艺术存在于传播中熵与冗余的平衡

从对艺术形态的界定中,可以得出艺术是在传播中张扬其生命力的结论。艺术形态的存在正在于散播、传达、表现。传播使欣赏者感受并可能感同到艺术的“放射波”。欣赏者在传播中被艺术召唤,从而追求艺术。艺术之动在于传播,传播使艺术得生得长,并富于魅力和感召力。在对传播概念的把握过程中,可以寻求关于艺术传播的物质内容。即,信息是传播的必然内容。作为传播形态的一种,艺术传播也不例外。借助传播学信息理论中的熵和冗余的概念,对艺术传播做逐一分析,我们发现:艺术作为有别于其他自然科学和社会科学的存在,以它独有的方式打破了科学规律,熵值决定传播程度的规律。对于非科学的艺术而言,不仅熵影响艺术的传播程度,冗余也在影响艺术传播程度。传播是艺术得以发生存在的环境和系统。熵与冗余的平衡使艺术在传播中得以存在和张扬。     

Can postcolonial theory help explain Latvian politics of integration? Reflections on contemporary Latvia as a postcolonial society

ABSTRACT

Democracy and civic society in Latvia are strongly affected by a multifaceted gap between the ethnic majority and minorities within contemporary Latvian society. The political elite are crucial actors in the politics of integration in Latvia. Postcolonial theories can help evaluate and explain the insufficiency of current integration policies in Latvia in respect to the participation of ethnic minorities in Latvia. Current integration challenges will be examined here based on two related issues of Latvian integration policies: (1) the process of naturalization and (2) the conflicting concepts of the twentieth-century Latvian history, especially the occupation in 1940. Both issues should be “revisited” using postcolonial explanatory potential in order to identify the causes of the long-lasting failure of integration policies in Latvia.     

Postcolonial theory as a means to understand Estonian art history

ABSTRACT

This article analyzes Estonian art scene in the Soviet era from the postcolonial perspective. The first objective is to consider whether it is appropriate to call the Soviet occupation of Estonia colonialism. Second, the article points to how postcolonial theory can elucidate the history of Estonian visual art during and after the Soviet occupation. The period of Soviet colonialism in Estonia was not uniform; in the fine arts, several different rhetorical regimes existed simultaneously: pro-authority, Western avant-garde orientated, and a national-conservative discourse. The article also investigates how the Soviet colonial situation shaped the institutional and economic environment of Estonian art.     

“Bad enough governance”: state capacity and quality of institutions in post-Soviet autocracies

This article contributes to current discussions on state capacity, quality of institutions, and political regimes. Our analysis demonstrates that the J-curve argument (“good institutions” in autocracies as compared to hybrid and transitional regimes) may not be generic and is not well supported by empirical evidence from the sample of post-Soviet countries. An explanatory model of the “King of the Mountain” is instead provided. Its focus is on the monopoly of political rent as a precondition for extraction of economic rent. It demonstrates an inverse correlation between the quality of institutions and the extraction of political and economic rent, and explains why an autocrat may not have an incentive to improve institutions that may make his/her monopoly vulnerable, and rather would prefer to preserve a low quality of institutions and “bad enough governance.” An analysis of a variety of external and domestic factors that may endanger this monopoly is provided. Finally, the autocrat's alternative strategic choices are analyzed. It is argued that better payoffs for the autocrat – paradoxically – may result from partial reforms and improvement of the quality of institutions. However, for various reasons, this is not occurring in post-Soviet autocracies.     

浅议工艺美术设计师的素质培养

随着社会商品经济的不断发展和完善,工艺美术设计的水平、设计理念也在不断提高和更新。工艺美术设计师要以满足广大消费者的需要为己任,要有强烈的社会责任心和高尚的职业道德,应注重自身素质的综合培养。     

比较法视阈下民间文学艺术的知识产权保护重构

用法律手段保护民间文学艺术是知识产权保护“国际化”进程的需要,也是保护传统文化、增强文化自信、提升我国文化软实力的迫切要求.民间文学艺术的法律保护问题首先是由发展中国家提出来的,发达国家中对民间文学艺术保护相对较弱.比较法视阈下,民间文学艺术的知识产权保护尽可能既要与现行国内国际立法实现有效对接,又要坚持立法重构,以有效保护民间文学艺术传承、记录、整理和汇编者的合法权益.     

Adapting Techniques of Studio Critique for Arts Management Pedagogy

Many students in the field of arts management have a background as practicing artists. In that light, it seems promising to explore fine arts pedagogies for the delivery of elements of arts management curricula. Studio critiques are a central pedagogic tool in arts education, allowing for systemic self-reflexivity that emerges from a shared interest in the terms of the conversation itself—critique as a creative technique. Since 2009, the Department of Arts Administration and Policy at the School of the Art Institute of Chicago has integrated critique. Feedback from the first generations of students is assessed in this article.     

Aesthetics and politics in North Korean socialist realist painting: On approved ways of seeing

This paper inquires into aesthetics and politics in North Korean socialist realist painting by way of an examination of North Korean journalist Han Chol Ju's article series “Visit to Korean Art Gallery” and three paintings in Korea Today (2010–2011). The paper explains late North Korean leader Kim Jong Il's national-Stalinist conception of Juche socialist realism in On Fine Art (1991); considers one Korean painting (Chos?nhwa), two oil paintings (yuhwa), and one jewel painting (pos?khwa); and addresses approved ways of seeing in political-aesthetic experience and response in the North Korean situation.     

Aesthetic Negativity and Aisthetic Traits

Abstract

This article concerns the notion of aesthetic negativity, and related ideas regarding the autonomy of art. After giving some initial definitions and a brief historical sketch of these concepts, we will examine the definition proposed by arguably the greatest thinker of aesthetic negativity, Theodor Adorno, and its recent semiotic reconstruction in the work of Christoph Menke. This reconstruction configures aesthetic negativity and autonomy jointly as the capacity of artworks, and the experiences that they occasion; to processurally negate “automatic” modes of understanding. This account is then critiqued, and contrasted with views on aesthetic experience that stress its nonconceptual and asemiotic aspects, and the close affinity of this modality of experience with perceptual presence and affective intensity, with a clear reference to the phenomenological tradition. Some recent ideas about how semiotic and phenomenological theories regarding art can interact are then cited, and an undertheorized aspect of their connection introduced, which is the main original import of the article. This connection, which is furnished by the concept of aisthetic trait, is derived from psychoanalytic metapsychology, and is an example of how the meaning and presence effects of art can act not just in a competing synchronic fashion, but can morph into each other over time. A trait is a signifier-like perceptual remnant of a prior subjective experience of high intensity that provides a kind of ratification of the experience that endures within the life history of an individual. This is then shown to have relevance to the previous topics of aesthetic negativity and autonomy in terms of the way that the trait mechanism may bring to light important diachronic aspects of aesthetic experience that are currently absent in other accounts in the literature.     

美术类在线考试系统的设计与展望

随着数字技术、多媒体技术、计算机网络技术以及人工智能的飞速发展与广泛应用,美术专业学习的方式和考核测评方式发生了革命性改变。数字美术正改变和丰富着传统的美术创作理念与规律,并顺应信息化数字时代的发展潮流,成为美术创作领域新的艺术形式。网络化考试利用计算机与网络技术开发考试系统,适应校园信息化建设和远程教育的现实需求,将成为新型的主流考试测评方式。