Куб на горе Замковая в Киеве как уникальный внесистемный художественный объект

This article analyzes special aspects of the social existence of Station-1 objet d’art, a 108 cm brick cube, on Zamkovaya Hora hill in Kyiv. Created in 2001, this art object is an accumulating visiting center for different social strata, from representatives of informal youth associations to tourists and experts in local history. Transformations of the cube surface are viewed as a range of endless ‘modular combinations’ (Didi-Huberman). Watching people contact with an art object beyond art institutions proves the endlessness of manifestations of both vandalism (destruction) and creativity (poems and texts on the cube planes

CUBE ON ZAMKOVAYA HORA IN KYIV AS A UNIQUE EXOGENOUS OBJECT OF ART

This article analyzes special aspects of the social existence of Station-1 objet d’art, a 108 cm brick cube, on Zamkovaya Hora hill in Kyiv. Created in 2001, this art object is an accumulating visiting center for different social strata, from representatives of informal youth associations to tourists and experts in local history. Transformations of the cube surface are viewed as a range of endless ‘modular combinations’ (Didi-Huberman). Watching people contact with an art object beyond art institutions proves the endlessness of manifestations of both vandalism (destruction) and creativity (poems and texts on the cube planes).

CONTAINERS OF ELECTRONIC ART: DISPLAYING ELECTRONIC ART IN ‘WHITE CUBE’ AND EXPERIMENTAL SPACES

Containers of Electronic Art investigates the presence of material electronic artworks in different art institutional display environments by contemplating two questions. First, how does material electronic art function within different types of art institutional spaces? Second, what does this reveal about the space? In order to answer these questions, this thesis researches electronic artworks found in three case studies: the Agnes Etherington Art Centre and the Koffler Gallery, presented together to illustrate the traditional white cube; ZKM Centre for Art and Media’s Media Museum, an experimental space solely dedicated to exhibiting interactive and electronic art; and InterAccess Electronic Media Arts Centre, which employs both of the above exhibition styles. Through these case studies, this thesis concludes that it is difficult to adequately show electronic art in a white cube space. I recommend that material electronic artworks then be presented in an experimental space that is designed specifically for each artwork, encourages visitor interactivity, and works with or enhances the message of the techno- oriented artwork

CONTAINERS OF ELECTRONIC ART: DISPLAYING ELECTRONIC ART IN ‘WHITE CUBE’ AND EXPERIMENTAL SPACES

Containers ofElectronicArt investigates the presence ofmaterial electronic artworks in different art institutional display environments by contemplating two questions. First, how does material electronic art function within different types of art institutional spaces? Second, what does this reveal about the space? In order to answer these questions, this thesis researches electronic artworks found in three case studies: the Agnes Etherington Art Centre and the Koffler Gallery, presented together to illustrate the traditional white cube; ZKM Centre for Art and Media’s Media Museum, an experimental space solely dedicated to exhibiting interactive and electronic art; and InterAccess Electronic Media Arts Centre, which employs both of the above exhibition styles. Through these case studies, this thesis concludes that it is difficult to adequately show electronic art in a white cube space. 1recommend that material electronic artworks then be presented in an experimental space that is designed specifically for each artwork, encourages visitor interactivity, and works with or enhances the message of the techno- oriented artwor

Twisting the Cube: Art-Inspired Mathematical Explorations

A cube can be twisted in a playful manner for visual and algebraic insights. The twisting process and the resulting ruled surfaces can be demonstrated using 3D modeling tools (e.g., GeoGebra® and Autodesk Fusion 360®) or elastic cords on a 3D-printable scaffold. The twisted cube is aesthetically appealing, posing interesting questions that are worthwhile at multiple levels. Algebraically, the volume of the twisted cube is shown to be two-thirds of the reference cube. The twisted faces are parts of hyperbolic paraboloids, whose implicit and parametric equations can be established from diverse perspectives in support of further dynamic explorations and discussions about the surface area

The Cube^3: Three Case Studies of Contemporary Art vs. the White Cube

Museums are culturally constructed as places dedicated to tastemaking, preservation, historical record, and curation. Yet the contemporary isn’t yet absorbed by history, so as museums incorporate contemporary art these commonly accepted functions are disrupted. Through case studies, this thesis examines the successes and failures of three New York museums (MoMA, Dia:Beacon and New Museum) as they grapple with the challenging, perhaps irresolvable, tension between the contemporary and the very idea of the museum

TCQ Practical Evaluation in the Hyper-Cube Watermarking Framework

International audienceThe Hyper-Cube watermarking has shown a high potential for high-rate robust watermarking. In this paper, we carry on the study and the evaluation of this quantization-based approach. We especially focus on the use of a Trellis Coded Quantization (TCQ) and its impact on the Hyper-Cube performances. First, we recall the TCQ functioning principle andwe propose adapted quantizers. Second, we analyze the integration of the TCQ module in a cascade of two coders (resp. two decoders). Finally, we experimentally compare the proposed approach with the state-of-the-art of high-rate watermarking schemes. The obtained results show that our Multi-Hyper-Cube scheme always provides good average performance