67,748 research outputs found
Archeologia klasyczna w poszukiwaniu swej tożsamości. Między przeszłością, teraźniejszą a historią sztuki
The article defines classical archaeology as one of the first and oldest branches of archaeology practised in Europe by stressing that interests in the relics of ancient civilisations have been deeply embedded in the cultural self-identification of various peoples of Europe. The author aims to recognize how the modern world values contribute to interpretation and conservation of the classical past, especially Greek art and architecture, alongside other ancient objects, and how the Western elites treated them in the past centuries. The issue of common roots of classical archaeology and history of art as well as their long-lasting relationships are also thoroughly discussed. Discrepancies between major research procedures of classical archaeology and art history are scrutinized, especially in terms of an arguable irrelevance of modern concept of art in relation to archaeological evidence. The role of museums in relation to art and antiquities trade is also raised. Furthermore, the author discusses classical archaeology within broader issues of contemporary archaeology. It is recognized that classical archaeology has certainly changed by resigning from the previously dominant connoisseur knowledge approach to artefacts, concentrated solely on the works of art often seen as autonomous entities devoid of the context of their production, meaning and perception. Finally, the author defines contemporary classical archaeology as a rapidly changing discipline, reformulating its research agenda and opening up to cooperation with numerous other disciplines. Nevertheless, this should not mean a wholesale rejection of its great legacy of being a history of ancient art. On the contrary, this traditions ought to be redefined and incorporated into contemporary research agenda of the discipline.The article defines classical archaeology as one of the first and oldest branches of archaeology practised in Europe by stressing that interests in the relics of ancient civilisations have been deeply embedded in the cultural self-identification of various peoples of Europe. The author aims to recognize how the modern world values contribute to interpretation and conservation of the classical past, especially Greek art and architecture, alongside other ancient objects, and how the Western elites treated them in the past centuries. The issue of common roots of classical archaeology and history of art as well as their long-lasting relationships are also thoroughly discussed. Discrepancies between major research procedures of classical archaeology and art history are scrutinized, especially in terms of an arguable irrelevance of modern concept of art in relation to archaeological evidence. The role of museums in relation to art and antiquities trade is also raised. Furthermore, the author discusses classical archaeology within broader issues of contemporary archaeology. It is recognized that classical archaeology has certainly changed by resigning from the previously dominant connoisseur knowledge approach to artefacts, concentrated solely on the works of art often seen as autonomous entities devoid of the context of their production, meaning and perception. Finally, the author defines contemporary classical archaeology as a rapidly changing discipline, reformulating its research agenda and opening up to cooperation with numerous other disciplines. Nevertheless, this should not mean a wholesale rejection of its great legacy of being a history of ancient art. On the contrary, this traditions ought to be redefined and incorporated into contemporary research agenda of the discipline
Coral Stone Architecture, Chinese Porcelain, and Indian Ocean Artifacts along the Swahili Coast: Cross-Cultural Dynamics in Medieval East Africa
While the use of Chinese porcelain dishes in the stone towns along the Swahili coast has recently found much attention in art historical scholarship regarding the eighteenth to early twentieth centuries, the pre-history of these dynamics in the medieval period has up to now only been fully considered in other fields such as archaeology and anthropology. This paper sheds new light on the interrelations between the built environment and material culture in coastal East Africa from an art historical perspective, focusing on premodern Indian Ocean trajectories, the role of Chinese porcelain bowls that were immured into Swahili coral stone buildings, and on architecture across boundaries in a medieval world characterized by far-reaching transcultural entanglements and connectivity. It will show how Chinese porcelain bowls in premodern Swahili architecture linked the stone towns along the coast with other sites both inland and across the Indian Ocean and beyond, and how these dynamics were shaped by complex intersections between short-distance and long-distance-relationships and negotiations between the local and the global along the Swahili coast and beyond
Designing contested heritage within the sacred context. The AΧΕΙΡΟΠΟΙΗΤΟΣ monastery, Cyprus
The analysis of the Aχειροποίητος monastery shows the superimposition of different buildings:
a domed church with a central plan, built in late Byzantine times over the ruins of an early Christian
basilica, enlarged by the addition of three successive narthexes, and therefore transformed into a
longitudinal basilica. The name Aχειροποίητος, literally “made without hands”, referred to a sacred icon
hosted therein. A walled enclosure surrounds the church and contains the monastery, which developed
in subsequent phases, with different additions, demolitions and restorations. We outlined the formation
process of the complex, from the V cent. Basilica, to the transformation of the monastery into military
barracks in the 1970s, as a premise for the restoration project. Recently the Department of Antiquities
assigned the monastery to the Girne American University for its restoration and it is urgent to accomplish
some statical interventions. The management of this site, hence the political situation of northern
Cyprus, represents an interesting case study on the contested heritage issue. Nevertheless, the heritage
management in Cyprus, for the complex political situation of the island, bears more difficulties than in
other UE countries, but we should consider that every heritage site has someway a contested character.
An architectural project was experimented, according to the typo-morphological approach of the Muratorian
Italian School, based on the principle that new buildings should be the continuation of the old ones,
without imitating them, but following their formation process, as the last step of an ongoing process.
We did not conceive the new architecture as an object contrasting with the context, but following the full
understanding of the processual transformations of the site, it was possible to design the new addition
to the monastic building as a living organism, in conformity with the sacred context
The time it takes to make: design and use in architecture and archaeology
Book synopsis: Design and Anthropology challenges conventional thinking regarding the nature of design and creativity, in a way that acknowledges the improvisatory skills and perceptual acuity of people. Combining theoretical investigations and documentation of practice based experiments, it addresses methodological questions concerning the re-conceptualisation of the relation between design and use from both theoretical and practice-based positions.
Concerned with what it means to draw 'users' into processes of designing and producing this book emphasises the creativity of design and the emergence of objects in social situations and collaborative endeavours.
Organised around the themes of perception and the user-producer, skilled practices of designing and using, and the relation between people and things, the book contains the latest work of researchers from academia and industry, to enhance our understanding of ethnographic practice and develop a research agenda for the emergent field of design anthropology.
Drawing together work from anthropologists, philosophers, designers, engineers, scholars of innovation and theatre practitioners, Design and Anthropology will appeal to anthropologists and to those working in the fields of design and innovation, and the philosophy of technology and engineering
Pagoda Desecration and Myanmar Archaeology, 1853–86
Examination of the British occupation of the Shwedagon pagoda in 1853 CE in the context of the formation of the Epigraphic Office from which today's Department of Archaeology, Ministry of Culture has emerged
Scottish Archaeological Research Framework: Future Thinking on Carved Stones
No abstract available
Sound archaeology: terminology, Palaeolithic cave art and the soundscape
This article is focused on the ways that terminology describing the study of music and sound within archaeology has changed over time, and how this reflects developing methodologies, exploring the expectations and issues raised by the use of differing kinds of language to define and describe such work. It begins with a discussion of music archaeology, addressing the problems of using the term ‘music’ in an archaeological context. It continues with an examination of archaeoacoustics and acoustics, and an emphasis on sound rather than music. This leads on to a study of sound archaeology and soundscapes, pointing out that it is important to consider the complete acoustic ecology of an archaeological site, in order to identify its affordances, those possibilities offered by invariant acoustic properties. Using a case study from northern Spain, the paper suggests that all of these methodological approaches have merit, and that a project benefits from their integration
Creating Digital Art History: Library, Student, and Faculty Collaboration
Over the last two decades, teaching, learning, and research in higher education have developed a growing digital presence. Digital development in the humanities has been slow relative to most other areas in academia, and with some exceptions, art and art history have enjoyed slow digital growth within the humanities. Within this environment, the article here presents one collaborative model for digital art history, rare in its exclusive focus on undergraduate “junior scholars”. Undergraduate senior-level art history and studio art students at Providence College collaborate annually with art history and studio art faculty to publish their senior theses in print format as the Art Journal. In the last few years, students, faculty, and digital library staff have enhanced this collaboration to include the publishing from process to product of the Art Journal as a complementary digital Art Journal. They collaborate in creating digital art history and digital studio art in order to bring exponentially greater meaning, significance and visibility to the students’ senior culminating works through real-world digital publishing, including quality control, copyright issues, and ideas related to persistent access and ongoing global visibility for the scholarly and creative works, and for the student scholars. These students function as real-world collaborative scholarly partners in publishing their culminating academic and artistic work globally, and persistently accessible in Providence College’s digital repositories. This case study evidences engagement in meaningful digital knowledge creation focused on the intellectual and creative output of student-scholars and student-artists (art historians and studio artists) as a model for other student-faculty-digital library professional collaborations.
Note: Full text document is a pre-print version of article due to publisher rights. Publisher\u27s version available at the following citation:
Bailey, D. Russell. Creating Digital Art History: Library, Student and Faculty Collaboration . The International Journal of New Media, Technology, and the Arts. Volume 10. Issue 2. 2015. pp. 1-10.
Ninth International Conference on the Arts in Society website:
http://artsinsociety.com/the-conference-201
Re use: archaeology and storytelling
Attempts to describe and characterise the re use of existing buildings in recent interior architectural theory have often centred on the language and syntax associated with literary arts. Remodelling and interior interventions are often described in terms of translation, interpretation, poetry, essay and narrative. This is not without substance and indeed it is not only the act that is described in such terms but the very thing itself. The intervention or remodelled architectural form is an essay on and narration of the existing building. It translates and interoperates a previous history and story manifest within the fabric of the existing building and act as its biographer. This act of storytelling is predetermined by the excavation of the story. As a precursor to the narration, the designer translates and adopts the behaviour of the archaeologist. It is a process of careful and predetermined removal and discovery that allows the depiction of previous lives, events and culture to become part of the present. The intervention as a mechanism for re use is a biographic interpretation of the previous and an auto biographic narration of the present. It is this ability to be both representational of the past and the present that establishes the significance of the intervention as a key contributor to place within this persistent context. This paper aims to contribution to current discourse in relation to the validity and authenticity of the built interior and the re use of the existing
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