Exploring Visitors' Perceptions of Art Gallery Festivals

The contemporary directions of art galleries worldwide are changing as social patterns and demands, and visitor expectations of their experiences at art galleries change. New programs and strategies are being developed in galleries to make these institutions more appealing to people who would not normally visit them. One such strategy is the staging of special events, which in galleries take a variety of forms. As special events are increasingly being employed by galleries to inspire new audiences, it is important that these institutions develop an awareness of how their visitors understand and respond to such events. Festivals are one type of special event that visitors identify as having a distinct role and nature. This paper explores visitors’ perceptions of festivals in art galleries and identifies several characteristics that distinguish festivals from other special events. These characteristics include the focus of the event, the audience attending, the degree of interactivity offered, the timing, and the place at which the event is staged. Understanding visitors’ perceptions and expectations of festivals will enable galleries to develop and further enhance their programs and special events to meet visitors’ needs.

The Role of Art in Computer Game Design

Computer games are significant since they embody our youngsters’ engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, ‘Educational Immersive Environments’ (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the ‘game-play’ experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players’ interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a ‘classical’ role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists’ understanding of DeRe in this time when our ‘identities are becoming increasingly fractured, networked, virtualized and distributed’ We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular ‘periods’ in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design ‘signs’ to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?

Evaluating historic graffiti based on cultural significance and definitions of art.

Many examples of historic graffiti have been shown to be worthy of attention and conservation. The examples discussed in this article have been selected for their previous academic study, enabling rational assessment. This work does not suggest that only those examples of historic graffiti that have been subject to academic investigation can be evaluated and classified. This article, the result of a collaboration between two individuals with complementary interests in building conservation and contextual studies in art and design, brings together formal techniques used in the assessment of cultural significance in traditional architectural conservation and established theories in the evaluation of art. It is the purpose of this work to help those who are attempting to evaluate the merit of graffiti to do so. The current Scottish system that assesses cultural significance may be incomplete in its evaluation of graffiti. This necessitates a supplementary investigation of the artistic characteristics and merit of graffiti. Almost all graffiti could be said to be 'art', using established definitions, but not 'good' art. This evaluation may only be undertaken by experts, as with other aspects of identification of cultural significance within the built environment.

Massachusetts College of Art and Design y Universidad de Cuenca. Acuerdo de Intercambio Estudiantil. Memorándum de Acuerdo entre Massachusetts College of Art and Design (Massart), Boston, Massachusetts, U:S:A. y la Universidad de Cuenca, Ecuador

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Neuroscience and Hindu Aesthetics: A Critical Analysis of V.S. Ramachandran’s “Science of Art”

Neuroaesthetics is the study of the brain’s response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily “caricature” or “exaggeration.” Exaggerated forms hyperactivate neurons in viewers’ brains, which in turn produce specific, “universal” responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally “juice”) from classical Hindu aesthetics, which he associates with “exaggeration.” The canonical Sanskrit texts of Bharata Muni’s Natya Shastra and Abhinavagupta’s Abhinavabharati, however, do not support Ramachandran’s conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research.

Loop openness: a video reflection on the open work of art

The objective of this article is to reflect on the video art work in its loop production to perceive the possibility of it being received as an open work. In order to contextualize this reflection the text is anchored in the concept of image-crystal from Gilles Deleuze. For the purpose of empirically explore theoretical concepts such as video art, open work and image-crystal it was produced a practical project of video art that intends to reflect on the notion of time in a context of a loop exhibition. Therefore this project aims to motivate the reflection on the loop as a mechanism to contour the ephemeral character of video art and, at the same time, it seeks to emphasize questions about the element of multiplicity and plurality in art. It is a scientific and artistic project in which the practical component supports the dialectic between theory and practice, action and reflection. In this sense, based on the video entitled "The Walk" this article demonstrates how the theoretical concepts were used to support the artistic creation. Finally the conclusions sustain that the work of video art, when presented in loop, is a creative and expository strategy which encourages multiple interpretations that vary according to the narrative, the context in which it takes place and the attitude and the background of the spectator.

Development of new immunochemical and spectroscopic analytical methods for the characterization and conservation of works of art

Cultural heritage is constituted by complex and heterogenous materials, such as paintings but also ancient remains. However, all ancient materials are exposed to external environment and their interaction produces different changes due to chemical, physical and biological phenomena. The organic fraction, especially the proteinaceous one, has a crucial role in all these materials: in archaeology proteins reveal human habits, in artworks they disclose technics and help for a correct restoration. For these reasons the development of methods that allow the preservation of the sample as much as possible and a deeper knowledge of the deterioration processes is fundamental. The research activities presented in this PhD thesis have been focused on the development of new immunochemical and spectroscopic approaches in order to detect and identify organic substances in artistic and archaeological samples. Organic components could be present in different cultural heritage materials as constituent element (e.g., binders in paintings, collagen in bones) and their knowledge is fundamental for a complete understanding of past life, degradation processes and appropriate restauration approaches. The combination of immunological approach with a chemiluminescence detection and Laser Ablation-Inductively Coupled Plasma-Mass Spectrometry allowed a sensitive and selective localization of collagen and elements in ancient bones and teeth. Near-infrared spectrometer and hyper spectral imaging have been applied in combination with chemometric data analysis as non-destructive methods for bones prescreening for the localization of collagen. Moreover, an investigation of amino acids in enamel has been proposed, in order to clarify teeth biomolecules survival overtime through the optimization and application of High-Performance Liquid Chromatography on modern and ancient enamel powder. New portable biosensors were developed for ovalbumin identification in paintings, thanks to the combination between biocompatible Gellan gel and electro-immunochemical sensors, to extract and identify painting binders with the contact only between gel and painting and between gel and electrodes.

Connecting works of art within the semantic web of symbolic meanings

My doctoral research is about the modelling of symbolism in the cultural heritage domain, and on connecting artworks based on their symbolism through knowledge extraction and representation techniques. In particular, I participated in the design of two ontologies: one models the relationships between a symbol, its symbolic meaning, and the cultural context in which the symbol symbolizes the symbolic meaning; the second models artistic interpretations of a cultural heritage object from an iconographic and iconological (thus also symbolic) perspective. I also converted several sources of unstructured data, a dictionary of symbols and an encyclopaedia of symbolism, and semi-structured data, DBpedia and WordNet, to create HyperReal, the first knowledge graph dedicated to conventional cultural symbolism. By making use of HyperReal's content, I showed how linked open data about cultural symbolism could be utilized to initiate a series of quantitative studies that analyse (i) similarities between cultural contexts based on their symbologies, (ii) broad symbolic associations, (iii) specific case studies of symbolism such as the relationship between symbols, their colours, and their symbolic meanings. Moreover, I developed a system that can infer symbolic, cultural context-dependent interpretations from artworks according to what they depict, envisioning potential use cases for museum curation. I have then re-engineered the iconographic and iconological statements of Wikidata, a widely used general-domain knowledge base, creating ICONdata: an iconographic and iconological knowledge graph. ICONdata was then enriched with automatic symbolic interpretations. Subsequently, I demonstrated the significance of enhancing artwork information through alignment with linked open data related to symbolism, resulting in the discovery of novel connections between artworks. Finally, I contributed to the creation of a software application. This application leverages established connections, allowing users to investigate the symbolic expression of a concept across different cultural contexts through the generation of a three-dimensional exhibition of artefacts symbolising the chosen concept.