Добірка наукової літератури з теми "Trafo Gallery (Prague, Czech Republic)"

The botanical identity and facies distribution of fossil charcoal is described from Middle to Late Cenomanian (90–94 Ma) fluvial to estuarine units at Pecínov quarry, near Prague, Czech Republic. Braided alluvial facies associations contain charred conifer woods (family Pinaceae) possibly derived from upland forest fires, and abundant charred angiosperm woods, flowers and inflorescences (families Lauraceae and ?Platanaceae) derived from riparian gallery forest fires (Unit 2). Retrogradational coastal salt marsh facies associations contain abundant charred conifer wood (families Cheirolepidiaceae and Cupressaceae/Taxodiaceae) derived from fires in halophytic backswamp forest, and rare pinaceous charred cones and lauraceous angiosperm wood washed downstream from fires further inland (Units 3–4). Progradational coastal facies associations within an estuary mouth setting contain abundant charred conifer wood (family Cupressaceae/Taxodiaceae), common taxodiaceous conifer and angiosperm leaves, fern rachises, and lycopsid stems derived from fires in mesic backswamp taxodiaceous forests and supra-tidal fern-lycopsid thickets (Unit 5). Growth rings in angiosperm and conifer woods, leaf physiognomy and computer models indicate that climate was equable, warm and humid, but that there was a short annual dry season; most fires probably occurred during these annual drought periods. The abundance of charcoal and the diversity of taxa preserved in this state indicate that nearly all plant communities were fire-prone. Physiognomically, the Pecínov flora resembles present-day seasonally-dry subtropical forests where fires are a common occurrence.

In this paper, we draw attention to temporal aspects of works of art displayed, performed, or held in public spaces, generally designated as public art. We argue that the debate on public art has been biased towards discussing the spatial. We focus on the “temporariness” of public art, the primary temporal feature that has been under scrutiny in recent philosophical literature on public art. We explore arguments it has been woven into. In particular, we discuss and reject using temporariness as the mark dissecting the realm of public art into two different artforms and argue that it is just one of many temporal properties public artworks have and can use to bear meanings. We outline other ways works of public art bear temporal features and interact with temporal properties of spaces they occupy, and argue that those too are, potentially, aesthetically significant. We illustrate some of these with an example of a particular public artistic site, the open-air art gallery «ArtWall» located in Prague, the Czech Republic.