Unfolding The Public Art At Aalto University

What is the role of a public art collection in a university context? How does art impact teaching, research, and well-being? The art works in the Aalto University Campus buildings and outside areas form a unique and inspiring art collection. The art works focus on societally vital topics, such as gender balance, sexuality, sustainability, quantum physics, reflection, growth, materiality, beauty, and beyond. In this book, international top academic writers review the art collection through specific themes including how art encourages business studies or can public art be provocative. The book is richly illustrated with citations by the artists and anonymous comments by the users of the university spaces. The book unfolds in layers the processes of public art with facts and stories. Look at the pictures, read the citations, dwell on the articles and research more from the literature lists! This book is a must for art lovers and people who want to develop the use of public spaces.

Devoted to exploring the flourishing grotesque, carnivalesque and abject imagery in contemporary culture, Unfolding the Unexpressed dives into filmic representations of the grotesque body ? whether fantastic, monstrous, anti-ideal, caricatural, grotesquely gendered or mutilated. The book approaches the subject through seven films: Pink Flamingos, Antichrist, Alien: Resurrection, Fight Club, Kill Bill, Satyricon, and The Cook, the Thief, His Wife & Her Lover. 0Endeavoring to reveal the hidden within society, the book offers a novel outlook on the grotesque in interaction with cultural norms, taboos and ideals. Intertwined with ideologies and interests of power, the grotesque is highly consequential as regards issues of identity, gender and social difference.0'Unfolding the Unexpressed' illustrates how representations work through our conscious and unconscious thinking modes, drawing on our fears and fantasies. It illuminates how the grotesque can be used as an efficient tool in visual communication.

What worlds are revealed when we listen to alpacas, make photographs with yeast or use biosignals to generate autonomous virtual organisms? Bioart invites us to explore artistic practices at the intersection of art, science and society. This rapidly evolving field utilises the tools of life sciences to examine the materiality of life; the collision of human and nonhuman. Microbiology, virtual reality and robotics cross disciplinary boundaries to engage with arts as artists and scientists work together to challenge the ways in which we understand and observe the world. This book offers a stimulating and provocative exploration into worlds emerging, seen through art as we don?t know it ? yet.00'Art as We Don?t Know It' showcases art and research that has grown and flourished within the wider network of both the Bioart Society and Biofilia during the previous decade. The book features a foreword by curator and art historian Mónica Bello, and a selection of peer-reviewed articles, personal accounts and interviews, artistic contributions and collaborative projects which illustrate the breadth and diversity of bioart. The resulting book is a tantalising and invaluable indicator of trends, visions and impulses in the field.

A living environment that is perceived as aesthetically pleasant improves our quality of life, and we continuously assess the world we live in from this point of view. How things look, sound and feel clearly makes a difference. Are the surrounding objects, views, people, user interfaces and buildings beautiful, ugly, handsome or elegant? In addition to assessing our surroundings, we prefer doing and making things in such a way as to promote aesthetic appeal. We comb our hair, we furnish and decorate, we tune up our social media profiles and we create art for aesthetic reasons. Aesthetic values guide our choices and decisions when we are shopping, dining at the table, spending our time on holiday, voting in the polling booth or choosing a spouse. But what actually is aesthetics? Where and how does it exist? Is everybody's taste as good as anybody's? How does aesthetics relate to beauty, or art? How are the current megatrends, such as digitalization, molding aesthetics? Aesthetics as Space explores the aesthetic aspects of our life in the 21stcentury and addresses the question above, along with many others. There is no all-encompassing 21st-century aesthetics; rather, it is a multi-dimensional space of competing interpretations and ideas. This book gives the reader tools for understanding these different approaches.

This open access edited volume provides theoretical, practical, and historical perspectives on art and education in a post-digital, post-internet era. Recently, these terms have been attached to artworks, artists, exhibitions, and educational practices that deal with the relationships between online and offline, digital and physical, and material and immaterial. By taking the current socio-technological conditions of the post-digital and the post-internet seriously, contributors challenge fixed narratives and field-specific ownership of these terms, as well as explore their potential and possible shortcomings when discussing art and education. Chapters also recognize historical forebears of digital art and education while critically assessing art, media, and other realms of engagement. This book encourages readers to explore what kind of educational futures might a post-digital, post-internet era engender.

Contemporary Art and Digital Culture analyses the impact of the internet and digital technologies upon art today. Art over the last fifteen years has been deeply inflected by the rise of the internet as a mass cultural and socio-political medium, while also responding to urgent economic and political events, from the financial crisis of 2008 to the ongoing conflicts in the Middle East. This book looks at how contemporary art addresses digitality, circulation, privacy, and globalisation, and suggests how feminism and gender binaries have been shifted by new mediations of identity. It situates current artistic practice both in canonical art history and in technological predecessors such as cybernetics and net.art, and takes stock of how the art-world infrastructure has reacted to the internet’s promises of democratisation. An invaluable resource for undergraduate and postgraduate students of contemporary art – especially those studying history of art and art practice and theory – as well as those working in film, media, curation, or art education. Melissa Gronlund is a writer and lecturer on contemporary art, specialising in the moving image. From 2007–2015, she was co-editor of the journal Afterall, and her writing has appeared there and in Artforum, e-flux journal, frieze, the NewYorker.com, and many other places.