While images are central to the discipline of art history, surprisingly little research has been conducted on the uses of digital environments for teaching in the discipline. Over the past decade, more studies have em...While images are central to the discipline of art history, surprisingly little research has been conducted on the uses of digital environments for teaching in the discipline. Over the past decade, more studies have emerged considering the egalitarian space that can be used by students and teachers in web-based applications and social media. A body of literature has begun to emerge out of a small network of scholars and educators interested in digital humanities and art history, providing examples of how new tools can be integrated into the standard slideshow and lecture format of the field. At the same time, the latest technology that proves revolutionary for the field has had very little study-virtual reality (VR). Additionally, sensory evidence for digital art history and the creation of immersive interactive and multimodal environments for knowledge production is still underexplored. As multiple educational metaverses are currently under development, understanding best practices and pedagogical use of VR has never been timelier. This study seeks to review the pedagogical use of VR in art history current in the field and introduces results from a study of the most effective ways to use these immersive experiences using Bloom’s revised taxonomy. Results confirm that the most effective method to structure VR assignments is to provide training on the technology, provide students with the necessary instructional material to introduce the concept, skill or technique to be learned, create or select an immersive experience that reinforces that topic, and conclude with a debrief or discussion about major takeaways from the experience.展开更多
Craig Clunas's academic thinking is deeply influenced by western deconstruction and post-colonialism,among which Foucault's thought of"discourse power"and Bourdieu's theory of"cultural capit...Craig Clunas's academic thinking is deeply influenced by western deconstruction and post-colonialism,among which Foucault's thought of"discourse power"and Bourdieu's theory of"cultural capital"are the most well-known.The knowledge system constructed by the academic circles in Europe and America has great inspiration for Craig Clunas in the study of the history of Chinese art,which enables him to draw knowledge nutrients from these theories,fully consider and learn from these viewpoints and form his own theoretical framework.Craig Clunas integrates the"interdisciplinary"research ideas of western scholars in his research,and tries to use the theories of economics,sociology and anthropology to solve the specific problems of art history.The following is a brief talk about the important influence of two French scholars on Craig Clunas.展开更多
Based on the network teaching model,this article briefly summarizes the development of Chinese art history education in universities,analyzes the importance of integrating network teaching in Chinese art history lesso...Based on the network teaching model,this article briefly summarizes the development of Chinese art history education in universities,analyzes the importance of integrating network teaching in Chinese art history lessons,and explores the integration strategy.展开更多
History of art casting in china has been over 5000 years. In the past few thousand years, numerous forming and decorating skills of art castings had been created, and left behind precious treasures in the world metal ...History of art casting in china has been over 5000 years. In the past few thousand years, numerous forming and decorating skills of art castings had been created, and left behind precious treasures in the world metal arts and crafts. In individual historical period and at different terrain, a unique artistic style formed, which flashed brilliant light in world artistic treasury.展开更多
For a long time,due to the differences in terrain and culture,the aesthetic appreciation of Chinese and Western gardens has produced a large gap in modeling and design.Although the composition of garden elements is no...For a long time,due to the differences in terrain and culture,the aesthetic appreciation of Chinese and Western gardens has produced a large gap in modeling and design.Although the composition of garden elements is nothing more than landscape and architecture,there are obvious differences in the use of space and natural attitudes.Chinese gardens always follow the laws of natural beauty and formal beauty in modeling design,and respect nature in attitude and coordinate with nature.However,western gardens attach importance to architecture and artificalism,highlight rational aesthetics,get used to transforming nature in attitude,and always focus on"taking people as the center".They also have cognitive differences in the study of garden history.Comparing the Chinese and Western view of landscape architecture can enrich and expand the possibility of"Chinese landscape architecture research".展开更多
The present study discusses how the emergence of semiology has outlined a new trajectory for visual and pictorial studies.First,we outline how Ferdinand de Saussure’s thoughts on the sign and its relation to visual c...The present study discusses how the emergence of semiology has outlined a new trajectory for visual and pictorial studies.First,we outline how Ferdinand de Saussure’s thoughts on the sign and its relation to visual communication has developed.Second,we interrogate its impact on art history,an already established science of visuality,throughout the 20th and 21st centuries.Third,we briefly discuss whether art history’s answer to reading Saussure is a denial or a positive affirmation of political responsibility shared by visual studies in general.The study highlights some of the most pertinent parts of the Saussurean legacy for the study of visual communication as a system,and some of the challenges and opportunities this legacy has created.展开更多
This essay is a part of a longer work on literary and visual modernism at the“moment”of destruction in 1945:Stunde Null or Zero Hour.Here,I focus on the t4constructedness,'of universals via the material,psycholo...This essay is a part of a longer work on literary and visual modernism at the“moment”of destruction in 1945:Stunde Null or Zero Hour.Here,I focus on the t4constructedness,'of universals via the material,psychological,and political destruction in Germany at war's end.At this moment,destruction and universals interconnect in three temporal modes:anticipatory,punctual,and retrospective.For“punctual”universals,I read Lee Miller’s war journalism,published in Vogue,in relation to her war and Holocaust photography,as uniting modernist aesthetic values and the“event”of destruction.For the construction of“anticipatory”universals,I discuss the work of Hannah Hoch,dada painter and collagist,who emerged from internal exile in Berlin to participate in the first modernist exhibitions in the destroyed city after Stunde Null.Finally,the anonymously authored A Woman in Berlin,documenting the survival strategies to mass sexual predation by Soviet troops immediately at and after Stunde Null,extends from punctual accounts of destruction to a retrospective narration.In each case,modernist visual and verbal forms-and an ethical imperative to keep interpretive horizons open-negotiates between the“radical particularity”of the lived experience of destruction and universal values.The constructedness of universals in modernist works anticipates the construction of political,ethical,and aesthetic universals in the global order after 1945.展开更多
文摘While images are central to the discipline of art history, surprisingly little research has been conducted on the uses of digital environments for teaching in the discipline. Over the past decade, more studies have emerged considering the egalitarian space that can be used by students and teachers in web-based applications and social media. A body of literature has begun to emerge out of a small network of scholars and educators interested in digital humanities and art history, providing examples of how new tools can be integrated into the standard slideshow and lecture format of the field. At the same time, the latest technology that proves revolutionary for the field has had very little study-virtual reality (VR). Additionally, sensory evidence for digital art history and the creation of immersive interactive and multimodal environments for knowledge production is still underexplored. As multiple educational metaverses are currently under development, understanding best practices and pedagogical use of VR has never been timelier. This study seeks to review the pedagogical use of VR in art history current in the field and introduces results from a study of the most effective ways to use these immersive experiences using Bloom’s revised taxonomy. Results confirm that the most effective method to structure VR assignments is to provide training on the technology, provide students with the necessary instructional material to introduce the concept, skill or technique to be learned, create or select an immersive experience that reinforces that topic, and conclude with a debrief or discussion about major takeaways from the experience.
文摘Craig Clunas's academic thinking is deeply influenced by western deconstruction and post-colonialism,among which Foucault's thought of"discourse power"and Bourdieu's theory of"cultural capital"are the most well-known.The knowledge system constructed by the academic circles in Europe and America has great inspiration for Craig Clunas in the study of the history of Chinese art,which enables him to draw knowledge nutrients from these theories,fully consider and learn from these viewpoints and form his own theoretical framework.Craig Clunas integrates the"interdisciplinary"research ideas of western scholars in his research,and tries to use the theories of economics,sociology and anthropology to solve the specific problems of art history.The following is a brief talk about the important influence of two French scholars on Craig Clunas.
文摘Based on the network teaching model,this article briefly summarizes the development of Chinese art history education in universities,analyzes the importance of integrating network teaching in Chinese art history lessons,and explores the integration strategy.
文摘History of art casting in china has been over 5000 years. In the past few thousand years, numerous forming and decorating skills of art castings had been created, and left behind precious treasures in the world metal arts and crafts. In individual historical period and at different terrain, a unique artistic style formed, which flashed brilliant light in world artistic treasury.
文摘For a long time,due to the differences in terrain and culture,the aesthetic appreciation of Chinese and Western gardens has produced a large gap in modeling and design.Although the composition of garden elements is nothing more than landscape and architecture,there are obvious differences in the use of space and natural attitudes.Chinese gardens always follow the laws of natural beauty and formal beauty in modeling design,and respect nature in attitude and coordinate with nature.However,western gardens attach importance to architecture and artificalism,highlight rational aesthetics,get used to transforming nature in attitude,and always focus on"taking people as the center".They also have cognitive differences in the study of garden history.Comparing the Chinese and Western view of landscape architecture can enrich and expand the possibility of"Chinese landscape architecture research".
文摘The present study discusses how the emergence of semiology has outlined a new trajectory for visual and pictorial studies.First,we outline how Ferdinand de Saussure’s thoughts on the sign and its relation to visual communication has developed.Second,we interrogate its impact on art history,an already established science of visuality,throughout the 20th and 21st centuries.Third,we briefly discuss whether art history’s answer to reading Saussure is a denial or a positive affirmation of political responsibility shared by visual studies in general.The study highlights some of the most pertinent parts of the Saussurean legacy for the study of visual communication as a system,and some of the challenges and opportunities this legacy has created.
文摘This essay is a part of a longer work on literary and visual modernism at the“moment”of destruction in 1945:Stunde Null or Zero Hour.Here,I focus on the t4constructedness,'of universals via the material,psychological,and political destruction in Germany at war's end.At this moment,destruction and universals interconnect in three temporal modes:anticipatory,punctual,and retrospective.For“punctual”universals,I read Lee Miller’s war journalism,published in Vogue,in relation to her war and Holocaust photography,as uniting modernist aesthetic values and the“event”of destruction.For the construction of“anticipatory”universals,I discuss the work of Hannah Hoch,dada painter and collagist,who emerged from internal exile in Berlin to participate in the first modernist exhibitions in the destroyed city after Stunde Null.Finally,the anonymously authored A Woman in Berlin,documenting the survival strategies to mass sexual predation by Soviet troops immediately at and after Stunde Null,extends from punctual accounts of destruction to a retrospective narration.In each case,modernist visual and verbal forms-and an ethical imperative to keep interpretive horizons open-negotiates between the“radical particularity”of the lived experience of destruction and universal values.The constructedness of universals in modernist works anticipates the construction of political,ethical,and aesthetic universals in the global order after 1945.
