelace). This first part traces answers to the questions mentioned above in Ada Lovelace‘s education, study and work preceding her translation and interpretation of Babbage‘s Analytical engine. The number of her diagrammatic notes also included a first known (computer) algorithm. At that time, landscape painters studied scientific diagrams of atmospheric phenomena (rainbow, clouds, light reflection and refraction etc.) and developed specific approaches to sketching and notating air motion and light changes in the Earth‘s atmosphere that are associated with weather and climate and transformed them in accordance with their painting programs. This process is traced in sketches, paintings and texts of landscape painters Constable, Turner and Ruskin. Ruskin‘s ty pology of sketches concludes this part by referring to his drawings, paintings, and daguerreotypes. This first part aims to offer an introductory differentiation of possible and actual relations between scientific and artistic depictions introducing notations, diagrams, and algorithms in comparison with three of Ruskin‘s types of sketches: 1) experimental, 2) determinant, 3) commemorative.","PeriodicalId":31329,"journal":{"name":"ARS","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45387697","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 presented text considers a floor plan of the medieval church, among other things, from the point of view of semiotics, as developed by C. S. Peirce. Based on his second trichotomy, the text identifies the floor plan as an icon and ascribes to it the properties of a pictogram. The text then deals with an example of using the floor plan of a medieval Christian church in contemporary art, specifically in the work of Bohdan Hostiňák (*1968). The author attempts to analyse Hostiňák‘s 1996 painting Larva , partly precisely from the perspective of Peirce‘s general semiotics. It brings closer the artist‘s work with the opposites of two dominant signs, the temple and the larva, which like elements of harmony and chaos, can evoke feelings of ambivalence in the viewer. He then considers these in terms of Heraclitus‘s philosophy, Nietzsche‘s consideration of the Apollonian and Dionysian, and anticlerical reading of the image, Christian doctrine, entomology, and etymology.
{"title":"Pôdorys chrámu v súčasnom umení. Príklad Larvy Bohdana Hostiňáka","authors":"Adrian Kobetič","doi":"10.31577/ars-2022-0003","DOIUrl":"https://doi.org/10.31577/ars-2022-0003","url":null,"abstract":"The presented text considers a floor plan of the medieval church, among other things, from the point of view of semiotics, as developed by C. S. Peirce. Based on his second trichotomy, the text identifies the floor plan as an icon and ascribes to it the properties of a pictogram. The text then deals with an example of using the floor plan of a medieval Christian church in contemporary art, specifically in the work of Bohdan Hostiňák (*1968). The author attempts to analyse Hostiňák‘s 1996 painting Larva , partly precisely from the perspective of Peirce‘s general semiotics. It brings closer the artist‘s work with the opposites of two dominant signs, the temple and the larva, which like elements of harmony and chaos, can evoke feelings of ambivalence in the viewer. He then considers these in terms of Heraclitus‘s philosophy, Nietzsche‘s consideration of the Apollonian and Dionysian, and anticlerical reading of the image, Christian doctrine, entomology, and etymology.","PeriodicalId":31329,"journal":{"name":"ARS","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46789592","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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