In the Middle Ages, images had useful functions, particularly among illiterates. In holy places pictorial representations helped to instruct illiterates, making them understand the stories that were represented, recognize the Saints, and perceive the meaning of their attributes. The representation of a miniature model of a church associated with a saint often denotes that he had erected holy places as symbols of the ‘building up’ of the Church through the Doctrine and his own theological writings. A model of a town often refers to the town where the church holding the painting was located. A miniature model of a medieval town is usually offered to the Virgin by the patron saint of the city which is represented. This article intends to illustrate how the representation of an architectural miniature model, as the main attribute of a saint in medieval iconography, has influenced the process of remodeling lost architectures that have changed shape over the centuries due to reconstruction or restoration. Architectural miniature models, represented as an iconographic attribute of a saint, are shown in numerous 14th to 15th century paintings. The usefulness of a maquette, in remodeling both the aspect and the style of a structure, is underlined by impressively precise architectural details which characterize the suggestive and eloquent examples of maquette examined in this study.
{"title":"Lost Architecture Remodeling: An Iconographic Reading","authors":"Adriana De Miranda","doi":"10.25038/am.v0i29.567","DOIUrl":"https://doi.org/10.25038/am.v0i29.567","url":null,"abstract":"In the Middle Ages, images had useful functions, particularly among illiterates. In holy places pictorial representations helped to instruct illiterates, making them understand the stories that were represented, recognize the Saints, and perceive the meaning of their attributes. The representation of a miniature model of a church associated with a saint often denotes that he had erected holy places as symbols of the ‘building up’ of the Church through the Doctrine and his own theological writings. A model of a town often refers to the town where the church holding the painting was located. A miniature model of a medieval town is usually offered to the Virgin by the patron saint of the city which is represented. This article intends to illustrate how the representation of an architectural miniature model, as the main attribute of a saint in medieval iconography, has influenced the process of remodeling lost architectures that have changed shape over the centuries due to reconstruction or restoration. Architectural miniature models, represented as an iconographic attribute of a saint, are shown in numerous 14th to 15th century paintings. The usefulness of a maquette, in remodeling both the aspect and the style of a structure, is underlined by impressively precise architectural details which characterize the suggestive and eloquent examples of maquette examined in this study.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134947968","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 this paper, I investigate questions related to the aesthetic interferences, as well as their implications, in the process of perception and appreciation of artworks and exhibitions. By ‘aesthetic interference’ however I mean something more than just actual visual interference, such as when other elements, pieces of art, or fellow visitors are ‘entering’ in the field of vision and thus obstructing the view while one is trying to focus on an individual piece. Instead of purely this, I also mean something that modifies the effect of the exhibited work of art on a further, aesthetic level too, hence not only as something that physically (optically) impedes sight, but something that interferes with the ‘working’ of the artwork. I survey the question on the level of the singular work, of an entire exhibition, and even the exhibition within the larger ‘frame’ and context of a city. What is important to see is that such interference is not always and not necessarily negative. The perception of and influence from other works, the modes of installation, the particularities of the venue, and the discovering of the broader environment can all bring out new aspects and considerations that point towards new potentials in the pieces, and that perhaps even the artist or the curator had not thought of before.
{"title":"Context and Interference: Influences in the Perception, Aesthetic Experience, and Interpretation of Exhibitions","authors":"Zoltán Somhegyi","doi":"10.25038/am.v0i29.572","DOIUrl":"https://doi.org/10.25038/am.v0i29.572","url":null,"abstract":"In this paper, I investigate questions related to the aesthetic interferences, as well as their implications, in the process of perception and appreciation of artworks and exhibitions. By ‘aesthetic interference’ however I mean something more than just actual visual interference, such as when other elements, pieces of art, or fellow visitors are ‘entering’ in the field of vision and thus obstructing the view while one is trying to focus on an individual piece. Instead of purely this, I also mean something that modifies the effect of the exhibited work of art on a further, aesthetic level too, hence not only as something that physically (optically) impedes sight, but something that interferes with the ‘working’ of the artwork. I survey the question on the level of the singular work, of an entire exhibition, and even the exhibition within the larger ‘frame’ and context of a city. What is important to see is that such interference is not always and not necessarily negative. The perception of and influence from other works, the modes of installation, the particularities of the venue, and the discovering of the broader environment can all bring out new aspects and considerations that point towards new potentials in the pieces, and that perhaps even the artist or the curator had not thought of before.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486438","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 presents how visual contemporary art can form intertextual relations to the architecture of the Holocaust. For that purpose, two works are used as examples and analyzed in more detail: Lego. Concentration Camp by Zbigniew Libera (1996) and Diamond Dust by Zoran Dimovski (2021). This paper shows how these artists cite architecture of the Holocaust by scale-modelling and additional elements that give their works complex semantic layers. This paper also includes discussion about invisibility and visibility of concentration and extermination camps, as well as the segment that explains the difference between the use of architectural scale models by the Third Reich propaganda and by contemporary artists. This paper concludes how, when cited in works of contemporary art, architecture becomes a complex sign shifted from one discourse into another and from one historic period to the present, a phenomenon embraced by artists to criticize the socio-political context of its creation, but also to criticize the alarming phenomena of today’s era.
{"title":"Citing the Architecture of the Holocaust as a Method of Critique in Contemporary Artistic Practices: Zbigniew Libera, Zoran Dimovski, and the Use of Scale Models","authors":"Sonja Jankov","doi":"10.25038/am.v0i29.574","DOIUrl":"https://doi.org/10.25038/am.v0i29.574","url":null,"abstract":"This paper presents how visual contemporary art can form intertextual relations to the architecture of the Holocaust. For that purpose, two works are used as examples and analyzed in more detail: Lego. Concentration Camp by Zbigniew Libera (1996) and Diamond Dust by Zoran Dimovski (2021). This paper shows how these artists cite architecture of the Holocaust by scale-modelling and additional elements that give their works complex semantic layers. This paper also includes discussion about invisibility and visibility of concentration and extermination camps, as well as the segment that explains the difference between the use of architectural scale models by the Third Reich propaganda and by contemporary artists. This paper concludes how, when cited in works of contemporary art, architecture becomes a complex sign shifted from one discourse into another and from one historic period to the present, a phenomenon embraced by artists to criticize the socio-political context of its creation, but also to criticize the alarming phenomena of today’s era.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486303","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 article presents research on the results of using a didactic tool based on virtual and augmented reality, developed for solving tasks from the field of spatial design. The theoretical part presents the context of the tool’s development and discusses spatial perception in new media, spatial design of images and screen views, and new media and augmented reality in school practice. The didactic tool consists of a computer, a computer screen, a computer camera, and a set of markers with symbols for different architectural elements that allow different composition operations. Manipulation of the markers is captured by a computer camera, which recognizes the symbols as function keys and allows interaction with a computer program. The computer decodes the data and displays it on the screen as surfaces and solids. This strategy promotes learning like a computer game. We tested it with eighth grade elementary students. The goal was to determine the extent to which the tool would affect the implementation of artistic tasks, creativity, motivation, satisfaction, and understanding of art concepts. The results presented here are encouraging, especially in the area of creativity, which was confirmed by teachers and students after the evaluation.
{"title":"Didactic Tool Based on Virtual and Augmented Reality in Art Education: Learning through an Interactive Game","authors":"Bea Tomšič Amon","doi":"10.25038/am.v0i29.568","DOIUrl":"https://doi.org/10.25038/am.v0i29.568","url":null,"abstract":"This article presents research on the results of using a didactic tool based on virtual and augmented reality, developed for solving tasks from the field of spatial design. The theoretical part presents the context of the tool’s development and discusses spatial perception in new media, spatial design of images and screen views, and new media and augmented reality in school practice. The didactic tool consists of a computer, a computer screen, a computer camera, and a set of markers with symbols for different architectural elements that allow different composition operations. Manipulation of the markers is captured by a computer camera, which recognizes the symbols as function keys and allows interaction with a computer program. The computer decodes the data and displays it on the screen as surfaces and solids. This strategy promotes learning like a computer game. We tested it with eighth grade elementary students. The goal was to determine the extent to which the tool would affect the implementation of artistic tasks, creativity, motivation, satisfaction, and understanding of art concepts. The results presented here are encouraging, especially in the area of creativity, which was confirmed by teachers and students after the evaluation.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486439","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 objective of this paper is to comprehend the environmental impact, specifically the influence of the psychiatric institution, on a work of art created within the context of psychiatric treatment. Additionally, the paper focuses on exploring the artwork’s impact on the viewer, and examining how we perceive these drawings – whether as neutral observers or through a sexualized lens. The intention is to present a collection of artworks produced by a female patient during her hospitalization in the 1950s and 1960s at the National Institute of Psychiatry and Neurology in Budapest. For the purposes of this study, the artist has been given the pseudonym “Antonia”, as her identity is only known within the institutional records through her marital status, identification by her husband’s name, and an approximate age at the time of admission. Antonia’s drawings depict women engaged in various everyday situations, such as enjoying an elegant dinner or dancing, and also include portraits of a young, attractive, and sexually appealing individual. When interpreting these drawings, it is impossible to avoid being influenced by the perspective from which the figures, seemingly vulnerable and exposed even in their elegant attire, offer their creator a glimpse into their emotions, anxieties, and fears. The aim of this study is to demonstrate that, even in contemporary times, decades after their creation, when approached from the perspectives of art history, psychology, and sociology, these drawings can only be accessed through the patriarchal lens that initially categorized them as part of the museum canon and included them in the collection during their respective era. Departing from this foundational standpoint proves to be a challenging endeavor.
{"title":"How Male Gaze Can Influence the Perception of Art Pieces from the Psychiatric Art Collection of the Hungarian Academy of Sciences? (Case Study)","authors":"Judit Faludy","doi":"10.25038/am.v0i29.573","DOIUrl":"https://doi.org/10.25038/am.v0i29.573","url":null,"abstract":"The objective of this paper is to comprehend the environmental impact, specifically the influence of the psychiatric institution, on a work of art created within the context of psychiatric treatment. Additionally, the paper focuses on exploring the artwork’s impact on the viewer, and examining how we perceive these drawings – whether as neutral observers or through a sexualized lens. The intention is to present a collection of artworks produced by a female patient during her hospitalization in the 1950s and 1960s at the National Institute of Psychiatry and Neurology in Budapest. For the purposes of this study, the artist has been given the pseudonym “Antonia”, as her identity is only known within the institutional records through her marital status, identification by her husband’s name, and an approximate age at the time of admission. Antonia’s drawings depict women engaged in various everyday situations, such as enjoying an elegant dinner or dancing, and also include portraits of a young, attractive, and sexually appealing individual. When interpreting these drawings, it is impossible to avoid being influenced by the perspective from which the figures, seemingly vulnerable and exposed even in their elegant attire, offer their creator a glimpse into their emotions, anxieties, and fears. The aim of this study is to demonstrate that, even in contemporary times, decades after their creation, when approached from the perspectives of art history, psychology, and sociology, these drawings can only be accessed through the patriarchal lens that initially categorized them as part of the museum canon and included them in the collection during their respective era. Departing from this foundational standpoint proves to be a challenging endeavor.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486440","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}
Influence is an important notion in Jean-Jacques Rousseau’s thinking. However, the event of influence is related to contamination, corruption, and alteration in Rousseau’s philosophical system. At the very beginning, the first Discourse (1750) presents the critique of culture and social taste. The author points out the damaging influence of ‘public opinion’, ‘riches’, and ‘powerful actors’ on the morals of a society. These entities corrupt the social morals and set a depraved example to follow. On the other hand, there is a clean and progressive way of influence between individuals without moral abuse. This is the case of the Genius, who comes to the world exclusively under influence of another Genius. There is no Genius – whatever this notion is supposed to mean – in itself. His birth is the result of a strong influence: it came to the world in a ‘ravishing transport’ as the entry “Genius” describes its genesis in A Complete Dictionary of Music. Purely positive influence is a ‘stimulus’ as Rousseau names it in Dialogues. My paper describes what the ‘stimulus’ means and how the uncorrupted ‘inhabitants of the other sphere’ are disposed by this stimulus. The example of the Genius demonstrates more eloquently the process of the positive influence, which is also a possibility to a sourceless beginning. To illustrate this idea and make it more concrete I will reference Julie’s paradise in Rousseau’s masterwork, Julie, or the New Heloise. In Julie’s garden, called Elysée, we have the topology of a perfect wilderness, a landscape at first sight uncontaminated by human artefact. The structure of the vegetation testifies of a beginning without beginning. The décor looks like a setup with no human intervention. This idea of creation is close to the idea of insemination, and more precisely to the ‘dissemination’ key word of Derrida’s work, Dissemination. My article is a lecture regarding the entry “Genius” in A Complete Dictionary of Music and a thought-experiment about how this entry can be interpreted in a deconstructive context.
{"title":"Ravishing Transports","authors":"Paula Marsó","doi":"10.25038/am.v0i29.570","DOIUrl":"https://doi.org/10.25038/am.v0i29.570","url":null,"abstract":"Influence is an important notion in Jean-Jacques Rousseau’s thinking. However, the event of influence is related to contamination, corruption, and alteration in Rousseau’s philosophical system. At the very beginning, the first Discourse (1750) presents the critique of culture and social taste. The author points out the damaging influence of ‘public opinion’, ‘riches’, and ‘powerful actors’ on the morals of a society. These entities corrupt the social morals and set a depraved example to follow. On the other hand, there is a clean and progressive way of influence between individuals without moral abuse. This is the case of the Genius, who comes to the world exclusively under influence of another Genius. There is no Genius – whatever this notion is supposed to mean – in itself. His birth is the result of a strong influence: it came to the world in a ‘ravishing transport’ as the entry “Genius” describes its genesis in A Complete Dictionary of Music. Purely positive influence is a ‘stimulus’ as Rousseau names it in Dialogues. My paper describes what the ‘stimulus’ means and how the uncorrupted ‘inhabitants of the other sphere’ are disposed by this stimulus. The example of the Genius demonstrates more eloquently the process of the positive influence, which is also a possibility to a sourceless beginning. To illustrate this idea and make it more concrete I will reference Julie’s paradise in Rousseau’s masterwork, Julie, or the New Heloise. In Julie’s garden, called Elysée, we have the topology of a perfect wilderness, a landscape at first sight uncontaminated by human artefact. The structure of the vegetation testifies of a beginning without beginning. The décor looks like a setup with no human intervention. This idea of creation is close to the idea of insemination, and more precisely to the ‘dissemination’ key word of Derrida’s work, Dissemination. My article is a lecture regarding the entry “Genius” in A Complete Dictionary of Music and a thought-experiment about how this entry can be interpreted in a deconstructive context.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486300","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":"DAS ANATOMISCHE THEATER / The Simultaneous Games of the 20th Century","authors":"Milorad Krstić","doi":"10.25038/am.v0i29.575","DOIUrl":"https://doi.org/10.25038/am.v0i29.575","url":null,"abstract":"Artist Portfolio","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486304","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}
When interpreting literary works, interpreters almost always rely on connections between the literary works and other aspects of our world – e.g., historical time periods, cultures, other artworks, artistic movements, and so on. But how can we explain both the nature and role of these connections? I argue that this can be fruitfully explained with reference to relations that exist between literary works and other aspects of human culture, which is a class of relations that I call ‘interpretation-relevant relations.’ I also argue that an important component of these relations is a mind-independent connection of influence between the relata. Finally, I argue that these interpretation-relevant relations (with the component of influence) can be taken to be real, mind-independent elements of the world, if we recognize that literary works are public artifacts and so are part of the fabric of human culture, which depends on human minds for its existence and persistence but not for its ontological nature. All of this can hold even if interpretations are the products of individual minds interacting intentionally with literary works.
{"title":"Literary Works and the Metaphysics of Influence","authors":"Kari Hanson-Park","doi":"10.25038/am.v0i29.571","DOIUrl":"https://doi.org/10.25038/am.v0i29.571","url":null,"abstract":"When interpreting literary works, interpreters almost always rely on connections between the literary works and other aspects of our world – e.g., historical time periods, cultures, other artworks, artistic movements, and so on. But how can we explain both the nature and role of these connections? I argue that this can be fruitfully explained with reference to relations that exist between literary works and other aspects of human culture, which is a class of relations that I call ‘interpretation-relevant relations.’ I also argue that an important component of these relations is a mind-independent connection of influence between the relata. Finally, I argue that these interpretation-relevant relations (with the component of influence) can be taken to be real, mind-independent elements of the world, if we recognize that literary works are public artifacts and so are part of the fabric of human culture, which depends on human minds for its existence and persistence but not for its ontological nature. All of this can hold even if interpretations are the products of individual minds interacting intentionally with literary works.","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486301","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":"Review of Enea Bianchi’s The Philosophy of Mario Perniola (2022)","authors":"Oliver Milne","doi":"10.25038/am.v0i29.576","DOIUrl":"https://doi.org/10.25038/am.v0i29.576","url":null,"abstract":"Book Review","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135486302","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":"Paper Architecture","authors":"Irena Gajić","doi":"10.25038/am.v0i12.175","DOIUrl":"https://doi.org/10.25038/am.v0i12.175","url":null,"abstract":"-","PeriodicalId":40461,"journal":{"name":"AM Journal of Art and Media Studies","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136265853","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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