scholarly journals Review of After Art by David Joselit (Princeton)

Lateral ◽  
2017 ◽  
Vol 6 (1) ◽  
Author(s):  
Lindsay Garcia
Keyword(s):  
Traditional Approach ◽  
Le Corbusier ◽  
Art World ◽  
Matthew Barney

David Joselit’s slim volume "After Art" offers multiple intriguing frameworks to analyze art in the present-day globalized art world. After Art backs away from the traditional approach of artist intent and production and looks at what happens to images once they are attached to the networks that circulate them. Instead of proselytizing individual or even original artworks, Joselit champions images that are constantly reproduced and remediated by artists and architects such as Tania Bruguera, Ai Weiwei, Sherrie Levine, Matthew Barney, Le Corbusier, and Rem Koolhaus.

Matta, Roberto (1911–2002)

2018 ◽  
Author(s):  
Roxanne Doyen
Keyword(s):  
Latin American ◽  
Visual Fields ◽  
Le Corbusier ◽  
Pablo Neruda ◽  
Art World ◽  
Avant Garde ◽  
Oil Paintings ◽  
Salvador Dali ◽  
Human Psyche ◽  
Free Dynamic

Chilean architect and artist Robert Matta Echaurren (b. 1911, Santiago, Chile; d. Civitavecchia, Italy 2002) is considered one of the most important figures of the Surrealist movement. His paintings combine Latin American, European, and American influences. In 1932, Matta decided to leave the politically unstable Chile to work for the French architect Le Corbusier in Paris. Disappointed with the architect’s rationalistic ideas, Matta explored the Parisian art world and met many members of the Latin American literary avant-garde, including Frederico Garcia Lorca and Pablo Neruda, who introduced him to Salvador Dalí and André Breton. Both encouraged Matta to draw and paint instead of being an architect. In 1937, Matta participated in his first Surrealist exhibition. The artists’ earliest works were abstract crayon drawings, showing organic patterns and microscope views of plants. In 1938, he transitioned to oil paintings. As an architect, Matta believed that architecture should create free, dynamic spaces. An example is Composición, where he used drawing to expand the visual fields and create interior landscapes, also known as inscapes, in which he tried to dissolve the boundaries of surfaces to find the internal world of the human being, or the human psyche.

Perceptions of a Peer Suicide Prevention Program by Inmates and Professionals Working in Prisons

Crisis ◽  
2013 ◽  
Vol 34 (4) ◽  
pp. 289-292 ◽  
Author(s):  
Laurent Auzoult ◽  
Sid Abdellaoui
Keyword(s):  
Suicide Prevention ◽  
Prevention Program ◽  
Suicide Risk ◽  
Traditional Approach ◽  
Prevention Programs ◽  
New Methods ◽  
Penal Institutions ◽  
Peer Suicide ◽  
Suicide Prevention Programs ◽  
Methods Of Suicide

Background: Suicide prevention is a major challenge for penal institutions in many countries. The traditional approach relies on the expertise of health professionals and is supplemented by the intervention of other professionals and the inmates themselves. New methods of suicide prevention based on peer support have been developed in recent years. Peer prevention programs rely on the ability of inmates to identify suicide risk. Aims: This study examines perceived suicide risk among inmates and explores possible explanations. Method: 54 inmates and 17 professionals working in prisons responded to a questionnaire. Results: The peer prevention program was found to change inmates’ expectations of support in the event of a suicide crisis. The study also found that the inmates involved in the program tended to underestimate the risk of suicide. The perception of the prevention program and the level of self-consciousness were found to account for the underestimation of suicide risk. Conclusions: Support for inmates involved in suicide prevention programs must take into account their isolation in prison. The training provided to inmates must also consider the biases affecting the assessment of risk.

The Karolinska Hospital Information System

1974 ◽  
Vol 13 (03) ◽  
pp. 125-140 ◽  
Author(s):  
Ch. Mellner ◽  
H. Selajstder ◽  
J. Wolodakski
Keyword(s):  
Information System ◽  
Data Processing ◽  
Data Base ◽  
Hospital Information System ◽  
Care Delivery ◽  
Traditional Approach ◽  
Processing System ◽  
Systems Design ◽  
Data Processing System ◽  
Karolinska Hospital

The paper gives a report on the Karolinska Hospital Information System in three parts.In part I, the information problems in health care delivery are discussed and the approach to systems design at the Karolinska Hospital is reported, contrasted, with the traditional approach.In part II, the data base and the data processing system, named T1—J 5, are described.In part III, the applications of the data base and the data processing system are illustrated by a broad description of the contents and rise of the patient data base at the Karolinska Hospital.

Overcoming stereotypes in leasing

2017 ◽  
pp. 136-152 ◽  
Author(s):  
V. Gazman
Keyword(s):  
Real Estate ◽  
Traditional Approach ◽  
Critical Assessment ◽  
Variable Character ◽  
New Perspective

If we want securitization to become one of the main channels to attract funding in leasing activity, as the Bank of Russia predicts, one needs to revise some stereotypes. Relying on foreign and domestic research, the author gives a critical assessment of the postulate of the need for uniformity of securitized assets; proves that real estate, contrary to the traditional approach, rather than equipment and transport, prevails in securitization transactions, and explains why this happens. The article presents a new perspective on the behavior of issu- ers concerning the timing of securities circulation; considers feasibility approach to the calculation of variable character of leverage in leasing; explains pro and contra of evaluating the leasing market based on the volume of the portfolio of contracts; reveals the validity of ratings of bonds issued in the course of secu- ritization of leasing assets.

Recent developments in Latvian dialectology

2014 ◽  
Vol 5 ◽  
pp. 147-177
Author(s):  
Anna Daugavet
Keyword(s):  
Traditional Approach ◽  
Recent Developments ◽  
Dialect Geography

Trumpa, Edmunds. 2012. Latviešu ģeolingvistikas etīdes [Studies in Latvian Dialect Geography]. Rīga: Zinātne. ISBN 978–9984–879–34–5.Sarkanis, Alberts. 2013. Latviešu valodas dialektu atlants. Fonētika. Apraksts, kartes un to komentāri [Latvian Dialect Atlas. Phonetics. Description, Maps and Commentaries]. Rīga: LU Latviešu valodas institūts. ISBN: 978–9984–742–68–7 The last year saw the appearance of two significant contributions to the study of Latvian dialects. These are the phonology part of the Latvian Dialect Atlas prepared by Alberts Sarkanis (2013) and Latviešu ģeolingvistikas etīdes by Edmunds (Edmundas) Trumpa (2012a). The two are very different in their aims and methods, even though both deal with phonetic isoglosses of traditional rural dialects. In fact, traditional rural dialects are still considered as the only object of research by Latvian dialectologists in spite of the considerable changes to the field elsewhere, marked by the breakdown of the barriers between dialectology and sociolinguistics (see e.g. Chambers & Trudgill 2004 and Auer & Schmidt 2010). However, of the two reviewed books, Trumpa (2012a) seems to be closer to the modern understanding of research into language and space, and therefore his work can be seen as a promise of changes in Latvian dialectology, whereas Sarkanis (2013) almost entirely belongs to the traditional approach. Nevertheless, in the context of Trumpa’s rather innovative book, Sarkanis’ Phonological Atlas serves as a summary of achievements from the previous stage.

Bottoni e Le Corbusier: nel 1949 sul Monte Stella i nodi vengono al pettine

TERRITORIO ◽  
2017 ◽  
pp. 50-57
Author(s):  
Giancarlo Consonni ◽  
Graziella Tonon
Keyword(s):  
Le Corbusier

The Place of Traditional Artists in the Preservation of Nigerian Art

2018 ◽  
pp. 75-88
Author(s):  
Victoria N Osuagwu
Keyword(s):  
Belief Systems ◽  
Sacred Grove ◽  
Art World ◽  
Human Beings ◽  
Open Spaces ◽  
Economic Resource ◽  
The People ◽  
Traditional Artists ◽  
Global Art ◽  
Source Of Information

Human beings have always left signs of their activities behind them. These signs take both tangible and intangible forms, including buildings, sites, sculptural works, antiquities, rock art paintings, belief systems, and traditions. The people of this millennium have recognized the remains of our fore-bears namely archaeological, architectural monuments, sites, and cultural works as an integral part of the cultural heritage of all humanity. They also recognized the fact that heritage is an invaluable source of information about the lives and activities of human beings and their artistic and technical capabilities over the centuries. The Nigerian Ancient Art Tradition which spans eight thousand years is a product of diverse artists from Dufuna, Nok, Igbo-Ukwu, Ife, Owo, Benin, Tada, etc. Also remarkable are the sculptural works created by late Susanne Wenger (an Austrian) and her New Sacred Art Movement in Osun-Osogbo Sacred Grove, which gave meaning to open spaces within the grove. This paper examines the role played by these artworks to project Nigeria to the global art world. The benefits to Nigeria and the global art traditions and recommendations on how to revive this dwindling economic resource will also be examined. The approach used was to study the artworks produced by some of these artists. Some of the findings were that the works were carefully done with suitable materials that have withstood climate change.

Moment's Monument

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Art World ◽  
Self And Other ◽  
Single Culture ◽  
Modern Sculpture ◽  
The World ◽  
History Of ◽  
Critical Account ◽  
Modern Experience ◽  
Artistic Heritage

Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth century. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso's art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. This book develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, the book negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.

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