Revival: Memories, Identities, Utopias

Revival: Memories, Identities, Utopias explores the phenomenon of revivalism in art, architecture and design from the nineteenth century to the present. Essays from leading scholars investigate the meanings and impacts of revivalism across a wide array of global contexts. The book?s three sections are prefaced by critical interventions, which consider the significance of ?nostalgia?, ?anachronism? and ?historicism? as philosophical, cultural, and artistic categories that are as productive as they are problematic. A thematic framework invites parallels between apparently disparate projects, such as resurgences of techniques or materials, medievialism, utopian futurism, empire and style, and the persistence of ?neo? in the midst of an ever-urgent quest for originality. Revivalism?s political, religious and economic dimensions are considered from a variety of perspectives, and the differing registers of revivalism are foregrounded in innovative and sophisticated ways. Revival: Memories, Identities, Utopias is the first book to consider these complex processes of historical layering and the stimulating dialogues struck up between materials, objects and ideas that take place across periods and places, often with surprising and controversial results. From Neo-Victorian typography and tattooing to idyllic urban planning and divine revelations, the cultural heft of revivalism is revealed as a constant and paradoxical companion of modernity

"The Present is Art": Vorticist and Futurist Temporalities

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Factors that facilitate consumer uptake of sustainable dietary patterns in Western countries: a scoping review

ObjectivesThis scoping review aims to describe factors that facilitate consumer-level transitions to more environmentally sustainable diets.MethodsUsing scoping review methods, four databases were searched for articles published in English examining facilitators to consuming an environmentally sustainable diet and focused on consumers, using data collected in Western countries, and were published between 2012 and 2022. Researchers extracted study characteristics and factors influencing adoption or uptake of sustainable foods or dietary patterns. Using this data, researchers conducted a thematic analysis to determine five main themes describing leverage points (modifiable) for dietary transitions.ResultsResults are reported per PRISMA guidelines: 21 studies were included with data from the U.K., U.S., Australia, and Europe. The results of this review indicate that values, knowledge, marketing, consumer-product relationships, and support networks, along with their respective subthemes, may be central drivers of consumer adoption of sustainable dietary patterns. Consumers are more likely to purchase and consume products which are familiar and appealing and align with their values. Cost, lack of knowledge, and lack of social support act as barriers to dietary change to more sustainable food choices. Income, education, ethnicity, sex, and employment were common individual-level characteristics identified as influential over likelihood of adopting environmentally sustainable dietary patterns. Individual-level characteristics create nuances in both likelihood to adopt, and the experience of barriers to adopting, sustainable dietary patterns.ConclusionKnowledge of leverage points and individual-level nuances is useful in informing strategies to facilitate transitions to more sustainable diets

Riverine organic matter functional diversity increases with catchment size

A large amount of dissolved organic matter (DOM) is transported to the ocean from terrestrial inputs each year (~0.95 Pg C per year) and undergoes a series of abiotic and biotic reactions, causing a significant release of CO2. Combined, these reactions result in variable DOM characteristics (e.g., nominal oxidation state of carbon, double-bond equivalents, chemodiversity) which have demonstrated impacts on biogeochemistry and ecosystem function. Despite this importance, however, comparatively few studies focus on the drivers for DOM chemodiversity along a riverine continuum. Here, we characterized DOM within samples collected from a stream network in the Yakima River Basin using ultrahigh-resolution mass spectrometry (i.e., FTICR-MS). To link DOM chemistry to potential function, we identified putative biochemical transformations within each sample. We also used various molecular characteristics (e.g., thermodynamic favorability, degradability) to calculate a series of functional diversity metrics. We observed that the diversity of biochemical transformations increased with increasing upstream catchment area and landcover. This increase was also connected to expanding functional diversity of the molecular formula. This pattern suggests that as molecular formulas become more diverse in thermodynamics or degradability, there is increased opportunity for biochemical transformations, potentially creating a self-reinforcing cycle where transformations in turn increase diversity and diversity increase transformations. We also observed that these patterns are, in part, connected to landcover whereby the occurrence of many landcover types (e.g., agriculture, urban, forest, shrub) could expand DOM functional diversity. For example, we observed that a novel functional diversity metric measuring similarity to common freshwater molecular formulas (i.e., carboxyl-rich alicyclic molecules) was significantly related to urban coverage. These results show that DOM diversity does not decrease along stream networks, as predicted by a common conceptual model known as the River Continuum Concept, but rather are influenced by the thermodynamic and degradation potential of molecular formula within the DOM, as well as landcover patterns

Tate’s Britain: issues of continuity and comparison when re-presenting and advertising historic and contemporary British art beyond the gallery walls

Tate Britain’s 2011 poster campaign boldly states ‘This is Britain’ and reproduces two works from the collection, one historic, one modern or contemporary, with a strip of Union Jack flag at the bottom. The design suggests a sense of coherence in the collection and in British art in general. This article questions the purpose of this supposed coherence, by questioning its art historical basis, and focusing on its consequences for the reception and perception of historic, modern and contemporary British art amongst Tate’s audience, both within and without the gallery space. The ideas presented draw on press commentary, visitor statistics and museum advertising practice and look at three points in Tate’s history: the Millbank gallery’s 1897 opening, the 2000 rebrand as Tate Britain and the current moment of this poster campaign. This article will argue that the transhistorical juxtapositions seen in these posters are a central tenet of how Tate builds its own identity and that of British art, and that these posters are used as a satellite exhibition space, but with a curatorial approach other to that of the gallery itself, so that the collection is displayed to attract the maximum potential audience

Futurism's African (A)temporalities

Emerging from the paradox of early Futurism’s appetite both for progress and technology and for Africa and the primitive, this article seeks to reconcile these aspects of the movement by comparing Futurism’s and Africa’s temporalities. Drawing on anthropological and art historical discourse on the temporality of the tribal/primitive/non-Western and with reference to turn of the century Italian anthropological and political concepts of Africa, this article demonstrates how the use of African, "primitive" and "barbaric" elements in early Futurist theory, the art of Umberto Boccioni and Carlo Carrà and the literature of F.T. Marinetti, was a key aspect of the Futurist relationship with the past, present and future

Futurism and the past : temporalities, avant-gardism and tradition in Italian art and its histories 1909-1919

This thesis re-evaluates Italian Futurist art's relationship with the past, focusing on the years 1909-1919. This aspect of the movement is fundamental to its complex identity, yet has not received prolonged scholarly attention. In order to reconsider Futurism's temporality this thesis focuses on the fine art practice and theoretical writings of Giacomo Balla, Umberto Boccioni, Carlo Carra, Luigi Russolo and Gino Severini, and also the writings on the movement's leader F.T. Marinetti, plus the Florentine Futurists Giovanni Papini and Ardengo Soffici. The historiography of Futurism, which both produces the reductive antipassatista model of the movement and highlights the presence of formal similarities between the Italian artistic tradition and Futurism, is also interrogated. The first part of this thesis argues that the Futurist temporality is more nuanced than the widely accepted model of adoration of the future and repudiation of the past, and that it is related to the conflicting notions of time present in the decade in question. Using the Futurists' concept of time to analyse their relationships with the past, present and future, it argues that the present is the most important temporal mode for Futurism, but that the past and future are part of this present. This thesis approaches Futurism's relationship with Italy's artistic past in tandem with its interrogation of its temporality. This requires a consideration of the temporality of art history, the temporal orientation of avant-gardism and the connotations of tradition and appropriation in art historical practice in order to produce a spiralling art historical model in which returns to the past can be forms of progress. In the second part of this thesis, these possible appropriations of the Italian artistic tradition from Magna Graecia to Giovanni Battista Tiepolo are surveyed, using the reception of earlier art historical periods in early twentieth century Italy to consider how and why the Futurists could have appropriated them. The Futurists' continuation of the recent past of Italian and French art from Italian unification up to the launch of Futurism is also addressed, noting the anti passatismo of these precedents to show that the Futurist relationship with the past, as reconstructed in this thesis, was not sui generis. The aim of this thesis is to bring together Futurism's rhetoric about the past, understanding of time, and relationship with art history in order to offer a more nuanced understanding of the movement's antipassatismo