Bibliografie tematiche / South African Art pottery

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Letteratura scientifica selezionata sul tema "South African Art pottery"

Autore: Grafiati
Pubblicato: 29 luglio 2024
Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "South African Art pottery"

1

Pinto, Hugo, Will Archer, David Witelson, Rae Regensberg, Stephanie Edwards Baker, Rethabile Mokhachane, Joseph Ralimpe et al. "The Matatiele Archaeology and Rock Art (MARA) Program Excavations: The Archaeology of Mafusing 1 Rock Shelter, Eastern Cape, South Africa". Journal of African Archaeology 16, n. 2 (27 novembre 2018): 145–67. http://dx.doi.org/10.1163/21915784-20180009.

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AbstractThe rock shelter Mafusing 1 was excavated in 2011 as part of the Matatiele Archaeology and Rock Art orMARAresearch programme initiated in the same year. This programme endeavours to redress the much-neglected history of this region of South Africa, which until 1994 formed part of the wider ‘Transkei’ apartheid homeland. Derricourt’s 1977Prehistoric Man in the Ciskei and Transkeiconstituted the last archaeological survey in this area. However, the coverage for the Matatiele region was limited, and relied largely on van Riet Lowe’s site list of the 1930s. Thus far, theMARAprogramme has documented more than 200 rock art sites in systematic survey and has excavated two shelters – Mafusing 1 (MAF1) and Gladstone 1 (forthcoming). Here we present analyses of the excavated material from theMAF1 site, which illustrates the archaeological component of the wider historical and heritage-related programme focus. Our main findings atMAF1 to date include a continuous, well stratified cultural sequence dating from the middle Holocene up to 2400 cal.BP. Ages obtained from these deposits are suggestive of hunter-gatherer occupation pulses atMAF1, with possible abandonment of the site over the course of two millennia in the middle Holocene. After a major roof collapse altered the morphology of the shelter, there was a significant change in the character of occupation atMAF1, reflected in both the artefact assemblage composition and the construction of a rectilinear structure within the shelter sometime after 2400 cal.BP. The presence of a lithic artefact assemblage from this latter phase of occupation atMAF1 confirms the continued use of the site by hunter-gatherers, while the presence of pottery and in particular the construction of a putative rectilinear dwelling and associated animal enclosure points to occupation of the shelter by agropastoralists. Rock art evidence shows distinct phases, the latter of which may point to religious practices involving rain-serpents and rainmaking possibly performed, in part, for an African farmer audience. This brings into focus a central aim of theMARAprogramme: to research the archaeology of contact between hunter-gatherer and agropastoralist groups.
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2

Fuller, Dorian Q. "Ceramics, seeds and culinary change in prehistoric India". Antiquity 79, n. 306 (dicembre 2005): 761–77. http://dx.doi.org/10.1017/s0003598x00114917.

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Cuisine, argues the author, is like language – it can be adopted, adapted or modified through time. The evidence from actual words for food is also used, together with seed assemblages and types of pottery to chronicle changing food cultures in Neolithic and later India. While some new food ideas (like African millets) were incorporated into existing agricultural practice as substitute crops, others such as the horsegram and mungbean appear to have moved from south to north with their pots (and probably the appropriate recipes) as a social as well as a dietary innovation.
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Anderson, Richard L. "Art in Flux: Songs, Poems, and Pots: In Township Tonight: South Africa's Black City Music and Theater ; Cleaned the Crocodile's Teeth: Nuer Song ; The Pottery of Acatlan: A Changing Mexican Tradition". Anthropology Humanism Quarterly 11, n. 4 (dicembre 1986): 106–8. http://dx.doi.org/10.1525/ahu.1986.11.4.106.

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Henshilwood, Christopher. "A revised chronology for pastoralism in southernmost Africa: new evidence of sheep atc.2000 b.p. from Blombos Cave, South Africa". Antiquity 70, n. 270 (dicembre 1996): 945–49. http://dx.doi.org/10.1017/s0003598x00084210.

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New excavation at Blombos Cave, in the southern Cape of South Africa, and new radiocarbon dates for its sequence further illuminate the chronology of pastoralism in southern Africa, and the relations between pottery-using and shepherding.
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Deacon, Janette. "South African rock art". Evolutionary Anthropology: Issues, News, and Reviews 8, n. 2 (1999): 48–64. http://dx.doi.org/10.1002/(sici)1520-6505(1999)8:2<48::aid-evan4>3.0.co;2-9.

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Aronson, Lisa. "Gender and South African Art". African Arts 45, n. 4 (dicembre 2012): 1–5. http://dx.doi.org/10.1162/afar_e_00022.

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Lochner, Eben. "The South African Art Centre". Third Text 27, n. 3 (maggio 2013): 315–26. http://dx.doi.org/10.1080/09528822.2013.795697.

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Erickson, Kirstin C. "Pottery of the U.S. South: A Living Tradition". Museum Anthropology Review 9, n. 1-2 (20 febbraio 2015): 106–8. http://dx.doi.org/10.14434/mar.v9i1-2.13719.

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Sealy, Judith, e Royden Yates. "The chronology of the introduction of pastoralism to the Cape, South Africa". Antiquity 68, n. 258 (marzo 1994): 58–67. http://dx.doi.org/10.1017/s0003598x00046196.

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Abstract (sommario):
A careful survey of reports of early sheep in southernmost Africa combines with new radiocarbon dates to revise our knowledge of early pastoralism in the Cape. The new chronology shows the keeping of domestic stock and the making of pottery are not simultaneous and intertwined but separate events in a more complex history.
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Legodi, M. A., e D. de Waal. "Raman spectroscopic study of ancient South African domestic clay pottery". Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 66, n. 1 (gennaio 2007): 135–42. http://dx.doi.org/10.1016/j.saa.2006.02.059.

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Tesi sul tema "South African Art pottery"

1

Stevenson, Michael. "The South African art index, 1971–1988". Thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/23488.

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Ifejika-Obukwelu, Kate Omuluzua. "Igbo pottery in Nigeria : issues of form, style and technique /". Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10939362.

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3

Von, Veh Karen Elaine. "Transgressive Christian iconography in post-apartheid South African art". Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002220.

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In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in postapartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how such imagery has been received and the factors accounting for that reception. The study is contextualized by a brief, literary based, historical overview of Christian religious imagery to explain the strength of feeling evinced by religious images. This includes a review of the conflation of religion and state control of the masses, an analysis of the sovereign controls and disciplinary powers that they wield, and an explication of their illustration in religious iconography. I also identify reasons why such imagery may have seemed compelling to artists working in a post-apartheid context. By locating recent works in terms of those made elsewhere or South African examples prior to the period that is my focus, the works discussed are explored in terms of broader orientations in post-apartheid South African art. Artworks that respond to specific Christian iconography are discussed, including Adam and Eve, The Virgin Mary, Christ, and various saints and sinners. The selected artists whose works form the focus of this study are Diane Victor, Christine Dixie, Majak Bredell, Tracey Rose, Wim Botha, Conrad Botes, Johannes Phokela and Lawrence Lemaoana. Through transgressive depictions of Christian icons these artists address current inequalities in society. The content of their works analysed here includes (among others): the construction of both female and male identities; sexual roles, social roles, and racial identity; the social expectations of contemporary motherhood; repressive role models; Afrikaner heritage; political and social change and its effects; colonial power; sacrifice; murder, rape, and violence in South Africa; abuses of power by role models and politicians; rugby; heroism; and patricide. Christian iconography is a useful communicative tool because it has permeated many cultures over centuries, and the meanings it carries are thus accessible to large numbers of people. Religious imagery is often held sacred or is regarded with a degree of reverence, thus ensuring an emotive response when iconoclasm or transgression of any sort is identified. This study argues that by parodying sacred imagery these artists are able to disturb complacent viewing and encourage viewers to engage critically with some of its underlying implications.
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Worth, Janet. "The distinctive fish motif on a 14th century Iranian bowl in the Art Gallery of South Australia's William Bowmore Collection of Islamic ceramics /". Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmw932.pdf.

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Becker, Danielle Loraine. "South African art history: the possibility of decolonising a discourse". Doctoral thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/26883.

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In light of recent calls to decolonise curricula at South African universities there has been a renewed interest in what decolonisation might specifically imply for particular academic disciplines. Art history in South Africa has long struggled to move away from its settler colonial origins towards a more Afrocentric focus and its art world has frequently been criticised for being elitist and dominated by white practitioners. To this end, one of the primary questions that this dissertation seeks to answer is to what extent indigenous, African art and African epistemology has been included in South African art history and the institutions that support despite the discourse's traces of colonialism. Through a discussion and analysis of South African art history this dissertation seeks to describe the changes in the discourse since the late twentieth-century in light of the entanglements of the national; the colonial and the decolonial. Such an analysis is provided through a discussion of the biases of art history as a discourse originating in Western Europe; the geographical location of museums and university departments; the character of South African art historical writing; the curatorial strategies used to display African art in South African museums and the specific nature of art history curricula as it is taught at South African universities. The dissertation that follows therefore aims to provide an overarching view of South African art history that takes into account a range of factors impacting its particular framing so that the question of decolonisation can be adequately addressed. The dissertation finds that South African art history has a specific, settler colonial character and that historical African art has been neglected in art historical discourse despite overt attempts to transform the nature of the discipline post-democracy. It is argued that this may be the result of a shift in focus towards contemporary practice in the twenty-first century and away from the historical as a result of a resistance to cultural or racial labels attributed to art due to the legacy of apartheid legislation. As such, I argue that South African art history may find a path towards decolonisation through a renewed focus on historical South African and African art that is perceived on its own terms.
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Bereng, Lerato. "Featuring simplicity: jargon and access in contemporary South African art". Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/60479.

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The focus of this paper is an exploration of curating and its various forms as understood in a South African art context. In order to understand this context I examine definitions of South African publics as well as different curatorial models. I raise questions around art and accessibility as well as the functions of language as a gate keeper within the visual arts. Through a practical exploration of curatorial methods of engagement, I assess the curator's role as disseminator of information. My final project Conversations at Morija that was held in Morija, Lesotho faces the challenge of curating within a space that has a strong creative platform, but lacks a visual art audience. The exhibition was held during the 2013 Morija Art and Culture festival which is dominated by its music component. Despite Morija being the country's creative centre and sole museum, there is little support for its programme both monetary and in terms of attendance. Through a series of conversations several issues pertaining to Morija, Lesotho and the diaspora were addressed. I look at the absence of creative platforms and alternative curatorial methods that engage the public in a participatory manner. Briefly exploring questions of migrant labour and definitions of what constitutes a diaspora. I look at relatable ways to engage the local audience whilst maintaining a creative core in which to spark dialogue around pertinent matters relating to the country.
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Dodd, Alexandra Jane. "Secular séance: Post-Victorian embodiment in contemporary South African art". Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/12814.

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Includes bibliographical references.
In this thesis I explore selected bodies of work by five contemporary South African artists that resuscitate nineteenth - century aesthetic tropes in ways that productively reimagine South Africa’s traumatic colonial inheritance. I investigate the aesthetic strategies and thematic concerns employed by Mary Sibande, Nicholas Hlobo, Mwenya Kabwe, Kathryn Smith and Santu Mofokeng, and argue that the common tactic of engagement is a focus on the body as the prime site of cognition and "the aesthetic as a form of embodiment, mode of being-in-the-world" (Merleau - Ponty). It is by means of the body that the divisive colonial fictions around race and gender were intimately inscribed and it is by means of the body, in all its performative and sensual capacities, that they are currently being symbolically undone and re-scripted. In my introduction, I develop a syncretic, interdisciplinary discourse to enable my close critical readings of these post - Victorian artworks. My question concerns the mode with which these artists have reached into the past to resurrect the nineteenth - century aesthetic trope or fragment, and what their acts of symbolic retrieval achieve in the public realm of the present. What is specific to these artists mode of "counter - archival" (Merewether ) engagement with the colonial past? I argue that these works perform a similar function to the nineteenth - century séance and to African ancestral rites and dialogue, putting viewers in touch with the most haunting aspects of our shared and separate histories as South Africans and as humans. In this sense, they might be understood both as recuperations of currently repressed forms of cultural hybridity and embodied visual conversations with the unfinished identity struggles of the artists’ ancestors. The excessive, uncanny or burlesque formal qualities of these works insist on the incapacity of mimetic, social documentary forms to contain the sustained ferocious absurdity of subjective experience in a "post - traumatic", "post - colonial", "post - apartheid" culture. The "post" in these terms does not denote a concession to sequential logic or linear temporality, but rather what Achille Mbembe terms an "interlocking of presents, pasts and futures". This "interlocking" is made manifest by the current transmission of these works, which visually, physically embody a sense of subjectivity as temporality. If the body and the senses are the means though which we not only apprehend the world in the present, but through which the past is objectively an d subjectively enshrined, then it is by means of the ossified archive of that same sensory body that the damage of the past can be released and knowledge/history re - imagined. Without erasing or denying South Africa’s well - documented history of violent categorisation, the hypothetical tenor of these works instantiates an alternate culture of love , intimacy, desire and inter - connectedness that once was and still can be.
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Meewes, Sarah Jessica. "South African Ballet : a Performing Art during and after Apartheid". Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/76715.

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Abstract (sommario):
Literature on the topic of ballet in South Africa is growing. However, there are still gaps as a result of the fragmentation of sources. This dissertation draws on primary and secondary sources to try to provide a coherent discussion of the history of ballet in South Africa from a fresh perspective. The research demonstrates that ballet has been in constant engagement with South African history and society since its arrival on African shores. Through secondary and primary literature, the research starts by engaging with South African balletic history by looking at an overview of ballet’s journey to South Africa and the establishment of balletic societies and institutions. Emphasis is placed on the more successful institutions based in Cape Town and Johannesburg. The history of these institutions, as traced within the research, demonstrates the responsiveness of the balletic community to the environment in which they were situated. South African choreographed ballets with Afrocentric themes are used to highlight the responsiveness that the ballet community has demonstrated towards the historical climate and structures within South African society during and after apartheid. Finally, ballet is explored in the post-apartheid context. Topics that are engaged with here include the removal of grand and petty apartheid policies, as well as the ideas behind the decolonisation of ballet as exemplified by the Cuban-South African exchange.
Dissertation (MSocSci)--University of Pretoria, 2019.
Historical and Heritage Studies
MSocSci
Unrestricted
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Stielau, Anna. "Double agents : queer citizenship(s) in contemporary South African visual culture". Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20625.

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South Africa claims the most progressive constitution on the African continent, extending protections to all citizens regardless of race, gender, ability or sexual orientation. Much has been published in recent years about the induction of LGBTIQ persons into this inclusive post-1994 human rights framework, often with a particular focus on the role of the state in instituting non-discrimination legislation and promoting equality. This document reflects my belief that South African sexuality scholarship too often presents incorporation into a unified nation-state as the only desirable outcome for queer citizens. By mapping the manner in which sexual difference has been uneasily imagined in national discourses, I argue here that the ideal South African citizen remains a heterosexual citizen presupposed as private, patriotic, familial and reproductive. I posit that when non-normative sexual identities and practices become visible in the public sphere, they risk assimilation into "acceptable" modes of representation produced in accordance with the expectations and responsibilities attending state-sanctioned national membership. In so doing, I assert, these cultural forms mandate a queerness that leaves structural inequalities intact. To look beyond this horizon I choose to explore dissident citizenship forms that intervene in dominant cultural narratives to expand the boundaries of belonging. Specifically, I concern myself with representations of queer subjects in visual culture and the multiple audiences these representations invite.
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Ruiters, Mellaney Bualin. "The development of a translucent low fired porcelain casting slip using South African raw materials". Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/20004.

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Abstract (sommario):
The purpose of the research was to develop a translucent low fired porcelain casting slip using South African raw materials, due to the ever increasing electricity tariffs in South Africa as well as the physical deterioration put on the elements and brickwork in electric kilns when fired to traditional porcelain temperatures. Traditional porcelain bodies that can be purchased from South African suppliers are required to be fired to between 12000C and 13000C. The commercially prepared porcelains when tested produced white vitrified bodies but were lacking in translucency. Local ceramic artists are therefore compelled to import their porcelains from overseas suppliers if they require a white translucent porcelain but this is still requires a firing temperature well above 12000C. It has been shown that by using South African ceramic raw materials and adjusting a Parian ceramic formula using a selected frit; a low fired translucent porcelain can be made that matures below 12000C. The addition of paper fibres to the non-plastic porcelain was necessary to reduce the high shrinkage rate and prevented the clay from cracking and tearing in the firing process. With the further adjustments to the formula by the addition of calcium triphosphate true white translucent porcelain was produced. Without this last adjustment the porcelain would be an off-white colour due to the impurities found in the South African ceramic raw materials which are mainly contaminated with iron oxide. It was found that the following formula produced a white translucent porcelain which vitrified at 11900C and satisfies the original concept in the title stated above.
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Libri sul tema "South African Art pottery"

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University of Pretoria Museums. African Ceramics Gallery, a cura di. Letsopa: Clay : Mapungubwe. Pretoria]: African Ceramics Gallery, University of Pretoria Museums, Department of Arts, 2017.

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Roger, De la Harpe, a cura di. Ardmore: We are because of others : the story of Fée Halsted and Ardmore ceramic art. Cape Town, South Africa: Fernwood Press, 2012.

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Scott, Gillian. Ardmore: An African discovery. Vlaeberg: Fernwood Press, 1998.

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Sampson, C. Garth. Stylistic boundaries among mobile hunter-foragers. Washington: Smithsonian Institution Press, 1988.

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Indiana University, Bloomington. Art Museum, a cura di. Ukucwebezela: To shine : contemporary Zulu ceramics. [Bloomington, Ind.]: Indiana University Art Museum, 2008.

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Thornton, Kathryn Louise. South African pottery. Derby: Derbyshire College of Higher Education, 1990.

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Ill.) Douglas Dawson Gallery (Chicago. First art: Historic African ceramics. Chicago, Ill: Douglas Dawson, 2009.

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Thompson, Barbara. The art of African clay: Ancient and historic African ceramics. Chicago, Ill., USA: Douglas Dawson Gallery, 2003.

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J, Andersen, Goliath A. R e South African National Gallery, a cura di. South African art news index. [Cape Town]: South African National Gallery, 1989.

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Stevenson, Michael. South African art, 1850-2002. Johannesburg: Goodman Gallery, 2002.

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Capitoli di libri sul tema "South African Art pottery"

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Poyner, Jane. "Art and Visual Culture in Ivan Vladislavić’s Portrait with Keys". In The Worlding of the South African Novel, 277–99. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41937-0_8.

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Matebeni, Zintombizethu. "Art-activism in Decolonizing a South African University Space". In Art and Activism in the Age of Systemic Crisis, 130–42. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429269189-10.

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Fenyvesi, Kristóf, Christopher Brownell, Pamela Burnard, Pallawi Sinha, Werner Olivier, Catherina Steyn e Zsolt Lavicza. "Mathematics and Art Connections Expressed in Artworks by South African Students". In The Frontiers Collection, 291–312. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27577-8_19.

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Freschi, Federico. "Art Deco, modernity, and the politics of ornament in South African architecture, 1930–1940". In The Routledge Companion to Art Deco, 253–70. New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429032165-14.

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Mosely, Erin. "Visualizing Apartheid: Re-Framing Truth and Reconciliation through Contemporary South African Art". In Curating Difficult Knowledge, 128–43. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230319554_8.

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Xaba, Siyanda Andrew, Xing Fang e Dhaneshwar Shah. "Perception and Knowledge of South African Creatives with Regards to Crypto Art, NFTs, and Crypto Art Platforms". In Intelligent Computing and Optimization, 209–16. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-50327-6_22.

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Western, Rat. "At the Risk of Being Sincere: Participation and Delegation in South African Contemporary Live Art". In Risk, Participation, and Performance Practice, 179–204. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63242-1_8.

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Ncube, Bhekinkosi Jakobe. "“Aliens are here to destroy us” – xenophobia and the art of headlining in South African media". In Xenophobia in the Media, 152–65. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003431855-13.

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Berman, Kim. "The Story of Artist Proof Studio and the Building of a Democratic Art School in South Africa". In Designing Democratic Schools and Learning Environments, 389–401. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-46297-9_34.

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AbstractArtist Proof Studio (APS) as a democratic learning environment enables an Ubuntu space of teaching and learning printmaking through interconnectedness (Ubuntu is an African philosophy meaning I am through you). Printmaking is regarded as a democratic art medium due to its accessibility, collaboration, and affordability in its ability to generate multiples. APS through the promotion of printmaking supports livelihoods for students and graduates and promotes agency and expression for active citizenship.
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Khan, Sharlene, e Fouad Asfour. "Whitespeak: How Race Works in South African Art Criticism Texts to Maintain the Arts as the Property of Whiteness". In The Palgrave Handbook of Race and the Arts in Education, 187–204. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-65256-6_11.

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Atti di convegni sul tema "South African Art pottery"

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"Blue Energy from Southern African Water Bodies : State -of-the-art, Challenges and Opportunities". In Mar. 17-18, 2022 Johannesburg (South Africa). International Institute of Chemical, Biological & Environmental Engineering, 2022. http://dx.doi.org/10.17758/iicbe3.c0322269.

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Ludude, Ezile, Kwanele Booi e Alletia Chisin. "EXPLORING THE EFFICACY OF USING KNOWLEDGE INTEGRATION IN THE TEACHING AND LEARNING OF ART AND DESIGN DISCIPLINES AT A SOUTH AFRICAN UNIVERSITY". In 16th International Conference on Education and New Learning Technologies. IATED, 2024. http://dx.doi.org/10.21125/edulearn.2024.2607.

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Dutkiewicz, E., e C. Bentz. "SIGNBASE: A DATA-DRIVEN APPROACH TO ABSTRACT SIGNS IN THE PALEOLITHIC". In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.13-14.

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In the Paleolithic around 100,000 to 10,000 years ago, abstract motives also referred to as signs, patterns, or marks are abundant in parietal art as well as on mobile objects. In the case of parietal art, several studies have been dealing with such abstract signs. However, studies scrutinizing signs on mobile objects, such as figurines, tools, or personal ornaments, are rare and mostly limited to either single objects, or to particular assemblages. Our project SignBase aims to enable large-scale comparisons by collecting abstract motives on mobile objects from all over the European Paleolithic, the African Middle Stone Age, as well as further finds of the Near East and South East Asia. In contrast to the chronological difficulties of dating parietal art, abstract motives on mobile objects are usually well dated, at least with reference to the given techno-complexes. Our project ultimately aims to enable quantitative comparative studies on the development of abstract graphical expressions before the emergence of writing systems. This includes the application of classification algorithms allowing us to study the signs in geographical and chronological dimensions. Furthermore, while any inference about their meaning is inevitably speculative, information-theoretic analyses can shed light on the evolution of their information encoding potential and compare it to later graphical behavior such as early written language.
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4

Pedreirinho, José Manuel, Michel Toussaint e Pancho Guedes. "The Porteguese Perspective". In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.4.

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ose Manuel Pedreirinho was born and educated in Lisbon, and has operated his own practice there since 1984. In addition to teaching the history of modern architecture and the theory of architecture at the universities of Lisbon, Coimbra, and Porto, Prof: Pedreirinho is also completing a PhD at the University of Bath (UK). The author of several articles and two books on Portuguese architecture and the teaching process, Prof: Pedreirinho is currently preparing a guide on the architecture of Porto. Michel Toussaint is an architect and educator in Lisbon, where he teaches the theory of architecture at the Universidade Tecnica de Lisboa and the Universidade Lusiada. Prof: Toussaint has published several essays, articles, and books on architectural topics, and has practiced in Portugal, Angola, and Macau. Pancho Guedes is an architect currently working in Lisbon ajler an extensive career in Mozambique and South Africa. A graduate of the University of Witwatersrand (South Africa), Prof: Guedes’ work is noted for it sculptural and expressionistic quality, influenced heavily by African art and the work of Gaudi. In addition to his academic career in Lisbon, Prof: Guedes has also taught at the Architectural Association in London. [Editor’s note: The text of these presentations was not available at the time of publication.]
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Roland, Stephanie, e Quentin Stevens. "North Korean Aesthetics within a Colonial Urban Form: Monuments to Independence and Democracy in Windhoek, Namibia". In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5038pxdax.

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This paper examines two high-profile commemorative spaces in Namibia’s national capital, Windhoek, designed and constructed by North Korean state-owned enterprise Mansudae Overseas Projects. These commemorative projects illustrate the complex and evolving intersections between public art, architecture and urban form in this post-colonial context. They show how sites designed around heritage and collective identity intersect with urban space’s physical development and everyday use. The projects also illustrate the intersecting histories of three aesthetic lineages: German, South African and North Korean. This paper will show how these commemorative spaces embody North Korean urban space ideas while also developing new national symbols, historical narratives and identities within Windhoek’s urban landscape as part of independent Namibia’s nation-building. The monument’s ‘Socialist Realist’ aesthetic signals a conscious departure from the colonial and apartheid eras by the now-independent Namibian government. This paper extends prior research focused on the symbolism of Mansudae’s monumental schemes by analysing these monuments’ design, placement, public reception and use within Windhoek as they relate to the city’s overall development since Namibia’s independence in 1990. By documenting the form, location and decision-making processes for the Mansudae-designed memorials in Windhoek and historical changes in their spatial and political context, the paper explores the interaction between North Korean political ideology and design approaches and Namibia’s democratic ambitions for city-making. The paper’s mapping analysis spatially compares the sculptural, architectural and urban design strategies of Mansudae’s additions to Windhoek’s City Crown (2010-14) to Pyongyang’s Mansu Hill Grand Monument (1972-2011), and Windhoek’s Heroes’ Acre (2002) to Mansudae’s earlier National Martyrs Cemetery outside Pyongyang (1975-85).
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