What Makes a Great [Mobile | Digital] Art Exhibition?

Passive reception and consumption of art is a given, in our times. Artists produce. Spectators consume. At the nexus stands the curator who chooses the product and the exhibitor who provides the space for consumers. This natural hierarchy also tends to colonize the digital space. But, in the digital world, much of the functioning of the hierarchy has become democratised. The meeting place of exhibited art moved from the physical to the virtual online. Not everyone can visit, say, Istanbul Modern museum. It ought to be possible in principle for everyone to be able to visit “Istanbul Modern Digital” museum. The next stage of digital democracy, already upon us since early 2010, is the mobile art lover, mobile in the sense of being free from being tied down in one place and being able to choose what to see, where to be, and when to do it: early morning, late at night; in the plane, on the train, in bed, in class. Learning is for everyone. It is what makes us human, to continue to learn. Learning takes place best when one is active. In the context of the Mobile Digital Art Exhibition, we have explored ways in which to enhance the experience of the curator as “everyman” and everyman has potentially the opportunity to construct a mobile digital art exhibition, even one such as the “Museum of Innocence” in the manner as described by Orhan Pamuk. Our hero in this story is the self-curator

The Cultural and Creative Cities Monitor: 2017 Edition

This first edition of the Cultural and Creative Cities Monitor shows how well 168 selected cities in 30 European countries perform on a range of measures describing the ‘Cultural Vibrancy’, the ‘Creative Economy’ and the ‘Enabling Environment’ of a city. The Cultural and Creative Cities Monitor is designed to help national, regional and municipal policy makers identify local strengths and opportunities and benchmark their cities against similar urban centres using both quantitative and qualitative data. The Cultural and Creative Cities Monitor is thus an instrument to promote mutual exchange and learning between cities. For researchers, the pool of comparable data is expected to generate new questions and insights into the role of culture and creativity in cities’ social and economic wellbeing. The Cultural and Creative Cities Monitor supports the European Commission’s efforts to put culture at the heart of its policy agenda. It provides a common evidence base at city level that illuminates the importance of culture and creativity and their contribution to improving socio-economic perspectives and resilience.JRC.I.1-Modelling, Indicators and Impact Evaluatio

Arrival Cities

Exile and migration played a critical role in the diffusion and development of modernism around the globe, yet have remained largely understudied phenomena within art historiography. Focusing on the intersections of exile, artistic practice, and urban space, this volume brings together contributions by international researchers committed to revising the historiography of modern art. It pays particular attention to metropolitan areas that were settled by migrant artists in the first half of the 20th century. These arrival cities became hubs of artistic activities and transcultural contact zones where ideas circulated, collaborations emerged, and concepts developed. Taking six major cities as a starting point — Bombay (now Mumbai), Buenos Aires, Istanbul, London, New York, and Shanghai — the authors explore how urban topographies and landscapes were modified by exiled artists re-establishing their practices in these and other metropolises across the world. Questioning the established canon of Western modernism, Arrival Cities investigates how the migration of artists to different urban spaces impacted their work and the historiography of art. In doing so, it aims to encourage the discussion between scholars from different research fields, such as exile studies, art history, architectural history, design history, urban studies, and history

Arrival Cities. Migrating Artists and New Metropolitan Topographies in the 20th Century

Exile and migration played a critical role in the diffusion and development of modernism around the globe, yet have remained largely understudied phenomena within art historiography. Focusing on the intersections of exile, artistic practice, and urban space, this volume brings together contributions by international researchers committed to revising the historiography of modern art. It pays particular attention to metropolitan areas that were settled by migrant artists in the first half of the 20th century. These arrival cities became hubs of artistic activities and transcultural contact zones where ideas circulated, collaborations emerged, and concepts developed. Taking six major cities as a starting point — Bombay (now Mumbai), Buenos Aires, Istanbul, London, New York, and Shanghai — the authors explore how urban topographies and landscapes were modified by exiled artists re-establishing their practices in these and other metropolises across the world. Questioning the established canon of Western modernism, Arrival Cities investigates how the migration of artists to different urban spaces impacted their work and the historiography of art. In doing so, it aims to encourage the discussion between scholars from different research fields, such as exile studies, art history, architectural history, design history, urban studies, and history

Arrival Cities

The impact of migrating artists on modern art Exile and migration played a critical role in the diffusion and development of modernism around the globe, yet have remained largely understudied phenomena within art historiography. Focusing on the intersections of exile, artistic practice, and urban space, this volume brings together contributions by international researchers committed to revising the historiography of modern art. It pays particular attention to metropolitan areas that were settled by migrant artists in the first half of the 20th century. These arrival cities became hubs of artistic activities and transcultural contact zones where ideas circulated, collaborations emerged, and concepts developed. Taking six major cities as a starting point — Bombay (now Mumbai), Buenos Aires, Istanbul, London, New York, and Shanghai — the authors explore how urban topographies and landscapes were modified by exiled artists re-establishing their practices in these and other metropolises across the world. Questioning the established canon of Western modernism, Arrival Cities investigates how the migration of artists to different urban spaces impacted their work and the historiography of art. In doing so, it aims to encourage the discussion between scholars from different research fields, such as exile studies, art history, architectural history, design history, urban studies, and history. Contributors: Brian Bockelman (Ripon College), Laura Bohnenblust (Universität Bern), Margarida Brito Alves (IHA-FCSH / Universidade Nova de Lisboa), Rafael Cardoso (Universidade do Estado do Rio de Janeiro), Katarzyna Cytlak (Centro de Estudios de los Mundos Eslavos y Chinos-Universidad Nacional de San Martín), Rachel Dickson (Ben Uri Gallery and Museum), Burcu Dogramaci (Ludwig-Maximilians-Universität), Margit Franz (Karl-Franzens-Universität Graz), Ya'ara Gil-Glazer (Tel-Hai Academic College), Mareike Hetschold (Ludwig-Maximilians-Universität), Frauke Josenhans (Yale University Art Gallery), Daniela Kern (Universidade Federal do Rio Grande do Sul), Laura Karp Lugo (Ludwig-Maximilians-Universität), Eduard Kögel (Independent scholar, Berlin), Giulia Lamoni (IHA-FCSH / Universidade Nova de Lisboa), Rachel Lee (Ludwig-Maximilians-Universität), Sarah MacDougall (Ben Uri Gallery and Museum), Kathryn Milligan (University College Dublin), Partha Mitter (University of Sussex), Helene Roth (Ludwig-Maximilians-Universität), Elana Shapira (Universität für Angewandte Kunst), Cristiana Tejo (Universidade Nova de Lisboa), Joseph L. Underwood (Kent State University), Elvan Zabunyan (Université Rennes 2

Access to Digital Cultural Heritage: Innovative Applications of Automated Metadata Generation Chapter 1: Digitization of Cultural Heritage – Standards, Institutions, Initiatives

The first chapter "Digitization of Cultural Heritage – Standards, Institutions, Initiatives" provides an introduction to the area of digitisation. The main pillars of process of creating, preserving and accessing of cultural heritage in digital space are observed. The importance of metadata in the process of accessing to information is outlined. The metadata schemas and standards used in cultural heritage are discussed. In order to reach digital objects in virtual space they are organized in digital libraries. Contemporary digital libraries are trying to deliver richer and better functionality, which usually is user oriented and depending on current IT trend. Additionally, the chapter is focused on some initiatives on world and European level that during the years enforce the process of digitization and organizing digital objects in the cultural heritage domain. In recent years, the main focus in the creation of digital resources shifts from "system-centred" to "user-centred" since most of the issues around this content are related to making it accessible and usable for the real users. So, the user studies and involving the users on early stages of design and planning the functionality of the product which is being developed stands on leading position

24-hours.in Tampere - an interactive documentary

Work that explores opportunities for participation, collaboration and the potential democratization of documentary production. Utilizing user-generated video captured on mobile phones and available devices, the project is participatory, the audience contributing documentary videos around the theme of 24-hours in a city; for example 24hours.in Tampere, Finland. With reference to Dziga Vertov’s seminal 1929 documentary film ‘Man with a Movie Camera’, the aim is for the videos to document the cities, the people that live there and their daily lives. Bogdanka Poznanović award - for the media installation. The jury unanimously awarded the work of Richard Vickers and James Field, "24-hours. in Tampere, an interactive documentary”due to participatory potential of the work. Also, jury considered this work as a certain hommage to Dziga Vertov and his "Man with a movie camera" in the 21st century