The Ephemeral,the Essential and the Material in the Conservation of Contemporary Art: Decision-Making for the Conservation of a Work of Art Made with Butterfly Wings

This article presents the intervention process carried out on a work of art created by artist Yolanda Gutiérrez Acosta, using a series of ephemeral materials such as butterfly wings and agave thorns. The work, an installation from 2002, is entitled ‘Efímeras’ (‘Ephemera’) and consists of 12 flowers mounted on acetate sheets and attached to the same with vinyl acetate copolymers and acrylic acid esters (Mowilith®). These flowers are installed on the floor in a bed of dried flowers. The conservation of contemporary art can lead to some previously unimaginable problems for restorers. Current works of art are somewhat material in nature, but they also have a conceptual dimension that is essential for their artistic interpretation. The artist’s participation in the decision-making process prior to the restoration was quite useful. The passage of time, its effect on the work, and the need to understand the possibility of the demise and destruction of the work were implicit as of the onset of its creation, such that, according to the artist, we are forced to reflect upon the possibilities of its future state.     

Technological capital: an alternative to the digital divide

This paper identifies individuals’ accumulated history with Information and Communication Technologies (ICTs) as a replacement for the contested and outdated term ‘digital divide.’ We propose that an individual’s ability to benefit from their technological history consists of four factors: awareness, knowledge, access, and technological capacity of the user’s social collective. Together, these factors make up the individual’s level or amount of Technological Capital. The development of this construct was based on empirical research conducted in Soweto, South Africa, and through an analysis of the literature on assessing individuals’ accumulated histories. The concept of technological capital has the potential for application in fields in which ICTs are used for communication, capacity building, and identifying barriers to adoption of new technologies. The use of the concept may have implications for policy decisions, resource allocation, and future research into differences among individuals’ and communities’ ability to benefit from the introduction of new technologies.     

基于自引网络和主路径分析的论文主题创新实证研究

[目的/意义]探讨如何从大量论文中快速发现相关论文,研究论文主题创新的方法,为研究者阅读和利用期刊论文提供参考。[方法/过程]在对论文主题创新和自引网络概念界定的基础上,提出研究论文主题创新的思路、方法和工具。以美国印第安纳大学在图书情报学领域的论文为例进行实证研究。[结果/结论]利用主路径分析可以快速从自引网络中发现由于引用而产生联系的论文,在此基础上可以进行主题创新分析。     

网络舆情场中信息受众观点测度的机理及路径分析

[目的/意义]整合定性与定量的舆情研究视角,统一多模态研究对象,实现网络舆情信息受众的观点测度,可修复网络舆情分析与治理的理论与实践裂痕。[方法/过程]通过引入网络舆情场的概念,对网络舆情信息受众、受众观点测度的内涵进行诠释,就网络舆情场与信息受众观点测度的逻辑关系加以辩证讨论。[结果/结论]提出网络舆情场内舆情受众观点测度机理和具体测度路径,为后续网络舆情场中的网络舆情信息分析、多维度信息受众观点测度,受众认知规律发现,网络舆情监督和管控限制等层面的研究做相应铺垫。     

基于频度演化的领域知识关联关系涌现

领域知识的生长演化问题一直是图书情报学界重点关注的主题。以网络科学思维探索知识生长过程中的关联关系涌现问题,能够对知识关联的生长模式与机制进行揭示。本研究提取知识关联关系累计44万余对,关联频度87万余次,共划分为11个时间窗口。在对时间序列领域知识网络结构属性初步判识的基础上,对关联频度分布进行时间序列分析。并从领域知识生长过程中的关联频度数量、关联频度占比、邻近窗口状态等方面,对知识关联关系及其频度进行跟踪与分析。研究结果表明,知识关联关系生长过程中,关联关系频度的分布符合幂律分布,且在领域知识发展的成熟期表现得更好。知识关联关系的生长过程具有频度层面的“富者更富”的属性,且主要遵循“择优强化”机制。尽管研究所使用的基于社会化标注系统的知识网络尚不足以囊括所有类型的知识网络,但是基于频度演化的知识关联关系涌现模式与机制,有助于促进知识网络、知识生长等领域的研究工作,对于社交网络、传播网络、交通网络等研究不无裨益。图5。表4。参考文献30。     

基于语料库和网络支撑平台的大学英语自主学习：背景、模式与省思

基于语料和数据驱动的大学英语在线学习给传统的教学模式带来了巨大的冲击。文章探讨了该体系的现实和理论背景依托,运作模式及其在践行中所面临的困境和问题进行了理性反思,以期对大学英语教学改革提供新的思路和视角。     

隐性分层下我校艺体类学生大学英语教学

隐性分层教学是针对学生个体差异,从学生实际情况出发,因材施教,使学生的不同学习需求得到满足,并获得成功体验的一种先进教学方法。高职高专艺体类学生大学英语水平的提高很大程度上取决于教师提供的条件和帮助,条件适当,帮助合理,学好英语就不成问题。     

中国漆艺的发展脉络及其价值

中国漆艺历史悠久，源远流长，是世界漆艺的源头，对世界漆艺产生了深远的影响。她有着“气韵生动的线”、“精彩绝艳的色”，是“宇宙生命的象征”和“上古东方的现代派绘画”；有着极强的防水、防蛀、防腐和装饰的实用价值。她品类繁多、用途广泛，具有极高的收藏价值。     

Six into One: The Contradictory Art School Curriculum and how it Came About

This article reports historical research which sought to understand the present‐day post‐secondary art curriculum through analysing its history in terms of changes in conceptions of art. It found that there have been six distinctive curricula: Apprentice, Academic, Formalist, Expressive, Conceptual and Professional. As a new curriculum has been introduced, it has co‐existed with much contained in a previous one. Most of the curriculum changes have taken place in the past 65 years. During this time, there has been a massive expansion in the education of artists and at the same time art schools accommodated first modernism and then post‐Duchampian aesthetics. A conclusion is that this has made for a very crowded curriculum. Moreover, despite there being an ever increasing choice of things a student might learn, it appears that there is nothing which all students have to learn. It can be problematic that one part of the curriculum is in contradiction to another part, and moreover this lack of a core raises fundamental, ontological questions about what art as a discipline is.     

‘Before I realised they were all women… I expected it to be more about materials’: Art,Gender and Tacit Subjectivity

This article discusses a critical discourse analysis research activity undertaken with a group of undergraduate primary trainees with an art specialism. The research activity involved the use of two contrasting texts discussing the work of Karla Black, Becky Beasley and Claire Barclay. The article explores how the positioning of the two texts affected the student teachers’ ability to engage effectively with ‘women's art’ on a personal and critical level, revealing some highly subjective views and raising questions around intertextuality; particularly how an individual's understanding of contexts, meanings and histories can inform collective interpretation and highlight existing subjectivity. The article subsequently identifies that although students were keen to talk about careful selection of texts, the benefits of using multiple sources and the risks of intertextual and ‘subliminal’ contamination, they were unable to reflect critically upon their own gendered reading of the texts. It concludes that this may well be a signifier of the problem – that the student teachers did not really see a problem at all.