标签为 “杂志” 的文章

  • A ‘Doctored’ Video of Trump’s Clash with CNN Reporter Goes …

    NEW! 2018.11.15 · 发表评论

    In Stephen Spielberg’s noir-sci-fi film Minority Report (2002), Tom Cruise plays a cop in the Washington DC police precrime division. Precrime, meaning, Cruise sees offences before they happen and rushes to stop the action prior to it taking place. The intel is received from three ‘precognitives’ – mutants who foresee the crimes – and their knowledge is transmitted to Cruise via a computer with a huge glass screen. Cruise’s performance involves his cop character conducting these images across this futuristic user interface, putting on special gloves that allow him to shift between images produced by the precogs, explore and zoom in on the background to see a mailbox, or a clock on the wall, and know the time and place where violence is about to happen. The images and short videos are grainy and poor, to communicate the fact that these are reflections of the future, but Cruise still gets to magnify them, or close in, and get all the information he needs. – 在斯蒂芬·斯皮尔伯格(Stephen Spielberg)的黑色科幻电影《少数族裔报告》(2002)中,汤姆·克鲁斯(Tom Cruise)在华盛顿警察局预犯罪分局扮演一名警察。先见之明,意味着,克鲁斯看到犯罪发生之前,并急于停止行动之前发生。英特尔是从三个“预知者”——预知犯罪的突变体——那里收到的,他们的知识通过一个带有巨大玻璃屏幕的计算机传送给克鲁斯。克鲁斯的表演包括他的警察角色在这个未来派的用户界面上处理这些图像,戴上特殊的手套,允许他在由预告片产生的图像之间切换,在背景中探索和放大以查看邮箱或墙上的时钟,并了解Tim。E和暴力即将发生的地方。这些图像和短片很粗糙,不足以说明这些是未来的反映,但是克鲁斯仍然可以放大它们,或者接近它们,并获得他所需要的所有信息。

  • The Secret to Being a Successful Artist Revealed! – …

    2018.11.13 · 发表评论

    The most heralded artists from the last four decades share one thing in common, according to a new study – 一项新的研究表明,过去四年里最著名的艺术家有一个共同点。

  • 在芝加哥试图卖掉他的壁画后,Kerry James Marshall结束了他的 …

    2018.11.09 · 发表评论

    In further news: Italian government cracks down on art crime; and screening live arts performances fails to diversify audiences  – 另辟蹊径:意大利政府严厉打击艺术犯罪,现场放映艺术表演未能使观众多样化 

  • Decolonial Documents: Part Three – 非殖民化文件:第 …

    2018.11.05 · 发表评论

    In the third of a series, timed with the specially-themed November-December issue of frieze, we asked five artists, curators and writers, whose work has been involved with the challenges of decolonizing culture, to discuss the projects that have informed their thinking – from exhibitions and publications to more intangible and transient networks, whose effects are often more felt than documented, though no less significant. – 在系列文章的第三期,以特别主题的11月至12月的弗里兹杂志为时间点,我们邀请了五位艺术家、策展人和作家,他们的作品涉及非殖民文化的挑战,来讨论从展览和公共场所了解他们思想的项目。更多的无形和瞬态网络,其效果往往比记录的感觉,虽然不那么重要。

  • Where Do We Go From Here: To The Horseman of the Sixties & …

    2018.11.02 · 发表评论

    Earlier this year, Gayatri Spivak signed my copy of Breast Stories (1997), one of her English translations of Mahasweta Devi, with the inscription: ‘To the Horseman of the Sixties’. This made me time-travel back to 1966 and my first visit to the US. I was a postgraduate student at the University of Leeds and in the middle of my third novel, A Grain of Wheat (1967), but here I was, a regional guest of honour from Africa, at PEN International. The playwright Arthur Miller was president and the theme of the conference was the writer as an independent spirit. The idea was to bridge the cold war divide, and writers from the Eastern bloc were allowed into the country despite their communist connections. The large contingent of Latin American writers included Carlos Fuentes, Pablo Neruda and Mario Vargas Llosa. – 今年早些时候,Gayatri Spivak在我的《乳房故事》(1997)上签了字:“献给六十年代的骑士”。这使我的时间旅行回到1966和我第一次访问美国。我是利兹大学的研究生,在我的第三部小说《一粒小麦》(1967)的中途,但在这里,我是来自非洲的PEN国际的荣誉嘉宾。剧作家阿瑟·米勒是总统,会议的主题是作家作为一个独立的精神。这个想法是为了弥合冷战的分歧,尽管东欧作家与共产党有联系,但他们还是被允许进入这个国家。拉丁美洲作家队伍包括卡洛斯·富恩特斯、巴勃罗·聂鲁达和马里奥·巴尔加斯·略萨。

  • New Database ‘A Space of One’s Own’ Celebrates the Women A …

    2018.11.02 · 发表评论

    Researchers have compiled an illustrated resource that throws light on overlooked female artists from the 15th to 19th centuries – 研究人员已经编纂了一个图示的资源,从第十五到第十九个世纪吸引了被忽视的女性艺术家。

  • Where Do We Go From Here: For They Shall Be Heard – …

    2018.11.02 · 发表评论

    When will we start taking seriously Eve Tuck and K. Wayne Yang’s proposal, in Decolonization Is Not a Metaphor  (2012), that d ecolonization is far too often subsumed into the directives of other projects ? How do we move beyond the symbol to the thing itself? Catherine E. Walsh writes of the danger of the term’s ‘increasing rhetorical use’ and ‘adjectival lightness’, its commodification ‘as the property of a group of individuals […] as a new canon of sorts, both of which erase and shroud decoloniality’s terrain of political project, praxis and struggle’. 1 – 我们什么时候才能开始认真对待夏娃·塔克和K·韦恩·杨在《非殖民化不是隐喻》(2012)一书中的提议,即d非殖民化常常被纳入其他项目的指导方针?我们如何超越符号到事物本身?凯瑟琳·E·沃尔什(Catherine E.Walsh)写道,术语“日益增长的修辞用法”和“形容词轻盈”的危险,其商品化是“一群人的财产”[…]作为一种新的典范,它们都抹去和遮蔽了非殖民主义政治项目、惯例的地域。就是斗争。一

  • Just 14% of English Heritage’s Blue Plaques Celebrate Wome …

    2018.11.01 · 发表评论

    English Heritage has conceded that there are not enough commemorative blue plaques for women and is calling on the public to nominate celebrated women from history to be included in the scheme. – 英国文化遗产组织承认没有足够的蓝色纪念牌匾供妇女纪念,并呼吁公众从历史上提名有名的妇女参加该计划。

  • Across Australia, Artists are Disrupting the Colonial Mind …

    2018.11.01 · 发表评论

    In the Australian art world, ‘decolonization’ has become a buzzword in academia, galleries and museums, yet our Aboriginal and Torres Strait Islander artists have been calling for decolonization and asserting sovereignty for decades. The process of decolonization requires ongoing work and our peoples have created generational legacies of storytelling about surviving colonization through art, theatre, literature and community activism. Sovereignty is central to the identity and well-being of Indigenous peoples in our fight for justice. The arts are an accessible and engaging way of discussing these complex issues in a country where white colonial and patriarchal narratives dominate public spaces. In recent years, a social-media revolution has been mobilized by Indigenous scholars, artists and activists who descend from a lineage of Aboriginal resistance through letter- and petition-writing. There is also an emerging Aboriginal podcast culture: Wild Black Women, for example – hosted by the academic Dr Chelsea Bond and the comedy writer Angelina Hurley – is a sharply funny and politically astute programme that takes racism, whiteness and the patriarchy to task. – 在澳大利亚艺术界,“非殖民化”已经成为学术界、美术馆和博物馆的一个时髦词,然而几十年来,我们的土著和托雷斯海峡岛民艺术家们一直呼吁非殖民化和维护主权。非殖民化进程需要不断努力,我们各国人民通过艺术、戏剧、文学和社区活动创造了一代又一代的传奇故事,讲述殖民地幸存下来的故事。主权是我们争取正义的原住民的身份和福祉的核心。在一个白人殖民主义和父权主义叙事占据公共空间的国家,艺术是讨论这些复杂问题的一种容易接近和吸引人的方式。近年来,土著学者、艺术家和活动家发动了一场社会媒体革命,他们通过写信和请愿书从土著反抗血统中脱颖而出。还有一个正在兴起的原住民播客文化:例如,由学术界切尔西·邦德博士和喜剧作家安吉丽娜·赫利主持的《野生黑人妇女》就是一个非常有趣和政治精明的节目,它以种族主义、白人和父权制为任务。