Chapter Il rilievo SAPR delle residenze reali di vacanza in Albania

The 43rd UID conference, held in Genova, takes up the theme of ‘Dialogues’ as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with ‘others’, which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, “dialogue” as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title ‘translated’ into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences

A Search for Sustainable Public Art

This paper explores international and Canadian public art contexts and installations within the last fifty years. Public art requires public places for installation, visibility, and democratic discussion. This text will extend its scope to include a historical overview of the divide between public and private property. In light of this, the notion of agonism will be central to my argument regarding public space, dissent, protest, critique and collaboration. As artists and philosophers recognize agonism, in art, as critical to how public art functions, this paper reviews its powers to question and contribute to ecological regeneration as urban public spaces are shrinking from growing commercial pressures. Ultimately this text will support the usefulness of artist interventions and agonism in the struggle to enhance and support the planet's ecology and discuss the crucial role public property plays in shaping our relationship with the earth

Repository Model for Intangible Heritage “The Malay Scenario”

Culture heritage is identity of country, community and group of people. Intangible culture is a common practice, in the community. Continuously  re-created and transmitted. However, culture can only have continuity if people enjoy the conditions to produce and re-created.  This paper try to identify the factor of contributing archiving intangible heritage before develop a model as a guideline to archive culture heritage especially intangible heritage via ICT exploitation. This standard model as a kick-start of intangible study and also as guidelines for culture institution in Malaysia to archiving their intangible heritage and make it available for other researcher and the future generation

Meanings, Messages, and Histories : An Assessment of Helsinki’s Relationship with Classical Architecture

This thesis aims to examine and contextualize the histories, meanings, and the messages behind a number of the most significant classical structures in Helsinki, looking in particular at who erected these buildings and why they did so, along with what the planners and architects were trying to emphasize through their architectural design choices. The legacies of these builders and their buildings are also to be analysed. Specifically, this thesis does not aim to answer why Finland has classical architecture, but rather what it means for this young nation to have it, especially so in such significant abundance and considering that a great many of the nation’s most important buildings have been designed in this particular style

Revisionist histories : Parallels of monuments and absence in the present

Monuments represent long-standing, ingrained social relations and beliefs. Monument architecture can also represent histories of significant, world-changing social and political events. One set of religious and cultural beliefs and practices alters and even eventually replaces another. Once accepted traditions of inherited political authority represented by emperors and monarchies are reformed, even rejected and overthrown by principles of human equality and the rights of all people. Constructs of racial and gender supremacy and authority are challenged, modified and overthrown by those considered inferior . Such social and political transformations challenge existing constructs while also using them in new transformative ways. The established and the new are intersectional and result in transformation of both. Monarchy becomes celebrity without political power, while popular elections rule. Women replace men as authority figures. Black-ness and queerness become identities and sources of personal power. Similarly, “new” architectural design philosophies and productions challenge existing design systems while often using the existing design traditions in transformative ways. Steel infrastructure replaces masonry construction reducing masonry to decoration. The technology of glass skins transforms external walls . When selected histories of social and political transformations are meshed with transformative design concepts then “new” monumental architecture can be created to memorialize the events. New monumental architecture will represent what is absent from the existing monument -- what history, what past culture, and what alternative history is not represented and what monument design will capture the negative

Faces of Cambodia: Buddhism(s), Portraiture and Images of Kings

In the late twelfth-century the face dominated the visual landscape of the Angkor Empire, appearing at the Mahāyānist Bayon temple in the form of monumental ‘face towers’, a distinctive architectural-cum-sculptural feature of the reign of Jayavarman VII, the first Buddhist king of Cambodia. Together with statues apparently sculpted as a physical likeness of the king, this artistic output probed the conceptual contours of the face and the scope of portraiture. Since the twelfth century the face, primarily in a four-faced configuration, has continued as a uniquely Cambodian trope, cited and revived in changing politico-cultural contexts. The monumental visages of Angkor have been the subject of a wealth of scholarship over the last century and a half, yet there has been a lack of consideration of the Cambodian faces as faces from a phenomenological perspective. Neither has there been a thorough interrogation of the precise mechanisms by which the faces ‘reappeared’ in twentieth-century Cambodia. Therefore, this thesis addresses questions of the face and portraiture within a multi-layered Buddhist-Brahmānic complex, in order to counter hegemonies which persist in art historical scholarship on the Bayon. This examination of the face is primarily formulated on three levels of interrogation: the face as portrait, the face as the locus of personhood or subjectivity, and historiographies associated with the face. Due to the subsequent, and indeed on-going, appropriation of the Bayon faces, the final chapters give critical emphasis to the face of the king in the contemporary visual landscape of Cambodia

The Academician Student Newspaper, April 1891

Student newspaper, Friends Pacific Academy, precursor to George Fox University.https://digitalcommons.georgefox.edu/the_academician/1003/thumbnail.jp