Guide L exposition,théorie et pratique (Patrimoines et Sociétés) (French Edition)

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Arnaud Hurel gained a name for himself with the recent publication of a book on the history of his field of study. In the case of prehistory, the creation of representations of the very distant past was to accompany the development of knowledge. As for the public, what it cries out for are detailed likenesses that would allow it to believe it knows the truth. Descendant of prior generations. Artistic Reconstructions, Science, and Popularization. The study of the history of representations of prehistory in art has provided material for a number of publications and exhibitions. The domain of artistic reconstructions in paleoanthropology is quite interesting from an epistemological, artistic, and historiographical point of view, inasmuch as it is clearly claimed that such works are engaged in a scientifically credible approach.

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Such activity has historically accompanied the process of recognition of our prehistory. The basic pitfall faced by those who launch into such an enterprise concerns the lacunary, fragmentary character of the archeological record in this instance, human skeletal remains , the material itself being, by definition, only what nature and time have deigned to bequeath to the excavator.

Indeed, fossilization processes are rather unpredictable and complex, and the results of excavations contain a degree of uncertainty. Thus, efforts at reconstruction prove to be quite tricky. The strictly scientific labor of analysis switches location from the enclosed universe of the laboratory, the study, or the inner circle of the scientific community to enter into the public sphere.


Such a choice raises questions about the precise nature of this exercise, about its objectives, nay even about whether it is really necessary at all. One can, in effect, summarize this situation in three cases. First, there is reconstruction as a scientific tool. Then, there is reconstruction as a pedagogical tool. This third tool is used as a museographical aid, a way of popularizing science.

Now, if we take quick look back at a few symbolic examples, the image we form is less clear cut, a combination of these hypotheses being the norm, for they do not constitute successive phases but, rather, situations that will be met again for the same object, the same scientist, and during the same period. How do artists react to the digitization of our world? UNPAINTED is a new art fair which addresses such questions and brings together artists that use digital technology as a tool and a medium since many years.

A total of 50 exhibitors from around the world have announced their participation. It will present contemporary art experiments in the field of light and sound synthesis by famous artists around the world. This milestone volume maps fifty years of artists' engagement with sound. Since the beginning of the new millennium, numerous historical and critical works have established Sound Art as an artistic genre in its own right, with an accepted genealogy that begins with Futurism, Dada, and Fluxus, as well as disciplinary classifications that effectively restrict artistic practice to particular tools and venues.

This book, companion volume to a massive exhibition at ZKM Center for Art and Media, Karlsruhe, goes beyond these established disciplinary divides to chart the evolution and the full potential of sound as a medium of art. The book begins with an extensive overview by volume editor and ZKM CEO Peter Weibel that considers the history of sound as media art, examining work by visual artists, composers, musicians, and architects alike. Subsequent essays examine sound experiments in antiquity, sonification of art and science, and Internet-based sound art.

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Experts then survey the global field of sound art research and practice, in essays that describe the past, present, and future of sound art in Germany, Japan, China, the United States, the United Kingdom, Russia, Canada, and Scandinavia. The texts are accompanied by hundreds of color images drawn from the ZKM exhibition. It shows us our new reality, which is shaped by 3-D printers and robots, cyborgs and chimeras, molecules and gene pools, wearable technologies and medical miracles, synthetic life forms, bionic suits and silicon retinas, artificial tissue and repair techniques, and new discoveries in space research, molecular biology, neurology, genetics, and quantum information science.

It shows us visions and solutions for twentieth-century problems, such as separating oxygen out of CO2 to combat the climate crisis. From manual to mental tools, from the hammer to language, over the course of thousands of years human beings have created a culture of tools, an engineering culture that has expanded the boundaries of perception and of the world. The human being has outsourced his bodily functions: the hand to the hammer, the foot to the wheel, the arms to the bow and arrow, the spoken word to the written word, memory to clay tablets and computers, etc.

Through the chain of rendering things exterior, the human being transcends evolution. He liberates himself from the violence of nature; he creates an artificial exo-evolution through his tools and through organs made exterior. In the early twenty-first century, art also can no longer stand apart from this technological development. Traditionally art was focused on representing that which the human eye naturally perceived.

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When rendering the world of objects visible, painters were trapped in retinal effects and limited to the surface of things. From the microscope to computed tomography, technologies of perception have developed in science. Objects unrecognizable to the naked eye have been artificially made visible. New media bring the technologies of artificial perception, from photography to the computer, into the realm of art.

This creates a new awareness of the interconnection of natural and artificial perception, of the object world and the media world, and of art and science. Media are not, however, merely image and sound machines; they are also interfaces in the construction of new realities and new forms of communication. We communicate, negotiate and act through media. The transformation from visual to social media makes clear that the use of media is a vital factor. Media are performative. Their impact is ubiquitous and long-lasting.

That is why we speak not only of pictures, but rather of picture acts Bildakten , not only of language, but of language acts, not only of perception but of acts of perception. Actions have become art forms. Artists today are less in search of subjective expression. Rather, their frames of reference are social systems and scientific structures and methods. This is the reason for new research areas such as art and science labs and art-based research. Scientization of art is beginning to emerge as it did during the Renaissance, creating a sort of Renaissance 2.

Riess, robotlab, Hermann J. The field of creation too. The limits of our own 5 senses are constantly postponed by new discoveries and inventions getting from experimental to common use. We wonder often how we could do in the past without technologies which appears today totally essential.

Digital revolution never finished to transform our world so fast that sometimes we can't understand these phenomenons. Questioning relations between humans and their environment, these works Amidst the global challenges of climate and ecological crises that threaten the very existence of humanity, the exhibition TransLife reflects on the whereabouts of humankind in relationship to nature through an unique perspective and philosophical speculation, calling for citizen participation in facing these imminent challenges with artistic imagination to advocate a new world view of nature and a retooled humanist proposition.

The exhibition is structured by three thematically related components that gradually progress from the discovery of new sensorial potentials that extend our cognitive capacities to the emergence of multiple life forms to biodiversity and an exploration of the symbiosis of cohabitation, revealing emerging concepts of life and provoking contemplation on the biosphere. In doing so, the exhibition also strives to reassess the historical roots and epistemological foundation of the current ecological and environmental predicament, interrogating the notion of subjectivity inherent in the project of modernity and the anthropocentrism derived from that tradition.

The main ISEA exhibition, Machine Wilderness, features work that combines art, science, technology and nature, demonstrating the role art can play in re-envisioning the world. The more than artists are from 16 countries. The exhibition was juried and curated through an international call for proposals. Three chapters present aggregated trends. The exhibition focuses on current and visionary research, in addition to contemporary artistic positions. The spotlight is on the new; old structures dissolve in the darkness.

Thus, Catfish Town became the town's industrial and commercial centre-particularly after a train station was built at the foot of the Capitol Building in However, the construction of the new State Capitol in a neighbourhood at the north end of Baton Rouge shifted the city's centre of activity towards the north and away from Beauregard Town. And so Beauregard's brainchild became frozen in time in such a way that the main elements of the initial project were preserved until the s.

From the end of the s until the mid s, Beauregard Town would once again be impacted by the onslaught of modernization. The construction of two raised freeways blocked views from the east and west, and an onramp would henceforth encroach upon the town's historical perimeter, drawing a significant stream of vehicles into the neighbourhood. Government Street, now dominated by an immense radio tower, became a main artery for automobile traffic, as well as a site for unplanned commercial development.

The construction of the Riverside Centroplex wiped out the northern half of Catfish Town, with the exception of the Old State Capitol Building, whereas the southern part would shortly thereafter become home to a casino, a large hotel and restaurants, all located in buildings that were somewhat reminiscent of the warehouses of yesteryear. The railroad station was converted into an art and science museum situated next to a war veteran's memorial museum whose key exhibit is a Second World War destroyer anchored off the Catfish Town harbour front. These transformations brought about a renewal of activities, but threatened the historical aspect of Beauregard Town.

At this point, local residents, as well as municipal authorities, realized that something had to be done to protect the site. A neighbourhood restoration campaign was launched. The Town was listed on the U. National Register of Historical Places, and the Plan Baton Rouge, which follows the principles of the New Urbanism movement, was drawn up at the end of the s. This project intended to restore the human dimension to the neighbourhood by recovering land that had been taken up by infrastructures created to accommodate the automobile.

The objective was to reduce traffic throughout the entire neighbourhood and restore the unifying, central role of Royal Square.

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The plan proposed to transform the square into a park, while keeping a few of the existing public buildings including the church and the fire station. Slowly but surely, the old residences would be restored by historic building enthusiasts salaried workers, teachers, lawyers, etc. Note 1. Gardens equipped with facilities in which the general public could attend shows and concerts and take part in outdoor activities. Note 2. Areas subdivided into strips of land running perpendicular to waterways in the typical New France style.

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These tracts gave each settler direct access to the river. The buildings were constructed near the banks, across a road that ran along the river.

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The fields, meadows and woods were located towards the back end of the tracts. Note 3. L'Enfant that served as at the basis of the plans for Washington, D. Note 4. This referred to a pole or tree trunk that marked the established boundary between the hunting grounds of two Native tribes.

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Such sticks were also used for ceremonial purposes. Animal heads were impaled upon them, which explains the scarlet colour of such markers. Bappert, Thescus, Beauregard Town.

Carleton, Mark T.