Intersections, Innovations, Institutions: A Reader in Singapore Modern Art is the second of two volumes of readers which the editors had published on Singapore art. The first volume, Histories, Practices, Interventions: A Reader in Singapore Contemporary Art, was published in 2016. Like the first volume, Intersections, Innovations, Institutions brings together historically important writings but the scope is on modern artistic practices in Singapore from the 19th century to the 1980s. The aim of this book is to make these writings accessible for research and scholarship and for new histories and narratives to be constructed about the modern in Singapore art.Bundle set: A Reader in Singapore Modern and Contemporary ArtRelated Link(s)
Bridging art and innovation, this book invites readers into the processes of artists, curators, cultural producers and historians who are working within new contexts that run parallel to or against the phenomenon of ‘maker culture’. The book is a fascinating and compelling resource for those interested in critical and interdisciplinary modes of practice that combine arts, technology and making. It presents international case studies that interrogate perceived distinctions between sites of artistic and economic production by brokering new ways of working between them. It also discusses the synergies and dissonances between art and maker culture, analyses the social and collaborative impact of maker spaces and reflects upon the ethos of the hackathon within the fabric of a media lab’s working practices. Art Hack Practice: Critical Intersections of Art, Innovation and the Maker Movement is essential reading for courses in art, design, new media, computer science, media studies and mass communications as well as those working to bring new forms of programming to museums, cultural venues, commercial venture and interdisciplinary academic research centres.
Two leading experts on designing strategic conversations unveil a simple, creative process that allows teams to tackle their most challenging issues. In our fast-changing world, leaders are increasingly confronted by messy, multifaceted challenges that require collaboration to resolve. But the standard methods for tackling these challenges—meetings packed with data-drenched presentations or brainstorming sessions that circle back to nowhere—just don’t deliver. Great strategic conversations generate breakthrough insights by combining the best ideas of people with different backgrounds and perspectives. In this book, two experts “crack the code” on what it takes to design creative, collaborative problem-solving sessions that soar rather than sink. Drawing on decades of experience as innovation strategists—and supported by cutting-edge social science research, dozens of real-life examples, and interviews with well over 100 thought leaders, executives, and fellow practitioners— they unveil a simple, creative process that leaders and their teams can use to unlock solutions to their most vexing issues. The book also includes a “Starter Kit” full of tools and tips for putting the book’s core principles into practice.
Who spoke of the modern in Southeast Asia? When and where was the modern written? How was it written? How was it received? This collection brings together nearly 300 texts that were originally published between the late 19th to late 20th centuries, selected by a group of scholars as responses to questions such as these. The texts were produced chiefly in various locations in the region, by artists, critics, historians and curators in 11 languages, many of which had never before been translated into the English language. Years in the making, this publication is the first to present such breadth and depth of art writing in the region of Southeast Asia, and will be a valuable resource to students, teachers, scholars and those interested in Southeast Asian studies and art history. Looking from inside the region, the rich fecundity of art discourses becomes clear if for example we compare the 1843 text by Raden Saleh from what is now Indonesia with the 1946 text of S. Sudjojono, allowing a historical grasp of modernity from two of its original texts, or across the region to the 1971 text on Malaysia by Piyadasa. The tyranny of physical, cultural, and temporal separation are thus overcome. It is to the great credit of the editors that they have enabled this for us, and this work will be a basic art historical reference both inside and beyond the region for some time to come. —John Clark, Emeritus Professor of Art History, University of Sydney Needed now more than ever, this collection opens up new worlds in the guise of a region called Southeast Asia. Each carefully selected text offers a new point of access to thinking through, across, beyond and with the elusive idea of the “modern.” A signal achievement, this volume is both a rich introduction to the region as well as a vital resource for anyone genuinely committed to art histories that generate new spaces rather than settle for existing realms. —Joan Kee, Professor, History of Art, University of Michigan
This study evaluates how the ideology of Socialist Realism, developed by the Soviets in policies and the practices of art, has been influential in the Asia-Pacific region from 1917 until today. Focusing primarily on Russia, then China, Vietnam, Korea, Singapore, Indonesia, the Philippines and Australia, this book demonstrates how each society adopted and adapted the Soviet example to make some of the most important imagery of recent history. Included is an examination of how the practice of Western art history, the nature of art history in Asia and the forces of the Cold War have led to this influence being inadequately acknowledged across Asia and more widely. The book will be relevant to those interested in art history, Asian studies, political history and cultural history.
A Triple Helix of university-industry-government interactions is the key to innovation in increasingly knowledge-based societies. As the creation, dissemination, and utilization of knowledge moves from the periphery to the center of industrial production and governance, the concept of innovation, in product and process, is itself being transformed. In its place is a new sense of 'innovation in innovation' - the restructuring and enhancement of the organizational arrangements and incentives that foster innovation. This triple helix intersection of relatively independent institutional spheres generates hybrid organizations such as technology transfer offices in universities, firms, and government research labs and business and financial support institutions such as angel networks and venture capital for new technology-based firms that are increasingly developing around the world. The Triple Helix describes this new innovation model and assists students, researchers, and policymakers in addressing such questions as: How do we enhance the role of universities in regional economic and social development? How can governments, at all levels, encourage citizens to take an active role in promoting innovation in innovation and, conversely, how can citizens so encourage their governments? How can firms collaborate with each other and with universities and government to become more innovative? What are the key elements and challenges to reaching these goals?
Presenting multidisciplinary and global insights, this book explores the nexus between economies, institutions, and territories and how global phenomena have local consequences. It examines how original and innovative economic related processes embed themselves in societies at the local level; how boundaries between the state and the market are placed under stress by unexpected changes. It explores whether new types of elites and forms of social inequalities are emerging as a result of institutional and economic changes, and whether peripheral areas are experiencing insidious forms of economic and institutional lock-in. Presenting empirical cases and useful analytical and conceptual tools, the book makes current economic and territorial phenomena more understandable. This is an important read for students and scholars in the fields of geography, sociology, political sciences, anthropology, economics, regional science, and international relations. It is also a valuable resource for policymakers, well-educated lay readers and economic, political and international relations journalists.
Guiding you through the topics that shape aesthetics and the philosophy of art, this introduction explores the truth, meaning, taste, aesthetic merit and judgement, creativity and the possibility of machine art, and morality and the possibility of immoral art. Each chapter offers a wealth of examples from Southeast Asia, including the Nanyang style of painting, the mooi indie genre and its postcolonial legacy, groundbreaking works of poetry and literature, dragon kiln pottery, the art of making ang ku kueh, contemporary conceptual art, the dikir barat and the balitaw. Selected for their merit, boldness and connection to the Southeast Asian region, these artworks traverse art and craft, visual art and music, perceptual and conceptual art, real-life and hypothetical examples and folk and fine art. As case studies, these artworks allow us to deal with controversies and address central questions including: - When are artworks considered dangerous? - Why does Socrates recommend the banishment of the poets? - What are the problems and challenges posed by forgery? - How do we resolve ambiguity when interpreting and making sense of works of art? - Can there be such a thing as immoral art? A sense of awareness of context and situatedness runs throughout Philosophy and Art in Southeast Asia. The texture, fabric and flavour of each example is woven into a rigorous philosophical analysis of aesthetic and artistic matters. Making art and aesthetics more relatable, here is a creative and accessible introduction that inspires a love for art and aesthetics. For anyone interested in understanding the cultural underpinnings of aesthetics outside of the traditional canon, it is essential reading.
Cheong Soo Pieng: Layer by Layer presents a unique insight into the artist’s innovative use of materials in painting through examples from the 1940s to 1980s. This exhibition catalogue features artwork plates presented alongside technical photographs that illuminate Cheong’s artistic process and choice of materials. Accompanied by essays that explore the intersections between conservation science and art historical research, it poses the question: what makes a painting?
