![]() The latter reproduces commensurability between two main figures associated with Australian settler history, namely the country’s precolonial indigenous species of animals and plants and the human Aboriginal population. We note that the human and animal characters that form the displays of the sanctuary work towards the assemblage of a largely consistent underlying theme. This article explores the social and cultural production of indigeneity in a wildlife sanctuary on the Australian Gold Coast. Section 4 explains what exactly a cycle of discovery of the aesthetic value of a place means, referring to the case of the Oku-noto International Art Festival. Section 3 interprets previous research on creative placemaking and site-specificity from the perspective of environmental aesthetics and argues that CEAP creates a cycle of discovery of the aesthetic value of a place at the initial phase of revitalization. ![]() The first is the ambiguity of community revitalization as a social purpose, and the second is that the view overlooks that art is an act of making something. Section 2 points out two problems that arise when applying the practical view to CEAP. Section 1 examines Vid Simoniti's "pragmatic view" of the artistic value of socially engaged art (SEA). ![]() I evaluate the artistic value of it in terms of creating a cycle of discovery of the aesthetic value of a place by various subjects. ![]() CEAP refers to art projects that take place in a specific region for revitalization and other similar purposes. ![]() This paper discusses the artistic value of "community-engaged art project (CEAP) "from the perspective of environmental aesthetics. ![]()
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