476 research outputs found

    Aiding the conservation of two wooden Buddhist sculptures with 3D imaging and spectroscopic techniques

    Get PDF
    The conservation of Buddhist sculptures that were transferred to Europe at some point during their lifetime raises numerous questions: while these objects historically served a religious, devotional purpose, many of them currently belong to museums or private collections, where they are detached from their original context and often adapted to western taste. A scientific study was carried out to address questions from Museo d'Arte Orientale of Turin curators in terms of whether these artifacts might be forgeries or replicas, and how they may have transformed over time. Several analytical techniques were used for materials identification and to study the production technique, ultimately aiming to discriminate the original materials from those added within later interventions

    Visuality and Free Verse

    Get PDF
    More than a hundred years after Whitman, vers libre, and the Imagist movement, many poets still have a remarkably indistinct understanding of what it means to write in free verse, as the form is too often defined by what it is not rather than by what it is. In this dissertation, I examine work by Sadakichi Hartmann, Marcel Broodthaers, Philip Metres, and Derik Badman at the limit of what we might consider free verse poetry to argue that free verse is not just a linguistic form but a visual construct that must be “seen” in those terms to be understood. Following my Introduction, Chapter Two examines the early and nearly unclassifiable vers libre of Sadakichi Hartmann, a Whitman acquaintance and early adopter of French Symbolism whose characteristic line in 1898’s Naked Ghosts combines elements of prose poetry, free verse, meter, and rhyme in a package explained as much by his interpretation of Japanese painting as by Whitman or the Symbolists. Even before Imagism, Hartmann wrote verse that functioned, in some ways, like an image itself. Chapter Three investigates the groundbreaking museum installations of Belgian visual artist Marcel Broodthaers, which some critics consider a form of three-dimensional free verse. Broodthaers’s installations encourage a multiperspectival approach to “reading” that consistently breaks its own protocols, shedding light on itself and other linguistic systems to expose the insufficiency of the signifier/signified chain. This chapter also examines the more recent verbal-visual poetry of American poet Philip Metres, who applies Broodthaers’s techniques to page-based free verse. Finally, Chapter Four examines the hybrid form of contemporary American comics poetry, with emphasis on Derik Badman’s Colletta Suite, to argue that comics poetry may be a new form of Charles Olson’s “Projective Verse” and possibly the revitalized dramatic poetry Olson anticipated at the end of his 1950 essay. In each case, free verse steps into the realm of a visuality that was always there ahead of it, waiting for the linguistic elements of the prosody to catch up. By examining these works, we may begin to perceive a more positive than negative definition of the form

    6th International Meeting on Retouching of Cultural Heritage, RECH6

    Full text link
    RECH Biennial Meeting is one of the largest educational and scientific events in Retouching field, an ideal venue for conservators and scientists to present their research results about retouching. The main focus will be to promote the exchange of ideas, concepts, terminology, methods, techniques and materials applied during the retouching process in different areas of conservation: mural painting, easel painting, sculpture, graphic documentation, architecture, plasterwork, photography, contemporary art, among others. This Meeting aims to address retouching by encouraging papers that contribute to a deeper understanding of this final task of the conservation and restoration intervention. The main theme embraces the concepts of retouching, the criteria and limits in the retouching process, the bad retouching impact on heritage and their technical and scientific developments.This Meeting will discuss real-life approaches on retouching, focusing on practical solutions and on sharing experiencesColomina Subiela, A.; Doménech García, B.; Bailão, A. (2023). 6th International Meeting on Retouching of Cultural Heritage, RECH6. Editorial Universitat Politècnica de València. https://doi.org/10.4995/RECH6.2021.1601

    2016 GREAT Day Program

    Get PDF
    SUNY Geneseo’s Tenth Annual GREAT Day.https://knightscholar.geneseo.edu/program-2007/1010/thumbnail.jp

    2013 GREAT Day Program

    Get PDF
    SUNY Geneseo’s Seventh Annual GREAT Day.https://knightscholar.geneseo.edu/program-2007/1007/thumbnail.jp

    Actor & Avatar: A Scientific and Artistic Catalog

    Get PDF
    What kind of relationship do we have with artificial beings (avatars, puppets, robots, etc.)? What does it mean to mirror ourselves in them, to perform them or to play trial identity games with them? Actor & Avatar addresses these questions from artistic and scholarly angles. Contributions on the making of "technical others" and philosophical reflections on artificial alterity are flanked by neuroscientific studies on different ways of perceiving living persons and artificial counterparts. The contributors have achieved a successful artistic-scientific collaboration with extensive visual material

    Indigenous Arctic Fish Skin Heritage: Sustainability, Craft and Material Innovation

    Full text link
    The use of fish skin(1) for the construction of garments and accessories is an ancient tradition shared by coastal Arctic societies as a subsistence lifestyle(2) depending on aquatic resources for food and clothing. Arctic Indigenous(3) Peoples(4) need formidable resourcefulness to thrive in inhospitable ecosystems; fish skins provide them physical and spiritual protection(5). During the last century, they resisted not only colonisation and repression by humans but also dramatic ecological changes in seafood security. Fish skin craft became a way to communicate traditional knowledge where practical benefits combined cultural resilience(6). As market goods have replaced traditional fish skin clothing, the need for the skills required to create these items have diminished. The decrease of local natural resources also threatens the craft. The focus of this research is primarily to propose a vision of sustainability as an anthropological study of the resourcefulness and resilience of the Arctic Indigenous Peoples, their lifestyles, and fish skin practices. Secondarily it identifies the historical, cultural, environmental, and socioeconomic importance of fish skin as an innovative sustainable material, explored through the study of materials, processes and artefact analysis. Thirdly, the application of fish skin materials and craft practices has been tested through participatory workshops to explore how this material and the skill transmissions can contribute to sustainability practices in fashion. The contribution to knowledge is firstly the mapping of fish skin craft participatory practices with Artic Indigenous communities as this is the first time that such a survey has been undertaken. The material study of fish skin and its contribution to fashion sustainability forms a secondary contribution. 1 Within this thesis, the terms fish skin and fish leather are used to indicate different processes of the same material. Fish skin. Skin indicates the superficial dermis of an animal. In the thesis fish skin is referred as the historical raw material tanned following traditional methods: mechanical, oiling, smoking, bark, brain, urine, fish eggs and corn flour tanning. Fish Leather is used to indicate that the fish skin has passed one or more stages of industrial vegetable or chrome tanning production and is ready to be used to produce leather goods. 2 Subsistence activities of hunting, herding, fishing and gathering continue to be of major significance to the Indigenous Peoples of the Arctic in providing food, social relationships and cultural identity. 3 Indigenous Peoples are descent from the populations which inhabited a geographical region at the time of colonisation and who retain some or all of their own social, economic, cultural and political institutions. In this thesis, I use the terms ‘Indigenous’ and ‘Native’ interchangeably. In some countries, one of these terms may be favoured over the other. 4 The specific Arctic Indigenous groups with historical evidence of fish leather production are the Inuit, Yup’ik and Athabascan of Alaska and Canada; the various Siberian peoples, such as the Nivkh and Nanai; the Ainu from the Hokkaido Island in Japan and Sakhalin Island, Russia; the Hezhe from northeast China and the Saami of northern Scandinavia. 5 Arctic Indigenous Peoples believed that humans, animals and nature shared spiritual qualities. Arctic seamstresses decorated hunters’ fish skin clothing with motifs imbued with spirits, which gave protection from danger. 6 Arctic Indigenous Peoples have become a symbol of cultural resilience, actively adapting to colonisation, place dislocation due to land dispossession and resettlement, challenging the persistence of Indigenous knowledge systems

    Multi-scale thermo-viscoelastic modelling of powder-based processes

    Get PDF
    corecore