1,720,981 research outputs found
The Fifth Landscape and UNESCO cultural landscapes: art as an enabler of resilience in local communities
No full textThe “Vineyard Landscape of Piedmont: Langhe-Roero and Monferrato” (UNESCO, 2014a) and the “Cultural Landscape of Honghe Hani Rice Terraces” (UNESCO, 2013) are both cultural landscapes (UNESCO, 1992), internationally renowned for their outstanding production landscapes. Following its inscription on the World Heritage List (2014), the Italian site is experiencing a growing demand for mitigation of the critical visual issues caused by built elements dating from the second half of the 20th century (ICOMOS, 2014), as well as for the enhancement of areas of natural and visual interest, through artistic initiatives that are not always calibrated in terms of the quality offered. The concept of Fifth Landscape (Repetto & Aimar, 2021) is part of this perspective, which aims to use art as a bearer of resilience in local communities through the activation of the imaginary, thus bringing added value to territories in experiential terms. Following the twinning between the 2 sites established in 2019, cultural performances such as the “The vineyard: a universal mist, an ocean of curdled milk” installation in Bologna (Repetto, 2019), the “FU” night-time illumination of Chinese rice terraces (Repetto, Florian & Lo Giudice, 2019) and the “Embrace of Light” between Azheke and Grinzane Cavour (Repetto, Chen & Aimar, 2020) go in this direction. Moreover, art can bring economic benefits to the populations living in these sites, correlating the export of agricultural products to the imaginary that international visitors can associate with these cultural landscapes
The Fifth Landscape: A Transdisciplinary Approach To interpreting Perceptual Landscape Transformations?
Full text linkThe conception of “Fifth Landscape” (Repetto & Aimar, 2021) originates from the presentation ‘Fifth Landscape/Landscape 5.0’ held by Diego Repetto at the conference ‘Shaping the City: A Forum for Sustainable Cities and Communities’, ‘Culture for Sustainable Cities’ section, organised by the European Cultural Centre in 2018. It is a fresh implementation and evolutionary development of the concept of Fourth Landscape (non-profit association Quarto Paesaggio, 2013), and an homage to Gilles Clément’s well-known Third Landscape (2004). If Clément defines the ‘Tiers paysage’ [Third Landscape] as “... made up of all the places left behind by man” (Clément, 2004:1) and exhorts to consider the “... the inherent mechanics of the Third Landscape - as an engine of evolution” pointing out the necessity to “teach the engines of evolution ...” (ibid., 24), subsequent elaborations derive their substance from this evolutionary nature and reworking of the landscape waste.
Indeed, the Fourth Landscape uses art as an engine to stimulate citizens participation in the reflection on the meaning of the suburban landscape and their role in this re-appropriation and re-interpretation, as the urban landscape is also a common good (CR Florence Foundation, 2018)
Intangible through tangible actions. For an integrated management of a UNESCO cultural landscape.
No full textUnderstanding the inherent values of a cultural landscape, such as those designated as UNESCO World Heritage cultural landscapes, also involves an appreciation of their intangible dimensions, shaped by the social component. In order to strengthen dialogue among people and enhance comprehension of the values underpinning a particular cultural heritage, two UNESCO cultural landscapes in Italy and China were selected as case studies due to the twinning of their managing bodies. Therefore, aiming to contribute to the promotion of cultural exchange in the realm of strategies and actions for their effective integrated management, a preliminary pilot project is proposed in this article. This project seeks to conceptualize an ideal bridge of light between the two mentioned traditional rural landscapes through an artistic exhibition designed to facilitate a dialogue between the values and attributes of these two rural worlds
The Fifth Landscape: Art in the Contemporary Landscape
No full textAt the Shaping the City conference organised by the European Cultural Center at the 2018 Venice Biennale, the concept of the Fifth Landscape (or Landscape 5.0) was exhibited for the first time. Thanks to creativity, the goal is to experiment with spaces for the sake of social and cultural imagination, in which it is no longer just a question of architecture but of dreams and social imagination. “Ideal” spaces are related to their impact on the architecture, art and human hopes. In the Fifth Landscape, the contemporary prefers the moment of the artistic gesture that will be remembered but that is not relived in everyday life. Temporary installations in urban centers and open spaces become an occasion for new uses of the different environments, such as living them in a completely new way with novel prospects for the future. If the First Landscape is the managed forest, then the Second is the cultivated field. The Third is the abandonment of places at the hands of man, according to Gilles Clément, and the Fourth is where art is used to counter urban degradation and solitude. The Fifth Landscape is generated by temporary works that, catalysing territorial force, stimulate people to live in the environment in a new way, making it dreamlike. The strong emotional impact on the collective memory transmits, in addition to the true meaning of the work, a sense of uniqueness of the moment that one is experiencing. New visions of landscapes are provided to the community, in which art, architecture, design and nature are confronted using environmental sustainability and the landscape itself as themes. What influences will cultural dematerialisation have on the landscape? How will the sense of beauty in the future society be transmitted and realised? If it is, through which artistic and ephemeral gestures will it appear? Helped by virtuous and suggestive artworks among which Vesuvius by Diego Repetto, Illusion by Alberto Timossi and ARTgo by Diego Repetto, we try to answer the proposed questions, thus understanding more about the potential future perception of the landscape in a continuous search for beauty
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Template-assisted growth of transparent plasmonic nanowire electrodes
No full textSelf-organized nanowire arrays are confined by glancing-angle Au deposition on nanopatterned glass templates prepared by ion beam sputtering. The semi-transparent 1D nanowire arrays are extended over large cm2 areas and are endowed with excellent electrical conductivity competitive with the best transparent conductive oxides (sheet resistance in the range of 5-20 Ohm sq-1). In addition, the nanowires support localized surface plasmon (LSP) resonances, which are easily tunable into the visible and near infrared spectrum and are selectively excited with incident light polarized perpendicularly to the wires. Such substrates, thus, behave as multifunctional nanoelectrodes, which combine good optoelectronic performance with dichroic plasmonic excitation. The electrical percolation process of the Au nanoelectrodes was monitored in situ during growth at glancing angle, both on flat and nanopatterned glass templates. In the first case, we observed a universal scaling of the differential percolation rate, independently of the glancing deposition angle, while deviations from the universal scaling were observed when Au was confined on nanopatterned templates. In the latter case, the pronounced shadowing effect promotes the growth of locally connected 1D Au nanosticks on the 'illuminated' ripple ridges, thus, introducing strong anisotropies with respect to the case of a 2D percolating network
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