In God We Trust: Abraham Lincoln and America's Deathbed Repentance

Abstract

This article maps several key moments in the evolution of religious symbolism and language on US currency, focusing largely on Abraham Lincoln's overlooked role in signing the motto "In God We Trust" into law. Interpreting the motto through the lens of Lincoln's "Second Inaugural Address"—which he delivered just one day after Congress passed the first statute allowing "In God We Trust" to be stamped on US coins—offers a counter-intuitive interpretation of the motto that functions as a deep, ironic, and historically significant critique of religious nationalism.     

古代香港树皮布文化发现及其意义浅释

环珠江口一带的大湾文化中发现的树皮布石拍是中国大陆目前所知唯一年代最早,可靠性最强的与树皮布技术相关的资料。环珠江口树皮布文化很可能是全球树皮布文化的源头。     

Quantification and the Scientific Study of History

Abstract

A survey of the illustrations in art history textbooks reveals that the most important Modern American painters, including Pollock, Johns, and Warhol, failed to produce individual paintings as famous as the masterpieces of a number of major French artists, such as Picasso, Manet, and Seurat. Analysis of the textbooks reveals that art historians do not consider the American artists to be less important than their French predecessors or judge the Americans' innovations to be less important. The absence of American masterpieces instead appears to be a consequence of market conditions. as changes over time in the primary methods of showing and selling fine art reduced the incentive for artists to produce important individual works. This study demonstrates that the study of markets is essential to a full understanding of the development of Modern art.     

现代美国艺术博物馆及其观众

二十多年来,美国艺术类博物馆一直致力于找寻不同的方法,如测试展览标牌以及文字书写,增添展厅内外电脑互动的使用,以及开展创作日志、诗歌等的参与性艺术活动,以了解公众与艺术间的关联,并提升博物馆创设的游客体验.丹佛艺术博物馆、克利夫兰艺术博物馆以及底特律艺术馆等由博物馆员工和评估专家一起开展观众研究,调查观众和各项活动,考...     

数字技术辅助博物馆展陈的若干思考

数字展览与互动技术是博物馆展陈的重要辅助手段,提高了用户参观趣味性,增强了用户体验,达到了参观个性化的目的。     

We are never alone: a conversation on bio art with Eduardo Kac

Brazilian-born artist Eduardo Kac’s (Rio de Janeiro, 1962) work has raised eyebrows especially for his ‘transgenic art’ projects, among others: Genesis, 1999; GFP Bunny, 2000; The Eight Day, 2001; Natural History of the Enigma, 2003/08. In all of these, Kac and his scientific collaborators realize genetic interventions into living organisms at the same time as they trigger audience reactions to these from playful kinds of interaction that is integrated into the works’ open and dynamic creative process. Yet whereas the ethical and political challenges Kac’s work poses have sparked lively debates within and beyond the realm of the arts – can and must art engage with the ‘creative’ potentials of biotechnology and genetics? Do these not in fact (as Vilém Flusser and others have suggested) hold the key to realizing the vanguardist dream of merging art and life? Or should the artist, from the vantage point of his own creative practice, not rather warn us against the ethical and political risks involved in genetic engineering? – much less attention has been paid to the way Kac’s art also continues and transforms a particular legacy of post-concretist, ambient and performance art in Latin America.

Kac himself has referred to Brazilian artists Flávio de Carvalho, Hélio Oiticica and Lygia Clark as informing his interest in open, participative forms, which characterize both his transgenic and his earlier ‘tele-presence’ art projects. Other Latin American artists of the late twentieth and early twenty-first century have been producing intriguing engagements with living materials, multispecies habitats and organic remains, including such diverse names as Luis Fernando Benedit, Nicola Constantino, Nuno Ramos, or Teresa Margolles. In a conversation with Jens Andermann and Gabriel Giorgi at the University of Zurich’s Center of Latin American Studies on March 12, 2015, Kac addressed the way in which his work might be seen as continuing or challenging long-standing representations of the New World as a repository of ‘nature’, from colonial chronicles of discovery to contemporary discourses of biodiversity and conservation. To what extent is bio art – and the questions it raises about the Anthropocene as a threshold of radical biopolitical convergence between ‘history’ and ‘nature’ – necessarily ‘transcultural’ and planetary in its extension?     

Stitching modernity: the textile work of Fortunato Depero

Fortunato Depero (1892–1960) was a Futurist artist who worked in a variety of artistic mediums, from painting and graphic design to furniture and textiles. His work in textiles, created and produced in close collaboration with his wife, Rosetta Amadori, can be considered the most important development in his artistic career, as it comprised a large portion of his creative production. Yet this work has been largely overlooked. Many reasons explain this oversight, including categorizing inconsistencies – for example, his textiles have been described as embroidery, needlework, tapestry, patchwork, and cloth mosaic – and the persistent relegation of textiles to the realm of crafts and domestic arts rather than art, which has meant that his work in textiles has not been a priority for scholars and conservators of Futurism. This paper places Depero's textiles within the context of early-twentieth-century modernist artistic activities, and demonstrates the centrality of his textile work to his artistic oeuvre.     

‘A Shop Window Where You Can Choose the Goods You Like’

This article examines the Finnish industrial and trade fairs held in the Soviet Union in the context of Finnish–Soviet trade and scientific–technical cooperation in the 1950s and 1960s. While primarily focused on fairs, it also discusses different activities that accompanied them, such as lectures, visits, and negotiations between Finnish traders and Soviet officials and specialists. This study illustrates how such first-hand contact played an important role in Finnish–Soviet communications. First, they helped Finnish producers showcase their goods and technologies directly to Soviet buyers in various ministries and organizations. Second, these contacts included diverse activities such as face-to-face contacts, lectures, and seminars, being a means of technology transfer from Finland to the USSR . Finally, although they were commercial interactions without explicit ideological purposes – like many international exhibitions of the last century – Finnish fairs demonstrated a technological gap between Finland and the USSR.     

‘We don't do dots ‐ ours is lines’ — Asserting a Barkindji Style

ABSTRACT This paper offers an ethnographic exploration of the assertion of a ‘Barkindji style’ art: why this matters and to whom it matters. Focusing particularly on the Darling River area of Wilcannia and on the period from the 1980s to the present, the increasing interest in art‐making by local Aboriginal people is considered. Through a dialogue with artists, artworks, and others, the work examines the changing form, design and content of art and the role of art in defining ideas of Barkindji Aboriginal culture and tradition. Invocations by key cultural brokers to produce work that is seen to ‘belong to us’ is explored in terms of the cultural, political, and personal work that this involves; particularly as this intersects with ideas of artistic freedoms versus artistic direction by cultural brokers. The paper discusses the personal considerations and tensions that come to bear in the processes connected with production of art and its making. In so doing, this paper engages with, and extends, the work of Tacon et al. (2003), Cooper (1994), Kleinert (1994) and Morphy (2001) as this pertains to art ‘styles’ and material culture from what is widely referred to as south‐eastern Australia.     

An Experimental Technological Study of Upper Paleolithic Kostenki-type Figurines

Principal stages in the manufacture of zoomorphic, polyiconic, and anthropomorphic Upper Paleolithic figurines are reconstructed. General factors determining their characteristics include universal conventions of representation and the limited set of technological operations available, whereas local factors include specific ways of processing materials and combining artistic techniques, the manner of individual masters, technological faults and accidents, as well as taphonomic processes.     

Combining New Awareness and Public Support for Archaeology with In Situ Preservation of an Archaeological Monument

Preserving archaeological remains in situ is one of the main objectives of the Valletta Treaty, which was signed by the Dutch government in 1992. Subsequently, preservation in situ has become one of the pillars of archaeological heritage management in the Netherlands. Another objective of the Treaty is the promotion of heritage education and raising of public awareness for the protection and investigation of archaeological heritage. Until recently, this goal has received too little attention. The design and building of an underground visitor centre, DOMunder, raised an important question: How can we transform an archaeological monument into an asset for the community and at the same time ensure long-lasting preservation? Not many parallels exist, as most archaeological sites in urban environments are seen as a burden for development. Sites are generally either excavated or left in situ; in both cases the archaeology remains invisible and inaccessible to the public. In the case of DOMunder, the location in a wet sedimentary environment provided even more challenges. This paper focuses on a few of the many questions and problems that were raised before and during the building process and the (preliminary) answers and solutions.     

Rock Art: A Potential Source of Information about Past Maritime Technology in the South-East Asia-Pacific Region

It is possible that most or all boats and rig-types used in prehistoric times in the South-East Asia-Pacific region have completely disappeared from the record, and that those recorded by Europeans in the 17th century may have been relatively recent innovations. The purpose of this paper is to introduce to the literature a new source of information on ancient boat and rig designs. This source is the information encoded in rock-art depictions of watercraft. This paper provides a technical appraisal of 18 images of watercraft from the Tutuala region of East Timor.
© 2007 The Authors     

Sentimental Capitalism in Contemporary India: Art,Heritage, and Development in Ahmedabad,Gujarat

Using a critical cultural politics approach and deploying the concept of sentimental capitalism, this article problematizes the burgeoning creative economy discourse while analyzing spaces of art and heritage production in Ahmedabad, India. I situate the Cotton Exchange exhibit (April 2013) in an erstwhile mill in recent histories of mill closures, genocide, creative economy initiatives and development aspirations of revitalizing degraded space. I argue that in remaking place, art mobilizes sentiments—here, nostalgia and hope—while erasing violence and inequality. Sentimental capitalism is at work in the exhibition by mobilizing artisans as entrepreneurial agents not victims of capitalism; constructing art's aura of grassroots participation and artisanal empowerment while obscuring displacement and exploitation; and fostering cult‐like regard for art's intrinsic and instrumental value as non‐profit and its capacity to engender opportunity, recognition, and even property. While another spatial politics is possible, in Ahmedabad today, art is being mobilized to obscure dispossession and exploitation in the name of urban revitalization and heritage production.     

In pursuit of independence: the political economy of Catalonia's secessionist movement

This article examines the fiscal dimensions of recent support for Catalan secession. Since the region is a cultural community distinct from the rest of Spain, much research has spotlighted national identity features in the calculus of Catalan political aspirations. This study supplements this work by contextualising support for Catalan independence in terms of the state's fiscal arrangements with the use of public opinion survey data. Even after controlling for self‐reported cultural identity and other relevant factors, it argues that support for independence is a function of grievances rooted in the desire for Catalonia to assume responsibility for taxation and spending policy. Meanwhile, it validates some observations about Catalonia's separatist movement, while bringing others into question, and offers support for the theoretical framework linking political economy to secessionism. The results suggest that Spain might be able to stave off Catalonia's separatist bid through some form of political and taxation policy reconfiguration, with the caveats that cultural identity factors and the existence of other separatist movements across the country complicate this strategy.     

In search of the optimum Raman/IR signatures of potential ingredients used in San/Bushman rock art paint

Vibrational spectroscopy (Raman and FTIR) has played an important role in identifying pigments, substrata and deterioration products in rock art studies worldwide: in the laboratory and on-site. However, the detection of organic binders and carrying agents has so far been scarce and the quality of many spectra recorded on-site inadequate. In this study, possible pigments (charcoal, ochre, raptor faeces, thermally treated ostrich egg shell, etc.), binders (fat, egg, blood) and carrying agents (saliva, gall, egg, water) were selected based on artistic considerations and analysed with FTIR and Raman (514.6 and 785 nm excitation, both available in mobile instruments) spectroscopy in order to determine usable marker bands for each ingredient. The resultant marker bands were then used to analyse five ten year old San replica paints. It was found that FTIR spectroscopy is very efficient to identify organic compounds as there is no fluorescence but the broadness of the bands inhibits the exact assignment of many ingredients. A high fluorescence background experienced for many natural products prevented the recording of Raman spectra for all ingredients, in many instances though the sharp peaks usually associated with Raman spectra make identification easier than with FTIR spectroscopy. Most of the ingredients in the paints could be identified, but it is clear that better results are obtained when more that one technique is used.     

The Art of Contested Histories: In Pursuit of Venus [Infected] and the Pacific Legacy

ABSTRACT

European artists of the eighteenth century framed an exotic textual and visual narrative of the Pacific, drawing largely on knowledge gained from exploratory journeys of the 1760s and 1770s. Visual representations of the Pacific became socially fashionable and commercially successful. The French wallpaper manufacturer, Dufour, captured this commercial potential in a dramatic, panoramic wallpaper that told stories of European encounters with Pacific peoples: Les Sauvages de la Mer Pacifique (1804). Yet it was selective, defining the Pacific by moments of contact with Cook and other explorers. Lisa Reihana's In Pursuit of Venus [Infected] (2015–17) dramatically interrogates the eighteenth-century narrative of the Pacific, responding to Dufour's wallpaper in a complex, panoramic work. By attending to ways in which the factual and speculative are brought together in Enlightenment artefacts and Reihana's restaging of them, we explore how art might be put to use in the service of historical interpretation.     

明清时期潮州粮食供给地区及路线考

明清时期, 潮州地区由于商品经济的发展, 粮食日益不能自给, 不得不到本地区之外购买粮食。随着粮食需求的不断增大, 江西赣州, 广东雷州、琼州、高州, 福建厦门、台湾, 东南亚暹罗、越南等国先后成为潮州粮食的供给地。粮食供给地的变化, 引起贸易路线的变迁。潮州粮食贸易亦与潮州华侨出国有很大关系, 潮州的粮食贸易形成自己独特的原因和规律。     

中国东北地区与俄罗斯远东地区及蒙古人民共和国产业合作开发研究

本文从产业结构分析出发,研究了东北亚经济区中一个特殊区域上三个国家间经济技术合作的政治和经济基础,指出了区域间经济技术合作的资源互补性、产业发展差异性、科技水平各具优势特征和经济发展水平差异性等现状特征,提出了中国东北地区与俄罗斯远东地区及蒙古人民共和国在经济技术合作的产业方向。