ABSTRACT
In the midst of the COVID-19 pandemic and following the Zagreb earthquake, the debate on the proper use of digital technologies in museums became increasingly important and heated. Precisely because they are very popular and increasingly available, digital technologies as a tool require a precise methodological basis for their optimal application. This paper specifically tackles the use of virtual 3D models in a museum context by using examples of sculpture as a specifically three-dimensional art form, and attempts to define the role of a 3D model in relation to the original. As a museum exhibit, sculpture seems to receive little attention compared to other art forms. There are multiple reasons for this, but some of the most important ones are the differences in the production of three-dimensional versus two-dimensional artworks, as well as specific difficulties with exhibiting sculptures. Also, the relative unpopularity of sculpture as a three-dimensional medium, especially among the younger generations, should be attributed to the dominant culture of images, especially virtual ones, which are accessible through the ubiquitous screens of smartphones, tablets and similar electronic devices. Museums around the world, and thus in Croatia as well, have readily embraced the possibilities offered by digital technologies to enrich the experience of their visitors. When exhibiting three-dimensional art forms and objects, they frequently use 3D models of exhibits available in the space of the actual museum or on its websites, complex 3D displays of an entire space, or even computer simulations of the so-called virtual or augmented reality (virtual reality — abbreviated VR, and augmented reality — abbreviated AR), with the aim of reconstructing entire historical spaces in which the viewer is "immersed”, thus becoming a part of it. Still, regardless of the range of possibilities, when designing virtual exhibitions as well as in the general use of 3D models in the museum context, the emphasis must be placed on a clear idea that is conveyed by that exhibition and on clear meta- and para-data that facilitates the communication of its message — focus, therefore, must be on the narrative. This is supported by the results of recent research, which showed that the authentic experience of a 3D model increases if, in addition to the element of interactivity (the possibility of manipulating the model), there is also an element of contextualizing the object as widely as possible. Using Ivo Maroević's categorization of replacement museum objects, we viewed 3D models as museum objects in a digital form, intended for display, which serve as an aid in education, presentation and strengthening the communication and interactive potential of the original object. In order to examine whether 3D models have the same effect on observers as the original objects, we used the concepts of an aura, as defined by Walter Benjamin, and authenticity which, following division, we divided into two categories — nominal and expressive. We also used the results of several studies that examined the experience of 3D models in and out of the museum context. Based on the above reasoning, we came to the conclusion that observers can experience a 3D model as authentic and auratic, but that such experience is predicated upon being in a museum and having enough information that contextualize the object. Finally, it is important to highlight the difference between experiencing a sculpture, as a specific type of artwork, and its 3D model, with regard to its material presence in space. Namely, an encounter with a sculpture is a multisensory experience defined by the awareness of one's own body and the kinetic potential of the sculpture located in the same space. In the case of viewing a 3D model on a screen, this experience is absent. That is why we believe that 3D models and the original sculptures definitely cannot and should not be treated the same way: in the right context, 3D models can evoke an impression of auraticity and authenticity, but they find t eir best use as substitute museum objects whose primary role is to enrich the museum experience of visitors through strengthening the interpretation possibilities of the original. © 2022 Institute of Art History. All rights reserved.
ABSTRACT
The author describes the analysis of a woman patient in the absence of the analytic setting during the long period of confinement due to Covid-19. Bleger's distinctions between the analytic process and the frame are explored in this context, and Green's formulation on the function of the framing structure in the construction and elaboration of phantasy life, as well the function of the hallucinatory wish fulfilment in the movement towards symbolization. The production of a sculpture during this time is on the pathway towards the elaboration of the work of mourning. (PsycInfo Database Record (c) 2023 APA, all rights reserved) Abstract (French) L'auteur decrit l'analyse d'une patiente, par telephone, dans le contexte du confinement du a la Covid-19, alors que la dimension physique du cadre analytique est absente. Elle interroge la theorie de Bleger et sa distinction entre cadre et processus analytiques ainsi que celle de Green sur la fonction de la structure encadrante et la fonction de l'accomplissement hallucinatoire de souhait dans le mouvement vers la symbolisation. La production d'une sculpture pendant l'analyse amorce l'elaboration d'un travail de deuil. (PsycInfo Database Record (c) 2023 APA, all rights reserved)
ABSTRACT
The threat of the Covid-19 epidemic quickly influenced the development of remote working tools using modern IT technologies. This has led to the emergence of a significant number of cultural practices for remote (virtual) use. Among them are experimental attempts to create volumetric virtual models that could be considered sculptures. At the same time, these developments have served the emergence of cul- turological problems: solving questions of uniqueness, artistic significance of works of this kind. In this regard, this article provides the results of a scientific study of the specifics of creating virtual sculptures, authorship issues and artistic significance of virtual content, identified as a result of an examination of the authoring develop- ments of the AR-application "REMS, " as well as works presented at the exhibition "More than a sculpture. " In the example of the author's development of content for AR (augmented reality) installations, it turns out that virtual content can significant- ly change the content and ideological significance of art work. The artistic compo- nent of these objects determines their designation as art works, objects of fine art. In this way, the uniqueness and artistic significance of virtual sculptures as three-di- mensional graphic objects created using augmented reality technology is confirmed.
ABSTRACT
This article presents research and an educational proposal on art and literature through Xavier de Maistre's book Journey around my room (1794). It is framed in the period of social confinement carried out between March and May 2020 in Spain and it has been designed and implemented in the Learning and Teaching of Artistic Drawing subject of the Master in Teaching of ESO, Baccalaureate and Vocational Training at Universidad de Almeria. A methodology that starts with the objective of developing experiences that stimulate students from their individuality and isolation promoting reflective and practical learning in times of global pandemic is shown. Through the chosen readings, three activities are proposed around the drawing and the object that promote a creative process where students stimulate their spatial and sensory perception, as well as their creative and imaginative capacity outside the classroom. At the same time, this work addresses, at a theoretical level, the everyday life of the room, both in the novel and in the reality of the students, provoking a dialogue between the classroom and the workshop that allows questioning the educational space, the role of the teacher and the group conscience. The variety of profiles offered by this Master (artists, designers, architects, etc.) has made it possible to provide new approaches to drawing, sculpture and teaching-learning processes in art. © 2022 Universidad de Caldas. All rights reserved.
ABSTRACT
In the 2018 series Dreams and Consequences, I navigated the subject of behavioral norms by studying the practices of young people on university campuses. In her artistic practice, Nabulime uses ordinary objects such as soap, sieves, clothing, mirrors, cans, metal parts of cars, and other found materials to address specific social issues related to disease, gender, and the environment. Nabulime has been awarded numerous fellowships, including the Commonwealth Fellowship Award (UK, 1997, 2012), Robert Sterling Fellowship, Vermont Studio Center (USA, 2011), African Stones Talk Sculpture Symposium (Kenya, 2011), British Academy International Visiting Fellowship (UK, 2009 and 2008, and a Residency Award by Mind Power Projects at the Maryland Institute College of Art (MICA) and Living Classrooms in Baltimore, Maryland (2015).
ABSTRACT
The study had a descriptive survey model. The purpose of the study was to determine the problems faced in art education by academicians in fine arts education under the conditions of COVID-19 pandemic, and to help take measures for the solution of these problems. The population of the study consisted of higher education institutions/branches that provide fine arts education. The sampling was the academicians of the Fine Arts Education Department, Faculty of Fine Arts, and Painting/Sculpture and Conservatory Departments. After the pandemic was detected in Turkey in mid-March 2020, an attempt was made to contact the sampling between April and June 2020. The study was conducted with 196 academicians who had different academic titles. An online survey was used as the data collection tool in this study. The survey included 37 questions in 6 problem fields on demographic data, distance education backgrounds, and problems that could be experienced in distance education and art education, was applied to those who wanted to participate voluntarily in the study from academicians. Frequency and percentage distributions were used in statistical analysis of the data in the present study. The participants stated that they experienced problems mostly due to the contents/achievements of the courses, student-related problems, and measurement and evaluation-related problems during the distance education process. However, they also stated that they experienced fewer problems that stemmed from internet and computer, distance education program, and teacher-related problems.
ABSTRACT
This paper describes the psychoanalytic treatment of a woman patient during the first six months of the COVID-19 pandemic, when the setting was profoundly disrupted and was transferred from in-person psychoanalysis to telephone sessions. Drawing on Bleger's formulations on the construction of the analytic frame and on André Green's on the function of the framing structure in the construction and elaboration of phantasy life, the case study shows how, in the absence of the physicality of the setting, the most primitive anxieties about the symbiotic relationship with the mother were expressed and contained in the transference and countertransference in the analysis. The author offers some considerations about the notion of "background of the uncanny", derived from Yolanda Gampel, which draws attention to the challenges when both patient and analyst are inserted into the same traumatic wider context. It is suggested that the production of an art object by the patient during this period represents a step in the elaboration of the work of mourning and towards symbolization.