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1.
Kate Moomaw 《文物保护研究》2016,61(3):130-136
Participatory art is a contemporary movement requiring viewers to take an active part in the artwork, by means ranging from interaction with materials to creative contribution. Artistic developments in the twentieth and twenty-first centuries, such as political and social engagement, led to the rise of participatory practices. Concurrently, museums have reacted to falling attendance and cultural shifts by seeking to create more engaging experiences for visitors. At the Denver Art Museum, this has led to an increased interest in displaying and collecting participatory art. Through case studies of works in the collection of the Denver Art Museum, Walking in Venus Blue Cave (2001) by Ernesto Neto and ¿Being Home? (2009) by Rupprecht Matthies, this paper explores the conservation of participatory artworks in museum collections, including their maintenance on display, long-term preservation of their interactive nature, and the possibility of involving communities in conservation actions and decision-making. 相似文献
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Claes H. De Vreese Mark Boukes Andreas Schuck Rens Vliegenthart Linda Bos Yph Lelkes 《Communication methods and measures》2017,11(4):221-244
In media effects research a fundamental choice is often made between (field) experiments or observational studies that rely on survey data in combination with data about the information environment or media coverage. Such studies linking survey data and media content data are often dubbed “linkage studies.” On the one hand, such designs are the state of the art in our field and on the other hand, they come with a long list of challenges and choices. This article reviews the rationales for linkage studies, outlines different types of linkage studies, reviews the state-of-the-art in this area, discusses which survey and content items to use in an analysis, reviews different types of analyses, outlines considerations for alternative specifications, and provides a step-by-step example. 相似文献
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This paper examines the preservation and curatorial approaches explored for the exhibition Silent Explosion: Ivor Davies and Destruction in Art at Amgueddfa Cymru – National Museum Wales (November 2015–March 2016). The collaboration between the artist, curator/researcher, and conservators is considered and the evolving and flexible way in which transient pieces were presented/re-presented is described. The paper offers a case study in the context of this exhibition and argues that regardless of whether it is in traditional media (such as painting) or as time-based media (unstable and open to interpretation), Davies' work challenges a perception of artworks as finished, single-authored objects. 相似文献
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Stavroula Golfomitsou 《文物保护研究》2016,61(3):55-60
In recent years Qatar has invested a significant sum of money on exhibitions of contemporary artists and public art. This paper discusses decision-making processes in the conservation of contemporary artworks installed in newly emerging art markets such as Qatar, where there are no established practices. In 2014, Richard Serra's East–West/West–East, an installation of four vertical plates made of weathering (Corten?) steel, which span one kilometre at heights so as to reach the level of the surrounding gypsum plateaus, was installed in the Brouq Nature Reserve near Zekreet desert, two kilometres from the sea in the western part of Qatar. The artwork is already considered by some a landmark for the isolated area. The plates have started to develop protective corrosion layers, although Corten? is not completely corrosion resistant when located near coastal sites. They have also started to bend and are heavily inscribed by visitors. Conservation of public art is complex, as site-specific artworks are linked with the landscape and defined by the relationships they develop with the public. Art installations of this magnitude demand not only conservation measures but also a management plan. The isolated location, the scale of the artwork, the aggressive environment, and the lack of supervision and monitoring of the area challenge current practices but offer an opportunity to develop methods to preserve art of site-specific art in new environments and diverse audiences. Monitoring will allow a better understanding of the interactions of visitors with the artwork and will shed light on the material's behaviour in this specific environment. 相似文献
5.
The Hamburger Kunsthalle conservation department started a two-year funded project in 2015, which specifically covers the preservation of all ten slide-based artworks in the collection, with a total of about 1700 slides. The task at hand, to examine and conserve the slide-based artworks, is driven by the need within the profession to explore ways in which these works can continue to be displayed. This is new terrain for conservators of modern and contemporary art, whose responsibility is dedicated to a broad-ranging collection of artworks. From the viewpoint of a modern and contemporary art conservator with no training in time-based media conservation, the article describes the current conservation strategy of slide-based artworks, with case studies and their associated conservation decisions. 相似文献
6.
《文物保护研究》2013,58(1):94-98
AbstractKnown today only by the name of the region where he lived, Mestre Pirang-a, an eighteenth-century santeiro (saint-maker), is considered a great artist by afficionados of Brazilian sacred art. Part of the present work consisted in a survey and cataloguing of the surviving religious imagery in the region of the Piranga river valley. A considerable number of these images could be attributed to the master. Three sculptures were analyzed with regard to form, style, iconography and technique of execution (support and polychromy), using scientific methods. Their state of preservation was investigated and a proposal for conservation was drawn up. 相似文献
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An important development in the theory of brands has been the concept of a brand personality as part of the brand image. The construct of congruence relates the personality of brands to the self-concept of consumers. It is assumed that congruence between the recipient's perception of his or her own personality and his or her perception of the brand personality leads to a higher degree of loyalty. The congruence construct has been proven to be a loyalty-promoting factor in various studies for consumer good brands. Whether the influence of congruence also exists with regard to media brands has, however, not yet been examined. As a step to close the gap, this research explores the effects of congruence on consumer loyalty in the media, taking the leading German news magazine brands— Focus, Spiegel, and Stern—which are published in print and online, as a case. The study uses a structural equation model, which is estimated by the partial least squares method, based on a questionnaire answered by 736 respondents. The model was tested for all respondents and those with print and online preference separately. As a result, the influence of congruence on loyalty could also be detected in our media case. Differences of the impact within the models for print and online give rise to the assumption that a differentiated approach to brand management in these two fields has to be taken into consideration. 相似文献
9.
Shixin Ivy Zhang 《媒体管理杂志》2013,15(3-4):205-230
This study takes Beijing Youth Daily (BYD), Beijing's largest newspaper in terms of advertising revenue and second largest in terms of circulation, as a case study to examine and analyze how globalization influences the ownership, corporate strategies, and business models of local newspaper organizations in China; and, thus, accelerates Chinese-style capitalism and media convergence. Declining advertising revenue and the loss of readers due to the digital revolution and the availability of multimedia news channels are global challenges that face newspapers around the world. BYD is no exception. In response, BYD has shifted from an exclusively state ownership model to a split or dual-track management model that has allowed foreign capital into the business operations while the party/state still retains ideological control over the news content. BYD has reoriented its corporate strategies and carried out structural reforms, building a media conglomerate via new titles, acquisitions, concentrations, and convergences; and developed its business models with advertising as a major revenue source. All these measures are market-oriented and intended to maximize newspaper profits by pursuing economies of scale and scope. 相似文献
10.
The aim of this paper was to discuss the role of food preservation science and technology in the conservation of complex food-based installations. By introducing the principles of food science and food preservation into the decision-making process for the conservation of contemporary art, more insight on conservation and presentation possibilities was created. Considering the installation Piece in Ghent (P.I.G.) by Jason Rhoades, which contains French fries, the principles of food preservation science were evaluated. The preservation of the original foods was discussed against the potential of a reproduction of the foods. The context for conservation was determined by analysing the artist's intention, the production method of the artwork, and the degradation processes of the food materials. From the results obtained, guidelines to preserve the ‘original’ foods were proposed, as well as guidelines to reproduce foods that can last longer. The study demonstrated that food preservation science contributed to the development of effective strategies for the conservation of contemporary food-based art. 相似文献
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以媒体技术本体化与视觉文化审美化为表征的新意识形态的弥散,深刻影响着当代文化的发展。物质性存在的强势与观念性存在的低限之间的博弈,是数字艺术以及电子视觉文化无法回避的现实。"数字化生存"的技术和"艺术化生存"的人文相互协调,才能实现数字艺术的平衡发展。 相似文献
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Carrie P. Mastley 《期刊图书馆员》2017,73(3-4):339-351
This article presents a survey study of social media and information behavior research published from 2008 to 2015 by way of bibliometric principles. Web of Science, Scopus, and Google Scholar were used in order to determine the publication rate, established researchers, impact, productivity, and thematic areas of selected papers. The results show a dearth of published works and a low level of established authors; however, the results also indicate high rates of impact, especially in relation to information seeking and information sharing studies. Overall, this study serves as a springboard for new scholarly inquiries in order to further develop research in the field. 相似文献
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This paper reviews a number of studies comparing Thomson Scientific’s Web of Science (WoS) and Elsevier’s Scopus. It collates their journal coverage in an important medical subfield: oncology. It is found that all WoS-covered oncological journals (n = 126) are indexed in Scopus, but that Scopus covers many more journals (an additional n = 106). However, the latter group tends to have much lower impact factors than WoS covered journals. Among the top 25% of sources with the highest impact factors in Scopus, 94% is indexed in the WoS, and for the bottom 25% only 6%. In short, in oncology the WoS is a genuine subset of Scopus, and tends to cover the best journals from it in terms of citation impact per paper. Although Scopus covers 90% more oncological journals compared to WoS, the average Scopus-based impact factor for journals indexed by both databases is only 2.6% higher than that based on WoS data. Results reflect fundamental differences in coverage policies: the WoS based on Eugene Garfield’s concepts of covering a selective set of most frequently used (cited) journals; Scopus with broad coverage, more similar to large disciplinary literature databases. The paper also found that ‘classical’, WoS-based impact factors strongly correlate with a new, Scopus-based metric, SCImago Journal Rank (SJR), one of a series of new indicators founded on earlier work by Pinski and Narin [Pinski, G., & Narin F. (1976). Citation influence for journal aggregates of scientific publications: Theory, with application to the literature of physics. Information Processing and Management, 12, 297–312] that weight citations according to the prestige of the citing journal (Spearman’s rho = 0.93). Four lines of future research are proposed. 相似文献
15.
《Legal Reference Services Quarterly》2013,32(3):43-63
Abstract Taking as her starting point the ideas presented at a recent conference on cooperative collection development, Ms. Hinchcliff discusses their applicability to the academic law library world. The issues under scrutiny are some of those most under consideration today, topics like new initiatives in scholarly publishing, cooperative purchasing of electronic resources, and preservation. Many of these ideas are examined in light of recent proposals made by the American Association of Law Libraries. 相似文献
16.
Kevin Sumption 《Archives and Museum Informatics》1999,13(2):83-94
This paper examines how the problem of exhibiting computing artifacts was confronted by the development team of the Powerhouse Museum's new computing exhibition: Universal Machine. Universal Machine uses a mix of objects, activity trails and computer-based audiovisual and interactive technologies to take visitors on a journey through the origins, meaning and impact of contemporary information technology. It explores the interpretive partnerships developed between objects, new and traditional media, as well as the ways in which experience-based and multiple intelligence education theory informed design and content development. 相似文献
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Frank E. Dardis Ph.D. Frank R. Baumgartner Ph.D. Amber E. Boydstun Suzanna De Boef Ph.D. Fuyuan Shen Ph.D. 《Mass Communication and Society》2013,16(2):115-140
It is well known that mass media have the ability to frame a sociopolitical issue in specific ways, which can have considerable impact on the public's thoughts and perceptions regarding the issue. Through analyzing coverage of capital punishment in the New York Times since 1960 and then conducting an experiment in which we assessed individual-level responses to differently framed news stories, we show (a) the dramatic emergence of a new “innocence frame” within the past 10 years that accentuates imperfections in the justice system, and (b) the much greater impact of this frame on individuals' thoughts—in particular on those who favor the death penalty—when compared to the traditional morality-based frame. We suggest that the latter finding can be explained because individuals tend to resist changing their interpretations of issues based on arguments that contradict their core moral or religious beliefs; however, they seem quite receptive to new information along dimensions that they previously had not considered. This research also implies that U.S. trends toward lower sentencing rates and eventual public opinion changes are likely to continue as long as media and public discussion remains focused on questions regarding flaws in the justice system. 相似文献
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将新媒体艺术与文献阅读关联,从信息设计与传播的角度出发,考虑娱乐化阅读效果,这是一种新的价值取向.新媒体与新媒体艺术的主要特点有三个,即技术性、交互性、体验性.新媒体的核心还是技术.新媒体艺术与文献关联悦读效果主要表现在联想与延伸、参与体验、激发潜在智慧等方面. 相似文献
19.
《Legal Reference Services Quarterly》2013,32(4):7-52
Abstract This guide offers extensive resources on the intersection of intellectual property law and contemporary visual art and on the application of the doctrine of fair use within this context. It is designed to assist attorneys, museum administrators, art collectors, art dealers and artists in handling litigation involving copyright litigation. It is particularly focused on copyright claims arising out of the art movement known as “appropriation,” which has emerged as a litigation target due to its use of familiar images and image genres drawn from public and consumer media. The guide strives to aid artworlders and attorneys new to art litigation in developing an understanding of the limitations and extent of fair use protections for visual artwork. 相似文献
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Muriel Verbeeck 《文物保护研究》2016,61(3):233-240
Faced with the growing number of case studies in contemporary art, philosophy provides conservators with a series of conceptual tools that allow to theorize their practice. The notion of intentionality and attentionality borrowed from Genette enables a better understanding of the problems that Dirty Corner by Anish Kapoor (a work vandalized on many occasions) poses. I will show that the conservator deals with the issue of the identity of a contemporary work in a different way from the art historian, and that philosophy is a practical tool to understand the specificity of the former's approach and intervention. 相似文献