中国古代琥珀艺术——商至元

琥珀作为艺术载体在我国的出现,至少可以追溯到距今三千余年前的四川广汉三星堆遗址时期,其使用一直延绵不断。本文主要利用考古出土材料,并结合文献,对自商至元(不包括辽代)历代琥珀制品的题材、造型、工艺、使用及其文化内涵作全面的梳理和探讨。文章认为,琥珀在我国古代是作为与水晶、玛瑙、琉璃、犀、玳瑁、玉石、金等相当的贵重物品进入人们视野的。其使用多限于皇室、贵族和高官,是使用者地位、财富和奢华生活的象征。琥珀主要作为小件饰品使用,其次用作印章。至于琥珀用作杯、盅、盏、枕、碟、盒等实用器皿,虽有记载,但非常罕见。琥珀制品的造型,与同时代其他贵重材质器物的造型相同或相似,其制作以圆雕为主,少量片雕、镂雕,加刻简单的阴线表现细部特征。历代琥珀艺术呈现的面貌各不相同。     

The question of national identity and the institutionalisation of the visual arts in Grenada

ABSTRACT. This article argues for a close relationship between national identity and the institutionalisation of the visual arts in Grenada. Art, which is intrinsic to all humans, predates its institutionalisation: it is only institutionalised in societies with a strong sense of national identity. In order to explain the role of national identity in the formation of national art, the article begins by examining the period following World War II, when Grenada – still under British colonialism – was undergoing intense social and political changes. To understand these changes, the analysis of the stratification system is paramount. The article delineates three groups on the basis of the value systems developed historically: the elite, the masses and a small, growing middle class situated between these two groups. The works of three prominent Grenadian artists illustrate the argument that institutionalisation of art requires a strong sense of national identity, and through this process the artistic development of a society occurs. Furthermore, understanding this process requires a focus on the ways in which social and political groups or classes impeded the development of a national identity, preventing the institutionalisation of the arts.     

The disciplining of scientific communities

Abstract

Amidst ongoing concern with training students in the skills and knowledge necessary to contribute towards a knowledge-intensive economy, we explore how particular ‘epistemic subjects’ are produced within specific epistemic communities. We examine how social studies of science have probed the ‘disciplining’ practices that constitute scientific knowledge production, but have tended to overlook how students participate in, and become members of, epistemic communities. We propose that training contexts provide a window onto the disciplining processes through which scientific fields and their practitioners are co-produced. We offer an empirical example of an emerging scientific field that is working to establish community boundaries through the recruitment and training of university students. We explore how newcomers’ practices, values and identities are disciplined through participation in this nascent community whilst remaining open to negotiation and resistance. The conclusion calls for more scholarly attention to educational trajectories as processes through which disciplines and their disciples are produced.     

Accommodating ‘design’: introducing the Western concept into Soviet art theory in the 1950s–60s

This article investigates the background of Soviet industrial design in Soviet art theory. Instead of considering design's interconnection with technology and science, or with consumption and everyday life, the author traces its conceptualisation as a new artistic phenomenon. Using archival records of professional discussions, polemical articles in the art press and design projects, the author looks at how industrial design was incorporated into the Soviet order of things. She concludes that accommodation of the Western model was the way to reform the system of socialism from inside, typical for the Soviet intelligentsia of the 1960s.     

D’Arcy Thompson’s Legacy in Contemporary Studies of Patterns and Morphology

Abstract

D’Arcy Thompson’s views on the forms of biomaterials are assessed in the light of current thinking on biomorphology in selected areas of biology. It is clear that his guiding concepts — that biological materials are structured in response to physical forces, and that the biological and abiotic realms share many common features — remain valid. Advances in the physical and biological sciences are discussed, from quantum mechanics and molecular biology to liquid crystalline materials and macroscopic forms. These reveal Thompson’s clear-sighted view of the role of physical and mathematical sciences in biology, as well as his blind-spots.     

Handcraft as Cultural Diplomacy: The 1968 Mexico Cultural Olympics and U.S. Participation in the International Exhibition of Popular Arts

Mexican post-revolutionary cultural institutions excelled at implementing Mexican art and popular arts as key elements in cultural diplomacy. However, while there is abundant research regarding these arts and their inclusion in international exhibitions during the first part of the twentieth century, there is little research on their role in international cultural diplomacy during the second half of that century. In the first part of this article I present a historiographical appraisal of the 1968 Mexican Cultural Olympiad and the resolutions of the “First Latin American Seminar on Popular Arts and Crafts” sponsored by UNESCO in Mexico City in 1965. In the second, I examine the case of U.S. participation in the “Exposición Internacional de Artesanías Populares” (International Exhibition of Popular Arts), which was part of the 1968 Cultural Olympiad’s programme – largely neglected by the historiography of the XIX Olympics – to explain how popular arts were made to perform as agents of cultural diplomacy in Mexico and the U.S. during the Cold War. In addition, I argue that U.S. participation in this exhibition also reveals negotiations and redefinitions of the concepts of handcraft and arte popular, and the economic and social situation of their makers in the United States.     

A CONCEPTUAL AND METHODOLOGICAL FRAMEWORK FOR DESIGNING AND EVALUATING COMMUNITY‐BASED AFTER‐SCHOOL ART PROGRAMS

The objective of this paper is two‐fold. First, various perspectives that have been adopted in the discursive context of the benefits of engaging children and youths in artistic endeavors are examined. Second, in the hope of maximizing the quality of arts programs that enrich the lives of youth, a conceptual and methodological framework for the development of community‐based art programs for youth is presented. The aim is to provide a clear way to conceptualize and operationalize arts programs, and to delineate methods for the evaluation of their effectiveness.     

Seismic History of the Church of San Pietro Di Coppito in L’Aquila

After the terrible 18th-century earthquakes—in L’Aquila in 1703, Lisbon in 1755, and Reggio Calabria in 1783—specific anti-seismic precepts were introduced in the rules of the art of masonry construction. Scrupulously adhered to in the first years after the earthquake, those precepts gradually ceased to be used until they were almost completely forgotten, centuries later, by which time the earthquake had become a distant memory. The church of San Pietro di Coppito, one of the most important churches of L’Aquila, is emblematic of this singular process. Deeply transformed in accordance with new anti-seismic construction techniques after it was particularly badly damaged in the terrible 1703 earthquake, the church was subjected, in the 1970s, to drastic alterations by the Commissioner Mario Moretti, who demolished all the baroque additions and redesigned it in the “medieval Abruzzo” style, eliminating in the process the intelligent anti-seismic provisions introduced in the 18th century. In addition to documentary purposes, this work aims to underline the effectiveness of this early 18th-century example of anti-seismic engineering in the belief that the constructive solutions it employed could still form a valid architectural and structural model in view of the massive restoration task for which, unfortunately, L’Aquila is still waiting today.     

Ethologists in the Kindergarten: Natural Behavior,Social Rank,and the Search for the “Innate” in Early Human Ethology (1960s-1970s)

During the 1970s, ethologists at the German Max Planck Institute for Behavioral Physiology in Seewiesen started a series of research projects at several regional kindergartens in search of natural predispositions in human behavior. This so-called “Kindergarten Project” became one of the pillars of research activity at the newly founded Forschungsstelle für Humanethologie (Research Center for Human Ethology) where Irenäus Eibl-Eibesfeldt and a team of researchers set out to explore new fields of research for the discipline of ethology. Taking the research project conducted by biologist Barbara Hold on ranking behavior among kindergarten children as a vantage point, this paper explores the shift in ethology from animal to human behavior which occurred during the 1960s and 1970s. It analyzes how human ethologists coped with the methodological, conceptual, and ethico-political challenges which arose from crossing the human-animal divide. This article thus sheds light on the hitherto unwritten history of human ethology as it was developed at the MPI since the late 1960s.     

一个展览和一个时代——“明永乐宣德文物特展”设计综述

"明永乐宣德文物特展"是一个全面展现明早期艺术的综合性文物大展。展览的最终目的是要激发大众对传统艺术的兴趣,令其得到文化的熏陶与艺术的启迪,因此,展览陈列设计所要考虑的是一个多层次的体系。首先提炼装饰元素作为视觉主题,将艺术品的美感尽可能展现给观众,同时还要向观者传递时代背景、皇帝的思想境界等信息。此外,设计者还精心挑选不同的装饰材料以营造新颖的展示环境,达到衬托文物高超工艺水平的目的。     

Kulturen des Experiments

Cultures of Experiment. – It is generally accepted that the development of modern science is rooted in experiment. Yet for a long time, experimentation did not occupy a prominent role in history of science. With the practical turn in science studies, this has begun to change. This paper is concerned with cultures of experiment. In the first part, a suggestion is made as to how the concept of experimental culture can be used to go beyond a history of disciplines. In the second part, a particular experimental culture in the life sciences is looked at more closely. A survey is given on the changing forms of in vitro experimentation, that is, on analyzing biological functions in a test tube.     

Formt die Technik die Musik? Montageästhetik zu Beginn des 20. Jahrhunderts

Does technology shape music? Aesthetics of assembly at the beginning of the 20^th century. This article deals with the relationship between assembly in production technology and similar processes in musical composition. Can composers like Eric Satie, Igor Strawinsky or George Antheil, who used assembly methods in some of their compositions, be called assemblers? The authors point out that all three composers used assembly methods in different ways and with different purposes. Applying a theoretical approach inspired by media studies they come to the conclusion that the conditions under which musical works using assembly methods are shaped do not originate in technology but in the aesthetic convictions of the composer. Apart from assembly methods there are many other compositional principles the composer relies on. Technology may inspire music but does not determine the musical outcome.