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Nonhuman Images: Environment and Emotion in Two Films by Viera Čákanyová 非人类图像:Viera Čákanyová 两部电影中的环境与情感
0 ART Pub Date : 2024-02-12 DOI: 10.1080/01973762.2023.2287325
Antony Fredriksson
Two films by Viera Čákanyová portray the momentous yet fragile landscapes of Antarctica. Frem (Slovakia 2019) depicts vast and arid vistas from the perspective of a drone whose movements are based ...
Viera Čákanyová 的两部影片描绘了南极洲壮丽而又脆弱的地貌。Frem》(斯洛伐克,2019 年)从一架无人机的视角描绘了广袤而干旱的景色,无人机的运动是基于...
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引用次数: 0
Don’t Look Askance 不要斜视
0 ART Pub Date : 2024-02-12 DOI: 10.1080/01973762.2023.2295169
Ondřej Beran
The paper is a discussion of film expressions of environmental emotions, in particular of eco-anger. It discusses several distinctions within the notion of anger (in particular that of honour-relat...
本文讨论了电影对环境情绪的表达,尤其是对生态愤怒的表达。本文讨论了 "愤怒 "概念中的几种区别(尤其是与荣誉相关的 "愤怒")。
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引用次数: 0
Playing with Gender: Trans Men’s Experiences Playing with Masculine Characters, Roles, and Identities in Online Video Games 玩弄性别:变性男子在网络电子游戏中扮演男性角色、角色和身份的经历
0 ART Pub Date : 2024-01-10 DOI: 10.1080/01973762.2023.2282853
Jeremy Brenner-Levoy
Previous research illustrates the many ways that video games are constructed for cisgender, heterosexual, and white men. However, I argue that video games may serve as a valuable site of gender dis...
以往的研究表明,电子游戏是为顺性别、异性恋和白人男性构建的。然而,我认为电子游戏可以作为性别歧视的一个重要场所。
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引用次数: 0
Photography and Environmental Activism: Visualising the Struggle Against Industrial Pollution 摄影与环保行动:与工业污染作斗争的视觉化
0 ART Pub Date : 2023-12-04 DOI: 10.1080/01973762.2023.2279809
Reviewed by Noemi Quagliati
Published in Visual Resources: an international journal on images and their uses (Ahead of Print, 2023)
发表于《视觉资源:关于图像及其使用的国际期刊》(出版前,2023年)
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引用次数: 0
Light, Metabolisms, Elemental Media: Theorising Human Mediality in the Anthropocene 光、代谢、元素媒介:人类世人类媒介理论化
0 ART Pub Date : 2023-10-09 DOI: 10.1080/01973762.2023.2253099
Lukáš Likavčan
AbstractThis paper applies concepts of elemental media and metabolisms to the case of cosmic and planetary ecologies that emerge from the interaction between Earth and Sun, manifesting in photosynthesis or carbon isotope chemistry. In doing so, it expands on registers of media theory and environmental studies and prompts the reader to consider the medial and archival affordances of the light-based interactions, and further processes they give rise to. The main aim of the paper is to use these observations to speculate about the human condition in the Anthropocene, characterised by the experience of human mediality. The paper addresses human mediality mainly in the dimension of affective qualities this condition may prompt, and the resulting narrative model of selfhood – the metabolic self. The paper develops its conceptual contribution in close proximity with several artistic examples, especially Eduardo Navarro’s performance In Collaboration with the Sun (2017–2019). The paper is positioned as a contribution to studies of multispecies cohabitation and more-than-human communication, while also developing a narrative strategy for talking about the decentred position of human species in the more-than-human world-making.Keywords: Elemental MediaMetabolismNarrative SelfLightSelfhoodPhotosynthesis Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 James F. Kasting, Daniel P. Whitmire and Ray T. Reynolds, ‘Habitable Zones around Main Sequence Stars’, Icarus 101 (1993): 108–28.2 Lisa Kaltenegger, ‘How to Characterize Habitable Worlds and Signs of Life’, Annual Review of Astronomy and Astrophysics 33 (2017): 443.3 Paul J. Crutzen and Eugene F. Stoermer, ‘The “Anthropocene”’, IGBP Newsletter 41 (2000): 17–18.4 Raymond T. Pierrehumbert, Principles of Planetary Climate (Cambridge: Cambridge University Press, 2011), 58–66.5 Donella H. Meadows, Dennis L. Meadows, Jørgen Randers and William W. Behrens III, The Limits to Growth (New York: Universe Books).6 Benjamin Lazier, ‘Earthrise; or, The Globalization of the World Picture’, American Historical Review 116, no. 3 (2011): 602–30.7 In talking about ‘affective profile’ and ‘affective qualities’, this paper follows terminology established by Rosi Braidotti, ‘A Theoretical Framework for the Critical Posthumanities’, Theory, Culture & Society 36, no. 6 (2019): 31–61.8 Tomás Saraceno, ‘Solar Rhythms’, Studio Tomás Saraceno, https://studiotomassaraceno.org/solar-rhythms/ (accessed June 7, 2023).9 See also Bronislaw Szerzsynski, ‘Planetary Alterity, Solar Cosmopolitics and the Parliament of Planets’, in Environmental Alterities, ed. Cristóbal Bonelli and Antonia Walford (Manchester: Mattering Press, 2021), 204–26.10 Ema Čabová, ‘Sensing the Subtle, Moving Through the Quiet, Performing the Unspeakable’, Fotograf Mag 40 (2021): 29.11 Margaret Boden, ‘Is Metabolism Necessary?’ The British Journal for the Philosophy of Science 50, no. 2 (1999): 231–48.12 Pierrehumbert, Principles o
摘要本文将元素介质和代谢的概念应用于地球与太阳相互作用中产生的宇宙和行星生态,这些生态表现为光合作用或碳同位素化学。在这样做的过程中,它扩展了媒体理论和环境研究的注册,并促使读者考虑基于光的相互作用的媒体和档案启示,以及它们所产生的进一步过程。本文的主要目的是利用这些观察来推测人类世的人类状况,以人类中介的经历为特征。本文主要在情感品质的维度上讨论人类的中介性,这种情况可能会促使,以及由此产生的自我叙事模式-代谢自我。本文以几个艺术例子为例,特别是爱德华多·纳瓦罗的表演《与太阳合作》(2017-2019),近距离地阐述了其概念贡献。这篇论文的定位是对多物种同居和超越人类的交流研究的贡献,同时也发展了一种叙事策略,用于讨论人类物种在超越人类的世界中所处的非中心地位。关键词:元素媒体;代谢;叙事;无私;注1 James F. Kasting, Daniel P. Whitmire和Ray T. Reynolds,“主序星周围的宜居带”,伊卡洛斯101 (1993):108-28.2 Lisa Kaltenegger,“如何表征宜居世界和生命迹象”,天文学和天体物理学年度评论33 (2017):443.3 Paul J. Crutzen和Eugene F. Stoermer,“人类世”,IGBP Newsletter 41 (2000): 17-18.4 Raymond T. Pierrehumbert,行星气候原理(剑桥:6.剑桥大学出版社,2011),58-66.5,Donella H. Meadows, Dennis L. Meadows, j . rgen Randers和William W. Behrens III,《增长的极限》(纽约:宇宙出版社)本杰明·拉齐尔《地心升起》;或《世界图景的全球化》,《美国历史评论》第116期。在讨论“情感概况”和“情感品质”时,本文遵循Rosi Braidotti建立的术语,“批判后人文主义的理论框架”,理论,文化与社会36,第30期。6 (2019): 31-61.8 Tomás Saraceno,“太阳节奏”,工作室Tomás Saraceno, https://studiotomassaraceno.org/solar-rhythms/(访问日期:2023年6月7日)另见Bronislaw Szerzsynski,“行星交替,太阳宇宙政治和行星议会”,在环境交替中,编辑Cristóbal Bonelli和Antonia Walford(曼彻斯特:matter Press, 2021), 204-26.10 Ema Čabová,“感知微妙,在安静中移动,执行不可言说的”,Fotograf Mag 40 (2021): 29.11 Margaret Boden,“新陈代谢是必要的吗?《英国科学哲学杂志》第50期,第5期。2 (1999): 232 - 48.12 Pierrehumbert,行星气候原理,10-11.13 Kasting, Whitmire和Reynolds,“主序星周围的宜居带”,109-10.14 Peter Haff,“技术作为一种地质现象:对人类福祉的影响”,地质学会伦敦特别出版物395 (2013):301-02.15 Mario Giampietro, Kozo Mayumi和alevg<e:1> l Sorman,社会的代谢模式(伦敦:劳特利奇,2012),175-94.16 Kojin Karatani,世界历史的结构(达勒姆,北卡罗来纳州:杜克大学出版社,2014),15.17约翰·达勒姆·彼得斯,神奇的云。《走向元素媒体的哲学》(芝加哥:芝加哥大学出版社,2015),48.18同上,46-9.19彼得斯,《奇妙的云》,4.20也见同上,48.21同上,46.22埃亚尔·魏茨曼和雅各布·隆德,《居住在超审美图像中》。Eyal Weizman在与Jacob Lund的对话中,北欧美学杂志61-62(2021):230.23对于“非人类摄影”的概念,另见Joanna Zylinska,非人类摄影(剑桥,马萨诸塞州:麻省理工学院出版社,2017)Jussi Parikka和Abelardo Gil-Fournier,“植物表面的生态美学:种子、图像、地面作为软蒙太奇”,《视觉艺术实践杂志》,第20期。Dietmar Offenhuber,“代理数据-材料痕迹作为自动可视化”,(2019):2,https://arxiv.org/abs/1907.05454(访问日期:2023年6月7日).26如上,2。强调mine.273.安玛丽·莫尔,《饮食理论》(北卡罗来纳州达勒姆:杜克大学出版社,2021),第3页。原始emphasis.29同上,4.30丹尼尔·丹尼特,《解释意识》(波士顿:利特尔布朗出版社,1991),426-7.31同上,418.32托马斯·梅辛格,《无名小卒》。主体性的自我模型理论(剑桥,马萨诸塞州:麻省理工学院出版社,2003).33Braidotti,“批判后人文主义的理论框架”,42.34同上,49.35同上,42.36同上,46.37对塔加尔人埋葬粘土遗迹研究的回顾是基于Natalia V. Polosmak,“表象是欺骗性的……”,Science First Hand 27, no. 37。 Stefan Helmreich和S. Eben Kirksey,“多物种人种学的出现”,《文化人类学》第25期,2010,第130-7.38页。布鲁诺·拉图尔:《脚踏实地》(Cambridge: Polity, 2018), 75页;80.40 Stanisław Lem, Solaris(纽约:Premier Digital, 2011);Radovan Richta等人,《文明》rozcestí(布拉格:Svoboda, 1967).41青安娜:《世界尽头的蘑菇》(普林斯顿和牛津:普林斯顿大学出版社,2015),第21-2页;彼得斯,《奇妙的云》,170页。关于contributorsLukáš LikavčanLUKÁŠ LIKAVČAN的说明是一位哲学家。主要研究方向为科学技术哲学和环境哲学。他是上海纽约大学全球社会视角博士后研究员。他是《比较行星学导论》(2019)的作者。
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引用次数: 0
Visibilizing Queer Futures Past: Ekphrasis and LGBTQIA + Representation in the Philippine Archive 可视化酷儿未来的过去:菲律宾档案中的措辞和LGBTQIA +代表
0 ART Pub Date : 2023-09-25 DOI: 10.1080/01973762.2023.2249719
Gregorio R. Caliguia
AbstractThis article interrogates how both visual culture and queer futurity can be made visible in and through the Philippine archive as a case in point. It begins by problematizing a paradoxical specter of futurity that seems to haunt more the Global North. But despite such haunting, the Philippines in the Global South continues to have thin to nil (i.e., nearly absent) envisioning toward a queer futurity, for most Filipino LGBTQIA + scholars seem to still be engaged in recovering “lost histories” from the archives and “thick descriptions” of the present, while focusing more on the textual than the visual. The article then proceeds to discuss mobilizing ekphrasis and representation as main conceptual tools in bridging the temporally opposite projects of queer archiving and queer futurity. It analyzes through ekphrastic re-reading the various LGBTQIA + representations from the Philippine archive – that is, a “palimpsestic site” of colonial confrontations, national (re)construction, and potentially global queer critique. These re-readings along the archival grain juxtapose the archival representations as historically authentic vis-à-vis their more present-day representations as visual proxies. Yet more crucially, the potency of these ekphrastic re-readings – in lieu of visually actual – lies in their capacity to reverberate queer possibilities, re-awakening them from their sleep within the archives, and thus re-mobilizing them toward becoming a useful part of academics, activists, and artists’ “shared arsenal” in re-envisioning and, hopefully in time, reifying such past possibilities into future queer actualities anew.Keywords: EkphrasisRepresentationQueer FuturityMultimediaGlobal SouthLGBTQIA + Historiography AcknowledgementsMy sincerest gratitude to the two anonymous reviewers for their insightful comments on the earlier version of this paper. I also thank my colleagues and friends: to Jesus “Led” Villafuerte (PUP’s Center for Creative Writing/Ateneo de Manila University’s School of Humanities) for introducing me to and thereby correcting some of my articulations concerning the theoretical conversations on futurity; to Rancho Arcilla (Intramuros Administration) and Jeremiah So Adriano (De La Salle-College of St. Benilde) for inviting me as a resource speaker on LGBTQIA + history before their respective institutions, through which I formulated my earlier ideas for this paper; and to Gregg Alfonso G. Abbang (National Museum of the Philippines) and Rafael Pamplona (PUP) for their comments.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 The terms queer and LGBTQIA+ shall be used interchangeably here, because in Global South context queer often operates simultaneously as an umbrella term for LGBTQIA+, on one hand, and a critical term for practices distrubing heteronormativity, on the other hand. See Audrey Yue and Jun Zubillaga-Pow, eds., Queer Singapore: Illiberal Citizenship and Mediated Cultures (Hong Ko
com/photo/ ? fbid = 495881982555590组= pb.100064013775502。-220752000044参见卡马卡拉瓦的00:06:30,00:13:55和01:11:45的场景,由埃迪·罗梅罗导演(1981年,马尼拉),由伊恩·罗萨莱斯·卡索科特上传,YouTube, 2022年7月9日,02:37:50,https://youtu.be/yexSnm6ru60?t=39045参见“国家艺术家的秩序:埃迪·罗梅罗”,国家文化艺术委员会(NCCA), https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-philippines/eddie-s-romero/46安德鲁·利弗德,“浓咖啡与国宝:对Eddie Romero的采访,“Cashers du Cinemart”,2023年7月8日访问,https://web.archive.org/web/20160731133006/https://www.cashiersducinemart.com/details/issue-18/article-518/strong-coffee-with-a-national-treasure-an-interview-with-eddie-romero47 Rene Javellana,编织文化:菲律宾殖民地艺术和文化的发明,1565-1850(奎松市:ADMU, 2017), 180.48 Juan Jose de Noceda和Pedro de Sanlucar, Vocabulario de la Lengua Tagala;《不同宗教的医生与坟墓》(马尼拉:Ramirez与Giraudier出版社,1860),https://books.google.com.ph/books?id=PTIOAAAAIAAJ&source=gbs_navlinks_s49圣奥古斯丁·加斯帕尔·德·圣奥古斯丁,《塔加拉纲要》(桑帕洛克[马尼拉]:Nuestra出版社Señora de Loreto出版社,[1703]1787),84,http://bdh-rd.bne.es/viewer.vm?id=0000112265&page=150参见加西亚,“菲律宾同性恋文化”,168-74;一个例子是被广泛引用的短语“c ^ un nagpupuit, ò cun napapuit caya, ò cun nagcasala sa hayop”[如果你经常插入,经常接收或犯兽交]。参见加斯帕尔·德·圣·奥古斯丁,《忏悔录》Española和塔加拉,《忏悔录的指导》和《忏悔录的指导》(马尼拉:新修道院Señora德·洛雷托,1787).52参见“子宫解剖图”,Guido da Vigevano, ca. 1345, Chantilly, Muse ' e Conde ' Ms. 334,对开本281v,转载于Karl Whittington,“中世纪阴阳人的理论、实践和表现”,后中世纪9,no。2 (2018), 231-47, https//:doi.org/10.1057/s41280-018-0085-353卡尔·惠廷顿解释说,从古希腊到中世纪,欧洲人会想象子宫有七个叶:三个在右边,三个在左边,中间有一个奇数叶。当男性的精子停留在右侧时,人们认为会生出男孩;如果在左边,是一个女孩;如果在中间,一个雌雄同体就会诞生。参见惠廷顿,“中世纪的双性人”,232-3.54参见Henrick van Bilderbeke, Belägerung der Statt Ostende: Journal, Tagregister und eigentliche beschreibung aller gedenckwurdigsten Sachen, handlungen und geschichten (s.n, 1604-5),附录,第1页。4r, https://books.google.com.ph/books?id=v61YAAAAcAAJ55 francois Soyer,《现代早期西班牙和葡萄牙的模糊性别:审判官、医生和对性别规范的违背》(莱顿和波士顿:Brill, 2012), 7-8.56 Soyer,《模糊性别》;也见杰克·哈伯斯塔姆,《女性的男子主义》(达勒姆和伦敦:杜克大学出版社,1998),55.57。康姆斯的《历史》同样被选为布莱尔和罗伯逊1690-1691年菲律宾殖民生活卷的一部分,此后几代历史学家和学者一直在查阅和批评。参见菲律宾群岛,第40卷,11-13.58。弗朗西斯科·康姆姆斯,“南部岛屿的土著人”,布莱尔和罗伯逊编。菲律宾群岛卷40,160-63,https://quod.lib.umich.edu/p/philamer/afk2830.0001.040/164?q1=tuto&view=image&size=10059见Garcia,“菲律宾同性恋文化,”151-97.60 comb<s:1>,“南部岛屿的土著人,”163.61值得注意的是,菲律宾历史上这一血腥篇章的分期一直是持续辩论的主题。虽然大多数历史学家指出1902年是战争的结束,因此标志着美帝国主义在菲律宾的正式开始,但也有一些历史学家和学者将时间划分延伸到1913年6月的巴德巴格萨克战役。在某种程度上,这种延伸是一种姿态,承认摩洛人(即穆斯林菲律宾人)独立于(似乎)单调的“民族主义”历史的时间框架,摩洛人仍然处于边缘地位。参见Teodoro A. Agoncillo,菲律宾人民的历史,第8版(奎松市;参见ADMU老黎萨图书馆网站http://rizal.library.ateneo.edu/63“一个伪装成女人的叛乱间谍在第24步兵在Mariquina附近被捕,”马尼拉时报,1899年8月6日,微缩胶片,缩微胶片和数字资源中心,旧黎萨图书馆,ADMU,奎松市。64 At 07:15,在News5Everywhere, Lourd's History, Ep. 002: Bakla sa Katipunan[视频文件](2013年11月30日)https://www.youtube。
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引用次数: 0
The Trichoptera of Panama XXII. Sixteen new microcaddisfly species (Trichoptera, Hydroptilidae). The巴拿马毛蛾第二十二目。微翅蝇十六新种(毛翅目,蠓科)
IF 1.3 0 ART Pub Date : 2023-08-08 eCollection Date: 2023-01-01 DOI: 10.3897/zookeys.1174.107314
Steven C Harris, Brian J Armitage

Sixteen new species of microcaddisflies (Trichoptera, Hydroptilidae) from Panama are herein described and illustrated. The majority of these were collected during surveys of Panama's national parks and protected areas during 2017 and 2018, employing both UV and Malaise traps. The new species include: Alisotrichiaeisbergaesp. nov., Angrisanoiabokotasp. nov., Brediniaparaespinosasp. nov., Cerasmatrichiagarfiozasp. nov., Cerasmatrichiaveraguasensissp. nov., Costatrichiacaloveborasp. nov., Metrichiacaloveborasp. nov., Metrichiacascadasp. nov., Metrichiachiriquiensissp. nov., Metrichiaescobillasp. nov., Metrichialeahaesp. nov., Metrichiatatianaesp. nov., Ochrotrichiaconejorejasp. nov., Ochrotrichiaparaflagellatasp. nov., Oxyethirapehrssonaesp. nov., and Zumatrichiaculebrasp. nov. In total, 506 Trichoptera species are now recorded for the Republic of Panama, distributed among 15 families and 56 genera.

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引用次数: 0
Nintendo Switch-ing Genders: Bowsette and the Potentiality of Transgender Video Game Mechanics 任天堂性别转换:Bowsette和跨性别电子游戏机制的潜力
0 ART Pub Date : 2023-03-29 DOI: 10.1080/01973762.2023.2184234
Jennessa Hester
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引用次数: 0
Vegetable Cutting Machines through Visual Materials: The Mechanization of Communal Canteens in 1958–1960s China 视觉材料下的切菜机:1958 - 60年代中国公共食堂的机械化
0 ART Pub Date : 2021-07-03 DOI: 10.1080/01973762.2023.2199949
K. Fan
This article explores the mechanization of communal canteens during the Great Famine (1958–1961), focusing on the development and use of vegetable cutting machines. Communal canteens were one of the most important measures for realizing communism in China. To free female labor for use in the workforce, reduce cooking staff numbers, prepare large numbers of dishes, and provide free meals on time at communal canteens, the central and local governments of the People’s Republic of China promoted the mechanization and semi-mechanization of communal canteens. One of the most important innovations was the reformation of cooking utensils, and the introduction of machines to handle and cook ingredients, including vegetable cutting machines. Based on three types of historical material, this article looks at the historical background of vegetable cutting machine construction and use, and analyzes their use in communal canteens in China. The article finds that the mechanization of communal canteens was in fact merely sloganeering and did not contribute to technological reform in contemporary China.
这篇文章探讨了大饥荒时期(1958-1961)公共食堂的机械化,重点是切菜机的发展和使用。公共食堂是中国实现共产主义的重要措施之一。为了解放女性劳动力,减少烹饪人员,大量准备菜肴,按时提供免费膳食,中华人民共和国中央和地方政府推动了公共食堂的机械化和半机械化。最重要的创新之一是烹饪器具的改革,以及处理和烹饪食材的机器的引入,包括切菜机。本文以三类史料为基础,考察了切菜机建造和使用的历史背景,并分析了切菜机在中国公共食堂的使用情况。文章发现,公共食堂的机械化实际上只是口号,对当代中国的技术改革没有贡献。
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引用次数: 0
A State Avant-Gardism: Alternative Spaces and Cultural Policies in the United States 国家先锋主义:美国的另类空间与文化政策
0 ART Pub Date : 2021-07-03 DOI: 10.1080/01973762.2023.2191399
Nicolas Heimendinger
It is well known that the development of alternative spaces in the United States during the 1970s benefited from government subsidies. However, either this fact is downplayed because it seems to taint the image of radical subversion on which the prestige of these spaces is based; or it is criticized as one of the main causes of the institutionalization of the alternative scene, or even as a pernicious way to co-opt and neutralize it. In this article, I examine in more detail the programs set up to support alternative spaces by the National Endowment for the Arts and the New York State Council on the Arts. I also study the interesting case of Artists Space, an alternative space that was directly founded by the second of these two government agencies. I show that this public support, far from having betrayed the original spirit of alternative spaces, has been from their beginnings a necessary condition for their development. This implies revising or, at least, qualifying the common narratives of an institutionalization or a co-option of the alternative spaces by the “art establishment.” However, this unexpected assistance from the state, traditionally rather hostile to experimental art, did result in eroding the critical and antagonistic dimension of the alternative (or avant-garde) art scene – but not in the way it is usually portrayed.
众所周知,20世纪70年代美国替代空间的发展得益于政府补贴。然而,要么这个事实被淡化了,因为它似乎玷污了激进颠覆的形象,而这些空间的声望正是建立在激进颠覆的形象之上;或者,它被批评为另类场景制度化的主要原因之一,甚至被批评为一种吸纳和中和另类场景的有害方式。在这篇文章中,我更详细地研究了国家艺术基金会和纽约州艺术委员会为支持替代空间而设立的项目。我也研究了艺术家空间的有趣案例,这是一个由这两个政府机构中的第二个直接创建的另类空间。我认为,这种公众支持非但没有背叛替代空间的原始精神,反而从一开始就是它们发展的必要条件。这意味着修改或至少限定“艺术机构”对制度化或替代空间的共同叙事。然而,这种来自传统上对实验艺术相当敌视的国家的意外援助,确实导致了另类(或先锋)艺术场景的批判和对抗维度的侵蚀——但不是以通常描绘的方式。
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引用次数: 0
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