图书馆平衡著作权私权利益与公共利益的职能审视

图书馆拥有提高公众素质、开发信息资源、传播文化、促进文艺和科技进步的公益性功能。图书馆采购作品,回报作者;传播作品,丰富著作权人收益、保证公众作品使用;守望作品公有领域,确保公共利益。因此,图书馆在维系著作权个人利益与社会公共利益和谐均衡方面,起着至关重要的作用。     

News framing of the Chinese embassy bombing by the people's daily and the New York Times

This paper looks at the news framing choices made by the People's Daily and the New York Times in reporting the bombing of the Chinese Embassy and the events that followed it. The study compares textual choices made by the papers across the ten days of post‐bombing news and commentaries. The authors discuss this incident and their findings in the context of reciprocal Chinese‐US media images over the last few decades.     

Where Pop Meets Purl: Knitting,the Curation of Craft,and the Folk/Mass Culture Divide

Since the 1970s, the de‐differentiation of high and low culture has legitimized the curation of craft and popular culture. The curation of some crafts, such as quilting, has assisted in reducing art‐craft distinctions, and the exhibition of fashion and popular music has highlighted links between folk culture (e.g., stories, songs, and crafts) and mass culture. With reference to the craft of knitting, we draw on the concept of the contact zone) to show how the current breaching of museum boundaries by yarn bombers can draw further attention to inclusions and exclusions in museum curation. Just as traditional age and gender distinctions are both problematized and perpetuated in public images and press reports on knitting, we argue that discussion of new forms and new contributors to curation processes may be tempered by broader analysis of the representation of craft within popular culture.     

大学图书馆公共艺术创作的转型思路—以安徽工业大学新图书馆为例

本文介绍了公共艺术在当代的角色和任务,论述了国内大学图书馆公共艺术创作的现状及其转型的必要性,在此基础上,以安徽工业大学图书馆新馆为例,提出并详细论证了当代大学图书馆公共艺术创作转型应遵循的原则。     

Motivational Factors and the Visitor Experience: A Comparison of Three Sites

Museums, art galleries, botanical gardens, national parks, science centers, zoos, aquaria and historic sites are important public learning institutions. The free‐choice learning offered in these settings is closely linked to visitors' intrinsic motivation, making it important to understand the motivational factors that impact on visitors' experiences. This paper presents data from a questionnaire administered to visitors at three sites: a museum, an art gallery, and an aquarium. Similarities and differences among the sites are reported in relation to visitors' expectations, perceptions of learning opportunities, engagement in motivated learning behaviors, and perceptions of the learning experience. The importance of learning to museum visitors and the unique opportunities and challenges of the museum in relation to other educational leisure settings are discussed. The authors argue that the study of motivational factors might contribute to the development of a common theoretical foundation for interpretation in museums and other informal learning settings.     

Fakes on Display: Special Exhibitions of Counterfeit Art

Since the mid‐twentieth century, special exhibitions of art forgeries have appeared in many museums in the United States and Europe. These exhibitions have displayed artworks of many kinds, and have been structured around a variety of objectives and methodologies to engage the public. Fundamentally, they inform that public about an uncomfortable reality: that artistic deception is more common than they may think. The collective phenomenon of these forums displaying faux art has reached a point at which it is a topic worthy of study. This article draws upon representative examples of exhibitions of fake art to present an overview of their “what,” “why,” and “how” in light of commonalities and differences among them. It furthermore traces a loose historical pattern in these exhibitions that shows change over time as well as continuity.     

论稿件退修过程中编辑与作者的互动

在稿件退修过程中,编辑和作者良性互动关系的建立能促进编著双方信息交换和优化,提升稿件质量,培育优质作者群体.编辑应根据自身在稿件退修中的职责、作用及要实现的预期目标来明确其角色和定位:因“人”制宜的了解者、“辅”而不越的指导者和“严”而有据的评价者.编辑应从多方面促进与作者的互动,其中:以“人”为本、强化服务意识是根本;树立公关思维、讲究沟通艺术是关键;提高职业素养、完善知识结构是基础;达成目标契合、促进共同发展是前提.     

Gallery One at the Cleveland Museum of Art

How can art museums use interpretive technology to engage visitors actively in new kinds of experiences with works of art? What are the best strategies for integrating technology into the visitor experience? In 2012, the Cleveland Museum of Art responded with Gallery One, an interactive art gallery that opened to stakeholders on December 12, and went through a six‐week testing period before its public opening on January 21, 2013. Gallery One drew from extensive audience research and was part of a major building and renovation project in which CMA reinstalled and reinterpreted the entire permanent collection in new and renovated gallery spaces. The end result was an innovative and robust blend of art, technology, design, and a unique user experience that emerged through the collaboration of staff across the museum and with outside consultants.     

Art and National Identity: Some Museums in Prague

In histories of the art museum, Prague has only a minor place. Yet at one crucial early moment, Prague played an important role in what we might call the prehistory of European public museums. There is a close link between art museums and nationalism. One necessary condition for being a country, it might be said, is that its people have a distinctive artistic tradition and therefore reason to build a museum in which to house it. What, then, is the relationship between Prague’s art museums and the identity of the Czech people?     

The Uneasy Relationship of Self‐Critique in the Public Art Institution

Reacting to the gradual neoliberalization of the European public art institutional landscape, actors within a number of critical art museums and galleries have attempted to reform their institutions from within through a process that is largely commensurate with Chantal Mouffe's radical political strategy of ‘critique as hegemonic engagement‐with’. This article focuses on Manuel J. Borja‐Villel's attempt to implement such a strategy at the Museu D'Art Contemporani, Barcelona (MACBA) in the early 2000s. Through an examination of two key projects – Las Agencias (The Agencies) (2001) and Com Volem ser Governats? (How do we want to be governed) (2003‐2004) – it considers the efficacy of such an approach. In so doing, it calls into question the public art institution's ability to perform a self‐critique when embedded within the hegemony of the neoliberal order and constrained by bureaucratic institutional limitations. It concludes by noting that Mouffe's strategy of engagement does not give sufficient consideration to the dependence critical public art institutions have on local and national political support and its funding channels, making them extremely susceptible to instrumentalization. In response to this constraint, it makes the recommendation that, rather than curbing their experimentation, these critical actors should embrace the potentially temporary status of their institutions, and intentionally push them to and even beyond their bureaucratic limitations.     

The role of conservation in new contemporary art installations in new contexts: The case of Richard Serra's East–West/West–East in Qatar

In recent years Qatar has invested a significant sum of money on exhibitions of contemporary artists and public art. This paper discusses decision-making processes in the conservation of contemporary artworks installed in newly emerging art markets such as Qatar, where there are no established practices. In 2014, Richard Serra's East–West/West–East, an installation of four vertical plates made of weathering (Corten?) steel, which span one kilometre at heights so as to reach the level of the surrounding gypsum plateaus, was installed in the Brouq Nature Reserve near Zekreet desert, two kilometres from the sea in the western part of Qatar. The artwork is already considered by some a landmark for the isolated area. The plates have started to develop protective corrosion layers, although Corten? is not completely corrosion resistant when located near coastal sites. They have also started to bend and are heavily inscribed by visitors. Conservation of public art is complex, as site-specific artworks are linked with the landscape and defined by the relationships they develop with the public. Art installations of this magnitude demand not only conservation measures but also a management plan. The isolated location, the scale of the artwork, the aggressive environment, and the lack of supervision and monitoring of the area challenge current practices but offer an opportunity to develop methods to preserve art of site-specific art in new environments and diverse audiences. Monitoring will allow a better understanding of the interactions of visitors with the artwork and will shed light on the material's behaviour in this specific environment.     

Defining Fair Use in Visual Art Research Sources and Strategies

Abstract

This guide offers extensive resources on the intersection of intellectual property law and contemporary visual art and on the application of the doctrine of fair use within this context. It is designed to assist attorneys, museum administrators, art collectors, art dealers and artists in handling litigation involving copyright litigation. It is particularly focused on copyright claims arising out of the art movement known as “appropriation,” which has emerged as a litigation target due to its use of familiar images and image genres drawn from public and consumer media. The guide strives to aid artworlders and attorneys new to art litigation in developing an understanding of the limitations and extent of fair use protections for visual artwork.     

公共环境艺术设计专业特色数据库建设研究

针对目前公共环境设计文献无序散乱、数量匮乏等现状,笔者采用文献调查、归纳研究等方法,将公共环境艺术设计资源进行分类,并整合成一个完整系统的信息集合体。针对公共环境艺术设计特色数据库建设的需求进行分析,提出其构建内容并阐述公共环境艺术设计专业特色数据库构建过程中需要注意的若干问题。      

公共借阅权:理性评判与法律解析 ——从西方经验到中国语境

[目的/意义]公共借阅权用以补偿作者因公共图书馆提供其作品予公众借阅而承受的潜在损失,或者作为政府对艺术的支持而产生,其权利观念源于德国,是著作权人意识和社会经济文化发展的产物。管理系统、评估系统等构成了公共借阅权制度的外部构造;客体、主体、内容、救济等构成了该制度的内部构造。公共借阅权制度的正当性基础在于鼓励创作,加速知识产能的利用和转化。[方法/过程]基于该制度具有鼓励文化创新、丰富文化市场的生产性功能,并对社会利用作品所生之利益进行再分配。比较法上的实证数据表明,除极个别例外,公共借阅权制度不会对公共图书馆借阅活动造成影响。数字经济时代下,该制度出现了更为重要的应用前景。[结果/结论]从我国目前社会、文化和其他方面发展情况看,在第三次著作权法修改中有引进该制度的必要。     

Street art conservation in Athens: Critical conservation in a time of crisis

Street art, public murals, and graffiti are forms of contemporary art which flourish in the urban environment. The current socioeconomic and political crisis in Greece has rendered Athens a living city canvas that attracts artists, art lovers, young people, tourists, journalists, and photographers. The conservation of street art in extreme outdoor conditions is a new area of interest for conservation research and practice. Since 2010 the Conservation of Wall Paintings Laboratory of the Department of Conservation of Antiquities and Works of Art (CAWA) of the Technological Educational Institute (TEI), Athens has been engaged in a project to explore ethics, carry out documentation, and initiate new research into street art and its conservation. Since 2012, Street Art Conservators (St.a.co.), a team comprising academics, conservators, and students from CAWA has worked in the streets of Athens for the preservation of street art. The protection and conservation of street art require the creation of a critical mass of people who are interested in the study and preservation of street art, co-operative conservation work and research, and the documentation and digital mapping of street art as an alternative means for its preservation.     

Conflictual Media Events,Eyewitness Images,and the Boston Marathon Bombing (2013)

The proliferation of camera phones over the past decade has created an unprecedented landslide of visual information in the online public sphere, transforming the form and amount of communication in relation to crisis events. International research on this subject has primarily centered on the way in which the production and dissemination of eyewitness images convert mainstream media's coverage of crisis. This article broadens the perspective by focusing on eyewitness images in relation to “conflictual media events.” The article contributes to discussions on the definition of conflictual media events in today's mediatized and connective media environment, which has undergone radical changes from the era of mass media hegemony when Daniel Dayan and Elihu Katz first outlined media events. The article further examines the ways in which the circulation of eyewitness images erodes established boundaries between experts and laymen and between professionals and non-professionals in relation to conflictual media events. The bombing of the Boston Marathon in April 2013 constitutes the empirical point of departure.     

Discovering Open Access Art History: A Comparative Study of the Indexing of Open Access Art Journals

This article evaluates the indexing of open access art journals in four frequently utilized art indexes: Art Full Text, ARTBibliographies Modern, Art & Architecture Complete, and Bibliography of the History of Art/International Bibliography of Art. The authors also compare the indexing of open access journals in Google Scholar to that in the traditional indexes mentioned above and demonstrate that the commercial indexes currently lag behind Google Scholar in terms of content coverage. This article argues that increased indexing of open access art journals in the traditional, subject-specific indexes will be integral to their acceptance within the discipline of art history.     

Exploring visual perception and children's interpretations of picture books

Visual perception is an ability to process and organize visual information; it plays a role in identifying and classifying information. Many physiological and psychological factors can have an impact on the depth of visual perception in terms of categorization and interpretation of meaning. Picture books tell stories to children with a combination of texts and images. Children's interaction with picture books shows relationships with visual perception; visual perception has an impact on children's categorization and narratives and illustrations of picture books are works of art that can provide sources for children to appreciate art and enhance their visual perception. Three to five-year-old children are characterized by a reliance on their perception because they see what appears to them. At public libraries, schools, and homes children often read picture books for learning and recreation. Thirty-one three- to five-year-old children from one public library, one preschool, and home schools were recruited to interpret images of two picture books in short interviews. Factors that contributed to their interpretation were explored through surveys, content analysis, and case studies.     

Complementary competencies: public health and health sciences librarianship.

OBJECTIVES: The authors sought to identify opportunities for partnership between the communities of public health workers and health sciences librarians. METHODS: The authors review competencies in public health and health sciences librarianship. They highlight previously identified public health informatics competencies and the Medical Library Association's essential areas of knowledge. Based on points of correspondence between the two domains, the authors identify specific opportunities for partnership. RESULTS: The points of correspondence between public health and health sciences librarianship are reflected in several past projects involving both communities. These previous collaborations and the services provided by health sciences librarians at many public health organizations suggest that some health sciences librarians may be considered full members of the public health workforce. Opportunities remain for productive collaboration between public health workers and health sciences librarians. CONCLUSIONS: Drawing on historical and contemporary experience, this paper presents an initial framework for forming collaborations between health sciences librarians and members of the public health workforce. This framework may stimulate thinking about how to form additional partnerships between members of these two communities.     

数字媒体与档案艺术的记忆问题反思

数字媒体在构造愈加完整化、多元化且结构化的数字记忆的同时,却也逐渐忽略了文本世界中潜在的人类情感、审美趣味和符号价值.档案艺术主张从真实的历史中构建可用于人类解读的记忆,以社交游戏Second Life为例,从观感、文本和记忆出发,分析档案艺术的主要特征.通过案例分析,得到如下启示:一是利用复制技术,认可记忆无序所固有...