• Digital Humanities and Cultural Heritage

My research explores contemporary painting's assertion of itself in a post-media present characterised by a diminished focus on the properties of any singular medium, and a movement toward a freedom to expand the passages and exchanges between them. Circumstances, a conjunction of technological change and a shift in attitudes, require a general recontexturalisation of painting that accommodates its evolving relationship to the photograph, the screen and the lens. This paper engages with historical matters. As the expanded exhibition project Baroque 'n Roll mimes or lip-syncs a historical period, the research drags the paradigm established in most conventional retellings of the Classical Greek Myths, specifically that of Robert Graves by referring to chapters as "books". Everything old is new again. The past is nothing but a previous present and the expanded painting installation project Baroque n' Roll attempts to re-connect the viewer with the classical traditions that still significantly inform the nutrient-bed of contemporary culture. The framework of the research draws a parallel between the banality of the suburban Australian sprawl with the excesses of the hyper-commercialised retail enterprises and uber-monolithic shopping enclaves like the Westfield conglomerate and the sumptuous, over-the-top decadence of the 17th Century Baroque. In the exhibition Baroque 'n Roll; Mise en scene pastiches tropes in contemporary painting, architecture, performance and technology, by creating an installation space within the gallery which drags the Frick Collection's Fragonard Room found in New York. The purpose of the room is to frame a series of oil paintings located in a style imitative of painting from the baroque period. In this sense Baroque 'n Roll "covers" a past aesthetic used to allegorise the continued relevance of painting in the face of evolving technology while drawing a connection between the wealth and decadence of the 17th Century French Court and the imitation wealth and decadence of the "Hungary Jack parklands of suburban Australia".

Birinci Dünya Savaşı’ndan sonra, Fütürist, Kübist ve Dışavurumcuların tabu yıkan etkileriyle sanat dünyasında birtakım belirsizlikler oluşmuştur. Özellikle Paris merkezli bazı sanatçılar, bu dönemin eserlerinin kargaşa içinde olduğunu düşündüklerinden düzenleyici bir yol arayışına girmişlerdir. Bu yönde kübist sanatçılar, “Düzene Çağrı” hareketiyle, Kübizm’i Klasik Fransız resmine temellendirmek istemişler, eserleri de zaman zaman “Fransız Kübizmi” olarak adlandırılmıştır. Bu resim anlayışı, dünyanın çeşitli yerlerinden Paris’e gelen sanatçıların bakış açılarını da şekillendirmiştir. Hareketin kurucusu ve savunucularından biri olan ressam ve sanat eğitimcisi André Lhote, bir ressamın büyüdüğü coğrafyanın, kültürel geçmişinin oluşturduğu görsel değerlerin Klasik bir kavrayış olarak etkin olabileceğine inanmıştır. Bu anlayışla atölyesinde yüzlerce uluslararası öğrenci yetiştirmiştir. Jalil Ziapour İran’dan ve Nurullah Berk de dâhil olmak üzere önemli sayıda Türk öğrenci Türkiye’den onun stüdyosuna gitmiş ve döndükten sonra ülkelerinin sanat tarihini etkilemişlerdir. Lhote’a giden Türk öğrencilerin arasında Nurullah Berk’in İran’dan ise Jalil Ziapour’un gerek modern sanatı gerekse Kübizm’i tanıtmak için daha fazla yazı yazmaya odaklanmaları ve sanat eğitimindeki rolleri bu araştırmada karşılaştırılmalarının temel sebebidir. Ayrıca ülkelerinin görsel unsurlarına yönelerek resimde yerel bir anlayış yaratmaya ve Doğu-Batı sentezi yakalamaya çalışmışlardır. Bu makalede, André Lhote’un düşüncesinin ve Klasik olarak tanımladıklarının Jalil Ziapour ve Nurullah Berk tarafından nasıl algılandığı, düşüncelerine ve sanatlarına nasıl yansıdığı örneklerle irdelenmiştir. After World War I, with the taboo-breaking impact of the Futurists, Cubists, and Expressionists, there was some uncertainty in the art world. Some Parisian artists in particular were looking for a regulative path and saw the works of the time in turmoil. In this sense, the Cubist artists of the “Call to Order” movement wanted to base Cubism on classical French painting, and their works were sometimes referred to as “French Cubism” This understanding of painting also shaped the perspectives of the artists who came to Paris from different parts of the world. Painter and art educator André Lhote, one of the movement’s founders and advocates, believed that the visual values created by a painter’s geographic location and cultural background could be effective as a classical understanding. With this understanding, he has trained hundreds of international students in his studio. Jalil Ziapour is from Iran, and numerous Turkish students, including Nurullah Berk, have visited his studio from Turkey and influenced their country’s art history upon their return. Among their fellow Turkish students, Nurullah Berk and Iranian artist Jalil Ziapour focused more on writing to promote modern art and cubism, also their role in art education was the reason why they were compared in this study. In addition, they tried to create a local understanding of painting and achieve an East-West synthesis by turning to the visual elements of their countries. This article uses examples to examine how André Lhote’s thoughts and what he defines as classical are perceived by Jalil Ziapour and Nurullah Berk and how they are reflected in their ideas and art.

Discussed the results of survey conducted from May 5th to 9th, 2020 among 178 members of three Facebook groups: Sekcja Estetyczna, Dictator of good taste and Jak będzie na płótnie? The goal of this survey was to analyze the knowledge among users about two Facebook pages – Classical Art Memes and Sztuczne Fiołki. Questions from the survey were supposed to establish how often users visit, comment and share posts published on the pages and at the same time ask the participants if they recognize authors of the original paintings and how they evaluate the content on these pages. Conducted examination was supposed to show the interest in memes among users and to answer the key question – what is their reception of the memes based on the peace of art and if so, could they become an element of art education? Omówiono wyniki badania ankietowego przeprowadzonego od 5 do 9 maja 2020 roku wśród 178 członków trzech grup na Facebooku: Sekcja Estetyczna, Dictator of good taste i Jak będzie na płótnie? Celem przeprowadzonej ankiety było zanalizowanie znajomości wśród internautów dwóch stron na Facebooku – Classical Art Memes oraz Sztuczne Fiołki. Pytania zawarte w ankiecie miały na celu określenie jak często użytkownicy odwiedzają strony, komentują treści, udostępniają posty publikowane na stronach, ale również czy identyfikują autorów obrazów oraz jak oceniają treści na stronach. Przeprowadzone badanie miało wskazać zainteresowanie internautów memami oraz udzielić odpowiedzi na kluczowe dla badania pytania – Jaki jest odbiór memów opracowanych na podstawie dzieł sztuki? oraz Czy mogą się one stać elementem edukacji artystycznej?

On examine le problème de la restitution du mouvement dans les images de l’art de l’antiquité classique, en partant de la conception philosophique et anthropologique du mouvement des penseurs grecs. Les concepts de σχῆμα et ῥυθμός sont fondamentaux pour clarifier la relation dialectique entre mouvement et stase en relation avec la μίμηεσις, à la fois dans la danse, l’art ‘mimétique’ par excellence, et dans les arts visuels. Une figure peinte ou sculptée est une ἠρεμία, un punctum temporis isolé, qui contient néanmoins potentiellement le flux du mouvement, que l’observateur peut récréer mentalement en imaginant les mouvances qui la précèdent et celles qui la suivent. On compare les vues des Anciens en matière avec celles des certains penseur modernes (Lessing, Bergson, Deleuze) et on termine en revisitant l’anthropologie visuelle fondée par Warburg à la lumière des récentes acquisitions de la psychologie cognitive et de la neuroesthétique. The problem of the restitution of motion in the artistic images from classical antiquity is explored through the philosophical and anthropological conceptions of the movement in Greek thought. The concepts of σχῆμα and ῥυθμός are fundamental to clarify the dialectical relationship between movement and stasis in relation to μίμηεσις, both in dance, the “mimetic” art par excellence, and in the visual arts. A painted or sculpted figure is an ἠρεμία, an isolated punctum temporis, which nevertheless potentially contains the flow of movement, which the observer can mentally recreate by imagining what precedes and follows it. The views of the Ancients on this topic are compared with those of some modern thinkers (Lessing, Bergson, Deleuze) and the visual anthropology of Aby Warburg is reconsidered in the light of recent acquisitions of cognitive psychology and neuroesthetics.

The fresco served an extraordinarily important role during the Aegean Bronze Age not only as a marker of wealth and form of elite consumption, but also as a ritualistic tool and creator of cultic space. However, while there is a wealth of literature present concerning the presence of frescoes and speculations about the symbolic nature of their depictions, there is very little information about the effects of the fresco as an active agent upon a passive viewer. This study delves into the nature of the Bronze Age Aegean fresco as an active media differentiating itself from small-scale ceramic artwork through its ability to physically surround and incorporate the viewer into the narrative. The paper first discusses the origin of the fresco, followed by a break down of the two major forms of perspective used in Bronze Age Aegean frescoes: the “cavalier perspective” and the “incorporative perspective”. Finally, case studies of each perspective are analyzed to demonstrate the effect of the fresco upon a passive viewer and to show the subtlety of the perspectives themselves. This analysis of the Bronze Age fresco as an active agent capable of effecting the emotions of human observers provides a new level of fresco interpretation rarely before considered by archaeologists and art historians.

Material docent de la Universitat Oberta de Catalunya. Material docente de la "Universitat Oberta de Catalunya". Learning material of the "Universitat Oberta de Catalunya".

This special issue gathers together a selection of short articles reflecting on the historical construction of inequality and race in the histories of archaeology. The articles also suggest ways in which the discipline might grapple with the—often obvious, sometimes subtle—consequences of that historical process. Solicited via an open call for papers in the summer of 2020 (one made with the aim of speedy publication), the breadth of the topics discussed in the articles reflect how inequality and race have become more prominent research themes within the histories of archaeology in the previous five-to-ten years. At the same time, the pieces show how research can—and should—be connected to attempts to promote social justice and an end to racial discrimination within archaeological practice, the archaeological profession, and the wider worlds with which the discipline interacts. Published at a time when a pandemic has not only swept the world, but also exposed such inequalities further, the special issue represents a positive intervention in what continues to be a contentious issue.