Thematische Bibliographien / Contemporary art in villages

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Auswahl der wissenschaftlichen Literatur zum Thema „Contemporary art in villages“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 7. Februar 2022

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Zeitschriftenartikel zum Thema "Contemporary art in villages"

Zhang, Yue. „Governing Art Districts: State Control and Cultural Production in Contemporary China“. China Quarterly 219 (24.07.2014): 827–48. http://dx.doi.org/10.1017/s0305741014000708.

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AbstractContemporary Chinese artists have long been marginalized in China as their ideas conflict with the mainstream political ideology. In Beijing, artists often live on the fringe of society in “artist villages,” where they almost always face the threat of being displaced owing to political decisions or urban renewal. However, in the past decade, the Chinese government began to foster the growth of contemporary Chinese arts and designated underground artist villages as art districts. This article explores the profound change in the political decisions about the art community. It argues that, despite the pluralization of Chinese society and the inroads of globalization, the government maintains control over the art community through a series of innovative mechanisms. These mechanisms create a globalization firewall, which facilitates the Chinese state in global image-building and simultaneously mitigates the impact of global forces on domestic governance. The article illuminates how the authoritarian state has adopted more sophisticated methods of governance in response to the challenges of a more sophisticated society.

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Liu, Xinqu, Yongfa Wu, Junyang Liu und Zaiyi Liao. „Re-Exploration of the Sustainability of Traditional Village Spatial Development in The Epidemic Era – From the Perspective of Jiangnan Region, China“. E3S Web of Conferences 237 (2021): 04009. http://dx.doi.org/10.1051/e3sconf/202123704009.

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The global spread of the COVID-19 has given severely challenge to the contemporary human settlement environment. Traditional villages, as an essential human settlement, which has been significant in contemporary life. This article takes the traditional village space in the Jiangnan region, China as an example to analyse the positive interaction between humans and nature, health, and space in its traditional design. This research points out that in the traditional village space, healthy human settlements have two levels: “material form” and “internal sprite”. In addition to focusing on the transformation, innovation, and application of the technology, designers should exceed the material level to seek non-material dialogue and integration, to explore the important role of inner spiritual art for healthy living. Finally, this research combine with the urban epidemic prevention function and pointed out that the symbiosis mechanism between urban and rural areas should be actively explored. The penetration and integration of urban and rural areas can better cure, and promote the sustainable protection, activation, utilization and innovation of traditional villages in the future.

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Liu, Qi, Zaiyi Liao, Yongfa Wu, Dagmawi Mulugeta Degefu und Yiwei Zhang. „Cultural Sustainability and Vitality of Chinese Vernacular Architecture: A Pedigree for the Spatial Art of Traditional Villages in Jiangnan Region“. Sustainability 11, Nr. 24 (04.12.2019): 6898. http://dx.doi.org/10.3390/su11246898.

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Presently, the rapid urbanization in contemporary cities in China has resulted in more buildings of low cultural value and high energy consumption. Many traditional Chinese villages exhibit special spaces that have been optimally adapted to the climatic and environmental features of the area using vernacular methods. The buildings in these villages can maintain the environment more sufficiently for the intended programs and consuming a lower level of resources. The construction technics and the artistic features in these spaces are invaluable and inspiring for contemporary architectural practices. This study aims to establish a pedigree of the artistic features exhibited in traditional Chinese villages to support sustainable development. This is to be achieved through thoroughly exploring the spatial design of these villages archived in a big-data resource. The pedigree integrates the dynamics (cultural changes over a certain period of time) and static (spatial features at a fixed time) of how the spaces in these villages have evolved. It is concluded that both a high level of sustainability and exceptional artistic quality have been achieved over a long history in many of these villages where traditional construction methods and design principals were employed.

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Konstantinou, Katerina, und Aris Anagnostopoulos. „Interweaving Contemporary Art and “Traditional” Crafts in Ethnographic Research“. Art/Research International: A Transdisciplinary Journal 4, Nr. 1 (27.02.2019): 58–82. http://dx.doi.org/10.18432/ari29420.

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This article presents a fieldwork collaboration between contemporary art, “traditional” craft, and ethnographic research in which community engagement plays a key role. Two decades after the abandonment of weaving in a depopulated mountainous village of Crete, Greece, a group of researchers invite an artist to turn the village’s old school into a weaving studio. Aiming at the active participation of the local community in weaving heritage interpretation, and the interdisciplinary collaboration of art and anthropology, the weaving studio experience provides a fertile ground for discussing the relationships between disciplines, the difficulties of crossing the boundaries of these disciplines and the challenges of community participation in managing knowledge production. Here we discuss our experience working with an artist in a project between art and research, including various observations, different approaches, and challenges.

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Wang, Meiqin. „Village transformed: Jin Le and community development through contemporary art“. Journal of Contemporary Chinese Art 5, Nr. 2 (01.09.2018): 193–213. http://dx.doi.org/10.1386/jcca.5.2-3.193_1.

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Martindale, Andrew, Susan Marsden, Katherine Patton, Angela Ruggles, Bryn Letham, Kisha Supernant, David Archer, Duncan McLaren und Kenneth M. Ames. „The role of small villages in Northern Tsimshian territory from oral and archaeological records“. Journal of Social Archaeology 17, Nr. 3 (26.09.2017): 285–325. http://dx.doi.org/10.1177/1469605317730411.

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Small villages have been central to progressive models of hunter-gatherer-fisher complexity on the Northwest Coast as a stage in the narrative of increasingly nonegalitarian social relations. We argue that Tsimshian settlement history is more complicated. We examine settlement and chronological data for 66 village sites in the Tsimshian area, 22 of which we define as small. Small villages were present in the area as early as 6500 years ago, but they are also contemporary with larger settlements until after 1300 years ago. We suggest that small villages represent a traditional Tsimshian social entity known as the wilnat’aał, or lineage, knowledge of which is preserved in Tsimshian oral records. We argue that the persistence of this settlement and community form illustrates the foundational role of this social unit throughout Tsimshian history, a result that has implications for archaeological research in the context of Indigenous history.

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Machotka, Ewa. „The Geopolitics of Ecological Art: Contemporary Art Projects in Japan and South Korea“. Mutual Images Journal, Nr. 5 (20.12.2018): 105–22. http://dx.doi.org/10.32926/2018.5.mac.geopo.

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The notion of ‘affinity with nature’ functions as a powerful political concept employed in the national identification of different cultural regions of East Asia including Japan and South Korea. Both countries have much in common. They share the myths of a ‘love of nature’ and a comparable history of post-war economic miracles followed by an ecological crisis and the subsequent development of environmentalism. They also host highly recognised contemporary art events guided by an environmentalist agenda: the Echigo-Tsumari Art Triennale (ETAT), established in the depopulated countryside of Niigata Prefecture in 2000 by the Art Front Gallery, a commercial gallery from Tokyo; and the Geumgang Nature Art Biennale, initiated by the Korean Nature Art Association (Yatoo), sponsored by the Ministry of Culture, Sports and Tourism, and first held in 2004 in Gongju, South Chungcheong Province. Guided by ecological thought, both art events aim to induce harmonious interaction between human and non-human realms, while questioning established modes of artistic interaction with ‘nature’ related to modern Western art discourses. Satoyama (lit. village mountain), an agricultural site based on harmonious human-nature interactions, the foundational concept of the ETAT, challenges the notion of gaze that defines the modern Western notion of landscape and its relationships with power. The ‘nature art’ practiced in Gongju, which involves simple interventions in the environment that are spontaneous and impermanent, questions the paradigms of Land Art. While responding to concrete environmental issues pertinent to the operation of social-ecological systems, the Echigo-Tsumari Art Triennale and the Geumgang Nature Art Biennale both attempt to create localised alternatives to dominant epistemologies associated with global (Western) art discourses. But the question is if these practices are capable of challenging the established geopolitics of ecological art and conventional hierarchies of power between the local and the global embodied by the institutional framework of the eco-art biennale.

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Wang, Meiqin. „Place-making for the people: Socially engaged art in rural China“. China Information 32, Nr. 2 (01.01.2018): 244–69. http://dx.doi.org/10.1177/0920203x17749433.

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In the past decade, socially engaged artistic practices have become a growing trend in China, embraced not only by contemporary art circles but also by broad intellectual communities. In this article, I explore this under-studied trend by looking at the practices of a number of art professionals who engage themselves with place-making in different rural villages against the backdrop of a rapidly declining countryside which has resulted from China’s top–down, GDP-driven urbanization and social development. Mainstream place-making, led by government in collaboration with private developers, has been primarily concerned with a good business environment in order to attract the highly mobile elite class or realize a quick return from speculative development. Place-making led by art professionals, on the contrary, aims to revitalize the deprived countryside through art and cultural activities, foster the growth of place-specific civic spaces, and accentuate the participation of local, grass-roots populations as well as the collaboration of urban intellectuals from various backgrounds. I argue that the efforts of these art professionals not only provide critical reflections and bottom–up alternatives to the dominant social developmental discourse, but also activate and expand the potential of art as an agent of social intervention, community building, and cultural change.

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Gehlawat, Monika. „Strangers in the Village“. James Baldwin Review 5, Nr. 1 (September 2019): 48–72. http://dx.doi.org/10.7227/jbr.5.4.

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This essay uses Edward Said’s theory of affiliation to consider the relationship between James Baldwin and contemporary artists Teju Cole and Glenn Ligon, both of whom explicitly engage with their predecessor’s writing in their own work. Specifically, Baldwin’s essay “Stranger in the Village” (1953) serves a through-line for this discussion, as it is invoked in Cole’s essay “Black Body” and Ligon’s visual series, also titled Stranger in the Village. In juxtaposing these three artists, I argue that they express the dialectical energy of affiliation by articulating ongoing concerns of race relations in America while distinguishing themselves from Baldwin in terms of periodization, medium-specificity, and their broader relationship to Western art practice. In their adoption of Baldwin, Cole and Ligon also imagine a way beyond his historical anxieties and writing-based practice, even as they continue to reinscribe their own work with his arguments about the African-American experience. This essay is an intermedial study that reads fiction, nonfiction, language-based conceptual art and mixed media, as well as contemporary politics and social media in order consider the nuances of the African-American experience from the postwar period to our contemporary moment. Concerns about visuality/visibility in the public sphere, narrative voice, and self-representation, as well as access to cultural artifacts and aesthetic engagement, all emerge in my discussion of this constellation of artists. As a result, this essay identifies an emblematic, though not exclusive, strand of African-American intellectual thinking that has never before been brought together. It also demonstrates the ongoing relevance of Baldwin’s thinking for the contemporary political scene in this country.

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Marshak, A. L. „Sociology of culture: Paths of scientific development (1968-2018)“. RUDN Journal of Sociology 19, Nr. 2 (15.12.2019): 313–21. http://dx.doi.org/10.22363/2313-2272-2019-19-2-313-321.

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The article considers the long path of the development of sociology of culture as a special sociological theory within the system of Russian sociological knowledge. The author describes the fifty-year period of the empirical enrichment of sociology of culture; identifies main research issues within cultural and educational activities (clubs, museums, parks, groups of artistic and technical creativity in cities and villages); provides an overview of key achievements in the sociological study of theater, cinema and the media in the 1970-1980s. It was during this period that the basic directions of the sociological study of cultural life were formed and consolidated the efforts of sociologists: planning, forecasting and managing various types of cultural institutions; scientific planning of cultural development of the city, village, and region; forecasting the development of art and its different types; social indicators of the development and management of artistic culture; economy of culture - improvement of its material and technical base, pricing, efficiency; interaction of different types and forms of artistic culture, their relationship with art; analysis of the cultural life of different social-demographic groups; development of the theoretical-methodological foundations of sociology of culture, its self-determination as a special sociological theory. The author also considers such aspects of the spiritual life as musical culture and features of leisure activities and describes the multicultural state of the contemporary Russian society.

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Dissertationen zum Thema "Contemporary art in villages"

Figliulo, Roberto. „Between public and private spaces: photographic visions in contemporary China“. Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398145.

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The aim of this dissertation is to present a particular point of view on the contemporary Chinese photographic production. We will analyze the photographic works that deal directly or indirectly with the representation of concrete spaces. We will give special attention to the representation of public and private spaces and to the problems related to them. We will analyze the period that coincides with the eighties until today, the time of particular development of photographic production in China. The methodology employed will be a multidisciplinary approach that allows to better understand the complexity of determinate phenomenon related to the spaces represented by the selected artists. This research wants to present the Chinese photographic production through determinate criteria that enable the understanding of its relevance in the comprehensive Chinese current cultural production.
El objetivo de esta disertación es presentar una visión concreta sobre la producción fotográfica china contemporánea. Se analizarán aquellos trabajos fotográficos que tratan de manera directa o indirecta la representación de espacialidades concretas, con mayor atención al tratamiento de las espacialidades pública y privada, y a las problemáticas a ellas conectadas. La época que se analizará es la que va del decenio de los Ochenta hasta hoy en día, un periodo de particular desarrollo de la producción fotográfica en China. La metodología aplicada conisistirá en un acercamiento multidisciplinar que permita comprender la complejidad de determinados fenómenos ligados a las espacialidades representadas por los artistas seleccionados. Esta investigación quiere presentar la producción fotográfica en China a través de un determinado criterio que permita comprender las numerosas facetas y la importancia que tiene en la actual producción cultural china.

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Simon, Lydia Noelle. „"Cultural Creative Industry Parks" and Chinese Contemporary Art—A Comparative Study of Beijing's 798 Arts District and Songzhuang Artist Village“. The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149265536987791.

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Benčíková, Barbora. „Svědci autobusovi ZaBřehem Problematika alternativního prostoru“. Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2021. http://www.nusl.cz/ntk/nusl-445693.

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The diploma thesis concerns my life project ZaBřehem and my activity in this project, which has the character of cooperation, organization, DIY, home design, web design, painting, crafts and over time also cultural organization and curation. The work goes through several components of the whole project and aims to defend the role of the artist in creating a new place that has the ambition to change the approach to people diagnosed with mental illness. At the same time, it focuses on the space specifically of one of the rooms, the layout of which the author considers her own work, as well as the method of transferring this space to the school premises for defense, which will create another site-specific installation.

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Fouquet, Monique. „Contemporary art/contemporary pedagogy : interrupting mastery as paradigm for art school education“. Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31304.

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Contemporary art/contemporary pedagogy: interrupting mastery as paradigm for art school education is a narrative exploration of artistic and pedagogical practices within the specific context of post-secondary art school education in stand alone art schools as opposed to a university art department. This study considers the following three primary questions: How can art school education better reflect postmodern cultural production? What are some of the ways in which pedagogical practice disrupts the monolithic model of mastery? How can art school pedagogy be re-oriented away from an overly deterministic notion of education? Through reflexive inquiry, I offer a personal perspective on art school education, weaving together my own experiences as student, artist, teacher and administrator, and juxtaposing 'my' text against the text of three artist pedagogues, representing specific aspects of field experience. Throughout the dissertation I seek to unearth the hidden assumptions that are embedded in historically inherited ways of being and doing in relation to contemporary art. I suggest that the partitioning of the institutional space into studio disciplines also segregates knowledge, and as such, largely determines the pedagogical framework of art schools. In the face of the interdisciplinary character of contemporary practice, I question the usefulness and relevance of disciplinary pedagogues modeled around the notion of achieving mastery as a paradigm that has shaped curricular practices in art schools in the past, and largely continues to define art school education today. I propose that the three artist pedagogues in this dissertation are each contributing to creating new inquiry structures that challenge boundaries between studio disciplines, between school and not-school, and between and among places of learning. I end by suggesting, as a topic for further research, complexity science as it may offer a productive framework to re-consider art school education.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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Mokhtabad-Amrei, Seyed Abdolhossein. „Iranian contemporary art music“. Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.

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Wilson, Scott Howard. „About face social networks and prestige politics in contemporary Shanghai villages /“. online access from Digital dissertation consortium, 1994. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9501358.

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Smurthwaite, Kathryn C. „Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop“. BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3903.

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There is currently need for reform in art programs of all kinds, in regards to use of and focus on contemporary art and current practices. Teaching about art of our time and place enables students to understand and make connections to their world, and facilitates art making that is creative and relevant. This thesis describes theory and rationale for basing curriculum on contemporary art practices and presents a jewelry workshop, for all skill levels, that teaches contemporary art themes and practices. There are two units. The first teaches metal texturing, shaping and simple soldering skills while, focusing on art that deals with spectral and compensatory remembering themes. The second unit teaches bezel setting while focusing on alternative to the establishment art themes. The lessons in the workshop were also created using contemporary art teaching techniques and new principles and elements of design.

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Meneses, Romero Mariana. „Women cooking art : hospitality and contemporary art practices“. Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20638/.

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This thesis examines the notion of hospitality in light of contemporary food-based artistic practices created from 2000 to 2015 by female artists Sonja Alhauser, Mary Ellen Carroll, Leah Gauthier, Ana Prvacki, Alicia Rfos, Jennifer Rubel I, Miriam Si mun, and Anna Dumitriu, and the experimental food artists Sam Bompas and Harry Parr. The aim is to make sense of how food practices, art, and feminism intersect, especially in light of the gendered history of the food system, including cooking, when opened onto a philosophically developed notion of hospitality. I explore the intricacies of hosting the "other", considering the multiple levels in which the relationship between the host and the guest develops. Hospitality is examined as a continuous cycle of relationships where dynamics and discourses of power and of generosity are constantly rehearsed. I focus on four main stages within the food system: 1) the gathering of edibles; 2) the cooking process; 3) the moment when food is shared and ingested with others; and 4) the digestive process. Throughout this thesis, I consider hospitality as an open structure that sheds light on the understanding of the encounters between human and non-human species-including animal, vegetable, and microbial-in the food chain. My analysis is situated within contemporary debates of gender studies, cultural studies, food studies, and philosophy of hospitality, in particular, Jacques Derrida's ethics of the other, and the imperative that "one must eat well". Eating is discussed as the literal and metaphorical assimilation and incorporation of the other, and incorporates feminist theoretical engagements which highlight Western thought as being structured by a series of gendered dichotomies, including those of nature-culture, male-female, mind-body, object-subject. I argue that the philosophical notion of hospitality and feminist theory enable a critical approach to the food system as a continual ethical imperative for and to the other.

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Lagana, Louis. „Prehistoric Malta and contemporary art“. Thesis, Loughborough University, 2005. https://dspace.lboro.ac.uk/2134/7718.

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Malta, a small island in the middle of the Mediterranean is extremely rich in its Prehistoric archaeological heritage. Local and also foreign artists were and continue to be fascinated and influenced by prehistoric art during the course of their careers. This thesis demonstrates the ways in which contemporary artists interpret Neolithic symbolism, particularly the images of Neolithic Goddesses found in various temples on the islands. The well preserved state of the Maltese Temples and their artefacts, and their beauty, still stimulate the imagination of artists to create works of art that show not only their personal reflections, but also their 'collective' psychic qualities. My methodological approach is to employ Jungian theory and contemporary theories of Primitivism to analyse such these works of art. I explore the reasons why artists are still interested in recreating symbols of the past. My general line of argument in the thesis is that some contemporary artists have a strong desire to recapture what they see as the 'spiritual perception of nature' that seems to be lacking at the present time. Through personal and collective symbols artists can be seen to be creating a new vocabulary which might act as a healing agent to relieve society from its persisting ills. The particular facets of this work and issues arising within practices relating to Malta's Neolithic past are explored through a number of case studies, examining closely the works of some well-known artists (local and foreign), such as Neville Ferry, Eva-Gesine Wegner, Sina Farrugia, Louis, Casha, and Jean Busutil Zalcski.

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Hill, Katie. „On relocating contemporary Chinese art“. Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401481.

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Bücher zum Thema "Contemporary art in villages"

Honnef, Klaus. Contemporary art. [Köln]: BenediktTaschen, 1988.

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Sotheby, Parke-Bernet, London. Contemporary art .... New York: Sotheby's, 1989.

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(Auctioneers), Phillips New York. Contemporary art. New York: Phillips Auctioneers, 2000.

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Contemporary art: Art since 1970. Upper Saddle River, N.J: Prentice Hall, 2005.

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Bown, Matthew Cullerne. Contemporary Russian art. New York: Philosophical Library, 1989.

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Contemporary African art. London: Thames & Hudson, 1999.

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Modern & contemporary art. New York, NY: Sterling Pub., 2008.

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Aliya and Farouk Khan Collection (Publisher). Malaysian contemporary art. Kuala Lumpur?: Aliya and Farouk Khan Collection, 2010.

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Collecting contemporary art. Köln: Taschen, 2010.

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Karnouk, Liliane. Contemporary Egyptian art. Cairo, Egypt: American University in Cairo Press, 1995.

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Buchteile zum Thema "Contemporary art in villages"

Tan, Keith Kay Hin, Sze Ee Lee und Chun Wei Choy. „‘Academic Tourism’ and Art: Student Submissions as a Means of Capturing Meaning at Pulai Village, Kelantan“. In Contemporary Asian Artistic Expressions and Tourism, 39–57. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4335-7_3.

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Gorman-Murray, Andrew, und Catherine J. Nash. „Recovering the Gay Village: A Comparative Historical Geography of Urban Change and Planning in Toronto and Sydney“. In The Life and Afterlife of Gay Neighborhoods, 239–60. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-66073-4_11.

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AbstractThis chapter argues that the historical geographies of Toronto’s Church and Wellesley Street district and Sydney’s Oxford Street gay villages are important in understanding ongoing contemporary transformations in both locations. LGBT and queer communities as well as mainstream interests argue that these gay villages are in some form of “decline” for various social, political, and economic reasons. Given their similar histories and geographies, our analysis considers how these historical geographies have both enabled and constrained how the respective gay villages respond to these challenges, opening up and closing down particular possibilities for alternative (and relational) geographies. While there are a number of ways to consider these historical geographies, we focus on three factors for analysis: post-World War II planning policies, the emergence of “city of neighborhoods” discourses, and the positioning of gay villages within neoliberal processes of commodification and consumerism. We conclude that these distinctive historical geographies offer a cogent set of understandings by providing suggestive explanations for how Toronto’s and Sydney’s gendered and sexual landscapes are being reorganized in distinctive ways, and offer some wider implications for urban planning and policy.

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Jodhka, Surinder S. „Villages and Villagers in Contemporary India“. In Critical Themes in Indian Sociology, 77–92. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications, Inc., 2019. http://dx.doi.org/10.4135/9789353287801.n6.

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Vogel, Sabine B. „Global Art and Contemporary Art“. In Edition Angewandte, 69–73. Vienna: Springer Vienna, 2010. http://dx.doi.org/10.1007/978-3-7091-0251-0_9.

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Husquinet, Jean-Pierre. „Contemporary Totemism“. In Explorations in Art and Technology, 185–90. London: Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0197-0_20.

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Shapiro, Michael D., und Sergio Fazio. „Preventive Cardiology as Specialized Medical Art“. In Contemporary Cardiology, 733–43. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56279-3_29.

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Arnold, Dana. „Art History: Contemporary Perspectives on Method“. In Art History, 1–7. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch1.

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Tello, Verónica. „Is Contemporary Art Postdevelopmental?“ In Postdevelopment in Practice, 306–20. Abingdon, Oxon ; New York, NY : Routledge is an imprint of the Taylor & Francis Group, an Informa Business, 2019. | Series: Routledge critical development studies: Routledge, 2019. http://dx.doi.org/10.4324/9780429492136-23.

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Holtaway, Jessica. „Contemporary Art and 'Exscribing'“. In World-Forming and Contemporary Art, 58–78. New York: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003111023-5.

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Potts, John. „Displacement in Contemporary Art“. In The Handbook of Displacement, 687–700. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47178-1_47.

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Konferenzberichte zum Thema "Contemporary art in villages"

Lou, Xiaomeng, Ying Meng, Qian Wang, Jin Yang und Kangcai Nie. „Preliminary Study on the Characteristics of the Traditional Village Space in Chongqing Tujia Village in Qianjiang“. In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.151.

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Wen, Xiaoy, Guoquan Zhang und Qiuyi Jiang. „Exploration and practice of formulating strategic planning for rural revitalization in the Shanghai metropolitan area ——take the rural revitalization of Jinxi town in Kunshan as an example“. In 55th ISOCARP World Planning Congress, Beyond Metropolis, Jakarta-Bogor, Indonesia. ISOCARP, 2019. http://dx.doi.org/10.47472/typk9673.

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China's urban and rural development has entered a new stage of comprehensive transformation. The advent of the era of metropolitan development and the strategy of Rural Revitalization are two important national strategic backgrounds of this study. As the highest urbanization rate in Southern Jiangsu, rural and urban development needs synchronous resonance. Rural areas, as an important role in the integration of the Yangtze River Delta and the development of Shanghai Metropolitan Area, play an important role in regional cohesion and complementary functions, and are an important part in the overall construction of the metropolitan area. Jinxi Town is located in the southern end of Jiangsu Province, bordering Qingpu District of Shanghai, and between Suzhou and Shanghai. In ancient China, Jinxi was a traditional town of fish and rice and water culture. During the period of reform and opening-up, Jinxi worked closely with surrounding cities to create a brilliant chapter of "Sunan Model" and "Kunshan Model". In the new stage of development, Jinxi Town shoulders the heavy responsibility of more ecological functions and reduction of construction land indicators. It is not only more responsible for ensuring food production safety and protecting ecological functions, but also more demanding for rural revitalization. It is also more urgent to study its development path and strategy. Firstly, this paper takes Jinxi's contemporary mission as the starting point, secondly, through the analysis of Jinxi's function orientation, population, industry and space, and then puts forward the general strategic requirements of Rural Revitalization according to these four aspects. Thirdly, it demonstrates several different types of villages in Jinxi town, respectively. The cases of upgrading agriculture, industrial integration and development, demonstration of rural community and industrial retreat to build Jinxi Town to revitalize villages in the countryside. Finally, through the follow-up revision and improvement of planning formulation, to help the effective implementation of Jinxi Town's Rural Revitalization strategic planning. Through this study on the Rural Revitalization of Jinxi Town, on the one hand, it comprehensively implements the national deployment and the task of Jiangsu as a benchmark; on the other hand, it earnestly follows the law of rural selfdevelopment, and in the theoretical category of regional economy, it is based on the development of metropolitan area and the background of Rural Revitalization era, with Chinese characteristics, Shanghai. The road of Rural Revitalization in metropolitan area. At the same time, this paper expects to provide ideas and methods for the compilation of strategic planning for Rural Revitalization in metropolitan areas.

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Partin, Laura. „�DECEPTION� IN CONTEMPORARY ART“. In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s15.52.

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Wands, Bruce. „The Engagement of Digital Art with Contemporary Art“. In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.69.

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Nurwani, Nurwani, Totok Sumaryanto Florentinus, Bintang Hanggoro Putra und Joko Wiyoso. „Construction of Kuda Lumping Art Identity in Supporting Tourism Villages“. In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.34.

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Florentinus, Totok Sumaryanto, Bintang Hanggoro Putra und Joko Wiyoso. „Construction of Kuda Lumping Art Identity in Supporting Tourism Villages“. In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.88.

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Kabronska, Joanna. „CONTEMPORARY ART AND CIVIC ENGAGEMENT“. In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/6.3/s12.015.

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Livatino, Salvatore. „Virtual Museum of Contemporary Art“. In 17th International Conference on Artificial Reality and Telexistence (ICAT 2007). IEEE, 2007. http://dx.doi.org/10.1109/icat.2007.55.

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Chistyakova, Olga. „Postmodern Philosophy and Contemporary Art“. In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.26.

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Wands, Bruce. „CREATING CONTINUITY BETWEEN COMPUTER ART HISTORY AND CONTEMPORARY ART“. In CAT 2010: Ideas before their time : Connecting the past and present in computer art. BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/cat2010.21.

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Berichte der Organisationen zum Thema "Contemporary art in villages"

Van Eck, Steve. Neighborhood Economic Impacts of Contemporary Art Centers. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.6319.

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Fleming, Brian P. Hybrid Threat Concept: Contemporary War, Military Planning and the Advent of Unrestricted Operational Art. Fort Belvoir, VA: Defense Technical Information Center, Mai 2011. http://dx.doi.org/10.21236/ada545789.

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Johnson, Joann. The treatment of the concept of impersonation within the art of oral interpretation : a contemporary perspective. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.5503.

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Hunter, Fraser, und Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world

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