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The article aims to investigate the legal implications of the inclusion of pre-exposure prophylaxis (PrEP) in the SUS by presenting the right to health as a fundamental right, inserting the discussions of “risk group” and possible reserve; situate sexual rights from HIV and STIs; analyze the restrictions on the implementation of PREP based on silences. Technology represents a mechanism that ensures the right to health in the preventive aspect, so that it is protected by the prohibition of social retrogression. The regulation of this preventive public policy has legal effects that should not be ignored, including the incorporation of this aspect of the right to prevention as a fundamental right to health. The importance of the article lies in the visibility of LGBT+ population agendas and agencies, O artigo visa investigar quais implicações jurídicas da inclusão da profilaxia pré-exposição (PrEP) ao SUS ao apresentar o direito à saúde como direito fundamental, inserindo as discussões de “grupo de risco” e reserva do possível; situar os direitos sexuais a partir do HIV e das ISTs; e analisar as restrições na implantação da PREP a partir de silêncios. A tecnologia representa mecanismo assegurador do direito à saúde na vertente preventiva, de modo que está protegida pela vedação do retrocesso social. A normatização dessa política pública preventiva tem efeitos jurídicos que não devem ser ignorados, dentre eles a incorporação dessa vertente do direito de prevenção enquanto direito fundamental à saúde. A importância do artigo reside na visibilidade das pautas e agências da população LGBT+

La figure exemplaire d’Alexandre Farnèse, duc de Parme et de Plaisance, gouverneur des Pays-Bas et général militaire de grand génie au service de Philippe II, fut célébrée après sa mort par une série de monuments qui le glorifient comme défenseur de la foi catholique. Dans ces statues, le visage du prince se distingue par un large front aux sourcils froncés, une chevelure flamboyante, une fière moustache et une barbe pointue. L’étude s’attache à retracer la construction de cette physionomie guerrière du vivant du prince. Mis à part les portraits de jeunesse, quand il était héritier du duché de Parme puis otage politique à la cour de Philippe II, l’essentiel des portraits d’Alexandre Farnèse se concentrent après 1585, date à laquelle il prit avec éclat Anvers, devint duc de Parme et reçut officiellement le collier de la Toison d’or. Après les excès de représentation commis par le duc d’Albe, qui s’était lui-même glorifié d’une statue, Alexandre Farnèse fit preuve d’une grande prudence et attendit d’avoir accompli un exploit suffisamment digne pour diffuser son image triomphale de foudre de guerre et défenseur de la foi. C’est à ce moment qu’apparaît en ses portraits ce caractéristique front froncé, porteur du nuage propre à la physiognomonie léonine, tel un masque de guerre qui n’est pas sans évoquer le Leo Belgicus, la cartographie léonine des dix-sept provinces des Pays-Bas. The exemplary figure of c, Duke of Parma and Piacenza, governor of the Low Countries and among the most brilliant generals in the service of Philip II, was celebrated after his death with a series of monuments that glorified him as defender of the Catholic faith. In these statues the face of the prince presents a characteristic broad forehead with frowning brows, flamboyant hair, a proud moustache and a pointed beard. The study attempts to trace the construction of this warlike physiognomy during the lifetime of the prince. Apart from the portraits of his youth, when he was heir to the Duchy of Parma and political hostage at the court of Philip II, most of the portraits of Alessandro Farnese are dated after 1585. In that year he famously took the city of Antwerp, became Duke of Parma and received the collar of the Golden Fleece. After the excess of representation committed by the Duke of Alba, who arrogantly erected a statue to himself, Alessandro Farnese acted with great prudence and waited for an accomplishment sufficiently worthy to diffuse his triumphant image. At this exact moment, the particular frowned forehead appears in his portraits: the tension between the brows creates the shadow of a cloud, characteristic of the leonine physiognomy, a mask of war that suggests a parallel with Leo Belgicus, the leonine mapping of the seventeen provinces of the Low Countries.

Inspired by Gérard Sabatier’s seminal research on representational strategies and encomiastic codes manifested in visual arts, architecture, ceremonies and literature during Early Modern French Monarchy and most eloquently displayed in the complex of Versailles, this overview – with emphasis on religious architecture - will focus on the semantics of the royal image, re-presenting, doubling or substituting the prince’s charismatic presence. Taking as the point of departure Frederick’s Church in Copenhagen – founded by the absolute monarch, King Frederick V in 1749 during the tercentenary of the Oldenburg dynasty – the architecture and the imagery employed are discussed as meaning-laden elements in a symbolic communication. The grandiose ambitions linked with the expensive project of extraordinary dimensions, which at one and the same time would incarnate the Felicitas Temporum of the king’s reign and represent a site of memory to the success of the Danish Absolutism, would nevertheless finally prove fatal to the royal enterprise. Building works stopped in 1770 and the church would remain unfinished for the following 150 years. In 1894 the building was finally finished by a private citizen, the banker C. F. Tietgen, forty-five years after the introduction of a democratic government replaced absolutism with a constitutional monarchy. As a result, the initial vision of the church was redefined, transforming it into a monument to the Lutheran Reformation, as demonstrated in inscriptions and the iconographic programme. S’inspirant des recherches majeures de Gérard Sabatier sur les stratégies de représentation et les codes encomiastiques manifestés dans les arts visuels, l’architecture, les cérémonies et la littérature sous la monarchie française à l’époque moderne et qui trouvaient leur expression la plus élaborée au sein du domaine de Versailles, notre étude s’intéressera, à travers l´architecture religieuse, à la sémantique de l’image royale, représentant, doublant ou remplaçant la présence charismatique du prince. Prenant comme point de départ l’église de Frédéric à Copenhague, fondée par Frédéric V en 1749 durant la célébration du tricentenaire de la dynastie des Oldenbourg, l’architecture et l’iconographie sont envisagées comme des éléments signifiants d’une communication symbolique. L’ambition grandiose de ce coûteux projet aux dimensions extraordinaires, incarnant à la fois la Felicitas Temporum du règne de Frédéric V et le succès de l’absolutisme danois, se révèlera en définitive néfaste pour le projet royal. Le chantier fut arrêté en 1770 et l’église resta inachevée pendant 150 ans. En 1894, l’église fut finalement achevée grâce à l’intervention du financier C. F. Tietgen, 45 ans après l’introduction de la constitution qui remplaça l’absolutisme par une monarchie constitutionnelle. La conception initiale de l’église de Frédéric fut alors redéfinie : elle fut transformée en un monument de la Réforme luthérienne, comme en témoignent les inscriptions et le programme iconographique.

Dans la seconde moitié du xvie siècle, les princes européens et en particulier les princes allemands commencèrent à collecter des armes et des armures. Ces cabinets d’armes étaient principalement composés de trophées de guerre, mais la plupart des pièces qui s’y trouvaient étaient des cadeaux offerts par d’autres cours ou des objets achetés par le prince lui-même. Cette contribution s’intéresse tout particulièrement à la collection d’armes des électeurs de Saxe et notamment aux armes décorées (épées, dagues, pistolets) que ces princes de la branche albertine semblaient rechercher avidement. Durant cette période, les thèmes religieux dominent la décoration des armes : Adam et Ève, l’arche de Noé, la Crucifixion, la loi et la grâce. Ce choix iconographique est à relier au mouvement de confessionnalisation intense qui touche la Saxe électorale et aux efforts continus des électeurs pour défendre et établir une orthodoxie luthérienne, dans un contexte de luttes intraconfessionnelles. Il propose également un discours sur le pouvoir du prince qui a été redéfini par Martin Luther dans sa théorie dite « des deux règnes » appelée aussi « théorie des deux glaives ». In the second half of the sixteenth century, European rulers, and in particular German princes, began collecting weapons and armour. These armouries were mainly composed of war trophies, but most of items were gifts from other courts or bought by the prince himself. This article focuses on the Electoral Saxony armoury, and particularly on the decorated weapons (swords, daggers and guns) that were eagerly collected by the Albertine branch. During this period, religious themes dominated the decoration of arms: Adam and Eve, Noah’s Ark, the Crucifixion, law and grace. This iconographic choice is related to the strong confessionalization movement in Electoral Saxony and the ongoing endeavour of the Albertine branch to defend and impose a Lutheran orthodoxy in a context of intradenominational struggles. Above all, this religious subject on weapons proposed a discourse on princely power that was redefined by Martin Luther in his “two-kingdoms theory” also called the “theory of the two swords”.

Dans le cadre d’une recherche sur les stratégies de légitimation dynastique, l’article présente une analyse morphologique et symbolique de ces pratiques, en s’appuyant sur un exemple. En 1662, sur la scène de la Rome pontificale, la France et l’Espagne rivalisent. Les célébrations des naissances princières, composées de rituels et cérémonies religieuses, profanes et toujours politiques, utilisent les mêmes lieux pour des spectacles pyrotechniques, aux scénographies somptueuses dues à des artistes connus, dans l’espace public d’une société de cour où la fête est utilisée comme instrument de représentation et de communication. Les documents écrits et figurés sont mis en relation. Within the framework of a research on the strategies of dynastic legitimation, this article presents a morphological and symbolic analysis of these practices, based on one example. In 1662, on the stage of Pontifical Rome, France and Spain competed. The celebrations of princely births, made up of rituals and religious ceremonies, profane and always political, used the same places for pyrotechnic spectacles, sumptuous scenographies by famous artists, in the public space of a court society where the festival was used as an instrument of representation and communication. Written and figurative documents are utilized.

Vers l’an 1600, peu après la dévolution de Ferrare à l’État de l’Église, une « ombre » à cheval écrasa un soldat pontifical qui surveillait la nuit le rempart de la ville. Le cavalier fut immédiatement identifié comme Alphonse II d’Este, dernier duc de Ferrare, décédé en octobre 1597. Cet essai a pour but de placer cet incident curieux dans un pluri-contexte pertinent. Contexte politique d’abord, fondé sur la nostalgie des sujets pour leur ancien seigneur - et la manipulation de cette même nostalgie par le nouveau pouvoir. Mais des couches anthropologiques plus profondes doivent être prises en considération. Selon un modèle culturel largement répandu, le mort mécontent fut rappelé par les sentiments de culpabilité des vivants : concrètement, la culpabilité pour les funérailles déshonorantes infligées au feu duc. D’autres épisodes semblables furent enregistrés à l’époque en d’autres lieux de l’Italie du nord : ils sont interprétés comme des manifestations tardives et déformées du mythe germanique médiéval de la chasse sauvage. Around 1600, that is soon after the devolution of Ferrara to the State of the Church, a “shadow” on horseback killed a pontifical soldier who garrisoned the walls of the city at night. The rider was immediately identified as the last Duke of Ferrara, Alfonso II d’Este, who died in October 1597. This essay provides an overview of the contexts of this mysterious incident. Firstly there is the political context, the subjects’ nostalgia for their lost lord – and the manipulation of this nostalgia by the new lords. Nevertheless some deeper anthropological levels must be taken into account. According to a widespread cultural pattern, the guilt of the living called back the discontented dead: in concrete terms, the guilt for the duke’s burial without honour. Similar episodes were recorded at that time elsewhere in northern Italy; they are interpreted as late and distorted manifestations of the medieval Germanic myth of the Wild Hunt.

Dans le domaine de l’histoire des représentations du prince, le corps – dans ses trois dimensions politique, historique et symbolique – fut souvent négligé. Cet article propose une mise au point sur le portrait du prince qui fait du corps un objet signifiant en revenant, dans un premier temps, sur le rapport entre civilité et représentation du corps qui permet d’établir le profil moral du prince. Puis, un retour sur les quelques essais consacrés à des parties anatomiques royales en soulignera toute la possible symbologie, tandis que, pour finir, une lecture plus sociale du portrait permettra d’émettre d’autres hypothèses pour comprendre certaines de ces valorisations anatomiques. In the field of the history of representations of the prince, the body and its three dimensions (political, biological and symbolic) were often neglected. This paper provides an update on the portrait of the prince that makes the body a significant object. First, the relationship between civility and representation of the body makes it possible to establish the prince’s moral. Then, a review of several essays on royal anatomical parts will highlight the possible symbology and, finally, a more social reading of the portrait will allow other hypotheses to be made, to understand some of these anatomical valuations.

Au cours du xviie siècle s’opère une appropriation de plus en plus marquée des arts en vue du maintien de l’État – l’État se définissant davantage comme supra-individuel, capable de renforcer des liens identitaires et nationaux. En focalisant sur quelques exemples dans le domaine de la peinture, nous nous proposons de démontrer à quel point à l’époque baroque – à la différence de la Renaissance – cette raison d’État devient une des finalités de l’art au service de tout pouvoir gouvernemental : indépendamment des orientations politiques – absolutistes ou républicaines –, l’État-nation de l’ère moderne met à contribution les arts pour augmenter la cohésion sociétale dans les domaines militaire, religieux et scientifique. Par des analyses d’une des scènes du « cycle Médicis » de Pierre Paul Rubens (1622-1625) et du « vœu de Louis XIII » de Philippe de Champaigne (1637), ainsi que de quelques paysages, natures mortes et scènes de genre hollandaises d’Ambrosius Bosschaert l’Ancien, de Jacob van Ruisdael, de Gerrit Berckheyde et de Jan Vermeer est mise en évidence la contribution délibérée de la peinture baroque à la consolidation d’un sentiment d’union nationale. Cette mobilisation d’un nationalisme précoce durant la période moderne s’effectue largement par l’imaginaire et le fictif, comme l’a souligné à juste titre Benedict Anderson, et la peinture s’avère être un des instruments performants d’une politique fondée sur la persuasion. During the seventeenth century there was a growing appropriation of the arts in support of the state: the state increasingly defined itself as a supra-individual, capable of strengthening identity and national ties. By focusing on several examples from the field of painting, we intend to show how in the Baroque period – unlike the Renaissance – this reason of state became one of the aims of art in the service of all governmental power: regardless of political orientations – absolutist and republican – the nation-state of the modern era used the arts to increase social cohesion in the military, religious and scientific fields. By analysing one of the scenes from Peter Paul Rubens’s Medici Cycle (1662–1625) and the Vow of Louis XIII by Philippe de Champaigne (1637), as well as landscapes, still lifes and Dutch scenes by Ambrosius Bosschaert the Elder, Jacob van Ruisdael, Gerrit Berckheyde and Jan Vermeer the deliberate contribution of Baroque painting to the consolidation of a sense of national unity is underlined. This mobilization of early nationalism in the modern period was largely carried out by imagination and fiction, as Benedict Anderson rightly pointed out, and painting proved to be an effective political instrument based on persuasion.

La notion de favori est complexe et sa terminologie a évolué au cours des âges. Si elle supposait initialement un aspect militaire (ce qui pouvait être encore le cas dans la seconde partie du xviie siècle, à un niveau moindre, si l’on en croit le parcours de Jules-Louis Bolé de Chamlay qui, dans l’ombre du puissant Louvois, entretint une relation privilégiée avec le monarque qui l’utilisa dans sa stratégie de cabinet comme « ministre de la Guerre occulte » [voir Philippe Cénat, Chamlay. Le stratège secret de Louis XIV, Paris, Belin, 2011]), gouvernemental tout comme celui de posséder un clan familial fort, il semblerait que cette notion politique se mua par la suite plus en une notion d’intimité et d’amitié, ce qui correspondait incontestablement au cas d’Alexandre Bontemps. Sous le règne de Louis XIV, ce n’est pas tant le terme de « favori » qu’il conviendrait d’utiliser mais plutôt celui de bénéficiaire ou destinataire de la faveur royale, ce à quoi tout le monde pouvait prétendre un jour ou l’autre selon le système monarchique de l’ancienne France, mais avec plus ou moins d’entrain et/ou et de persistance. Bontemps, au même titre que d’autres, put jouir de ce privilège pendant près de cinquante ans… The concept of favourites is complex, and over time its terminology has evolved. While it initially assumed a military aspect – which in the second half of the seventeenth century could, to a lesser extent, still be the case, according to Jules-Louis Bolé de Chamlay’s path: in the shadow of the powerful Louvois he maintained a privileged relationship with the monarch, who used it in his cabinet strategy as “minister of the Occult War” (see Philippe Cénat, Chamlay. Le stratège secret de Louis XIV [Paris: Belin, 2011]) – a governmental one as well as having a strong family clan, it seems that this political notion later became a concept of intimacy and friendship, which is undoubtedly the case with Alexandre Bontemps. Under the reign of Louis XIV it is not so much the term “favourite” that should be used, but rather that of beneficiary or recipient of royal favour, which everyone could one day claim according to the monarchical system of the Ancien Régime, but with more less enthusiasm and/or persistence. Bontemps, like others, was able to enjoy this privilege for nearly fifty years.

En 1660, Louis XIV et son épouse Marie-Thérèse d’Autriche se rendirent de Bayonne, où avaient eu lieu leurs noces, à Paris. Chemin faisant, il leur fallut traverser la Garonne. La ville de Bordeaux mit à la disposition du couple royal un bateau, un « palais naval ». La très riche décoration de ce bateau rendait hommage, dans son programme iconographique, à la paix, à l’amour et à la dynastie royale, tout en soulignant la soumission et la fidélité de la ville dont le rôle dans la Fronde n’était pas encore oublié. Cette contribution présente une description de ce bateau conservée aux archives municipales de Bordeaux. In 1660, Louis XIV and his wife Maria Theresa of Spain travelled from Bayonne, where they had married, to Paris. To do this, they had to cross the Garonne River. For this purpose, the city of Bordeaux provided a very special boat, a “naval palace”. The rich decoration of this boat glorified peace, love and the royal dynasty. Furthermore, it emphasized the submission and fidelity of the city that had played such a significant role in the Fronde. This article contains a description of the boat held in Bordeaux’s municipal archives.

In most of historical cities, some streets have been pedestrianized in order to facilitate pedestrian circulation. This situation affects functions of historical buildings and increases also pedestrian density of streets. Although buildings have performed sufficiently structurally against earthquakes, non-structural components damages may occur. In case of earthquake, weak performance of non-structural components may cause loss of function, economic losses and especially loss of life and injury. The non-structural components of building such as parapet, roof, chimney, eave, canopy and windows are considered as risk factors that may cause injuries during earthquake. In this study, non-structural building components that may occur possibility of injury are discussed and brought forward proposals for pedestrianized streets safety located in Cezayir Street, Istanbul. Cezayir Street; its location, its renewal area, the arrangement of street use with a special project in terms of usage, its location close to the most important cultural center of Istanbul; Istiklal Avenue and its intensive use, are important in its selection. The nonstructural building components of historical building in the Cezayir Street were evaluated using data derived on-site observation of building façade as parapets, ornaments, eaves, chimneys, windows and canopies. According to the research result, it can be said that the façade glazing which is located at mostly additional flat on building may lead to risk during earthquake.

Futbol, günümüzde büyük kitleleri peşinden sürükleyen önemli bir spor dalı olarak karşımıza çıkmaktadır. Futbola olan bu ilgi nedeniyle bu spor dalı, sosyal bilimlerde birçok disiplinin akademik çalışmalarına konu olmuştur. Özellikle halkla ilişkiler, pazarlama ve iletişim çalışmalarında etraflıca çalışılan, sponsorluk faaliyetleri işletmeler için iletişim stratejileri içerisinde farklı amaç ve hedefler için kullanılan önemli bir uygulamadır. Günümüzde işletmeler için sponsorluk çalışmalarının yürütüleceği alanlar incelendiğinde, spor alanları, spor alanları içerisinde de özellikle futbol, işletmeler için önemli fırsatlar sunan ve hedef kitlelerine ulaşmada etkili olan bir alan olarak karşımıza çıkmaktadır. Bu çalışmada işletmeler için futbolda yapılacak olan sponsorluk uygulamalarında başarıyı etkileyen dinamikler üzerine odaklanılmıştır. Araştırmamızın temel amacı futbolda yapılan sponsorluk çalışmalarında başarıyı etkileyen temel faktörler üzerinde kavramsal bir değerlendirme yaparak literatüre katkı sunmaktır. Bu bağlamda araştırmamızda literatür taraması yöntemi kullanılmıştır. Yapılan değerlendirme sonucunda futbolda sponsorluk faaliyetlerinde dikkat edilmesi gereken temel noktalar: işletmelerin hedef kitlesinin futbolla ilgisinin tespit edilmesi, medyanın sponsorluk çalışması yapılacak futbol etkinliğine olan ilgisi, sponsorluk desteği verilecek olan futbol kulübünün veya futbolcunun imajı ve gerçekleştirilen futbol etkinliğinin türü olarak ele alınmış ve değerlendirilmiştir.

Aşırı izleme (binge-watching) bir diğer ifadesiyle maraton izleme (marathon-viewing) 2013 yılı itibariyle küresel ölçekte yaygınlaşmaya başlayan yeni bir dizi/belgesel izleme biçimidir. Medya ve iletişim teknolojilerinde meydana gelen gelişmelerle birlikte her geçen gün daha fazla izleyici bir dizinin birden fazla bölümünü dijital platformlar aracılığıyla ardı ardına daha sık ve uzun süreler ayırarak izlemektedir. Bu durum izleyiciler üzerinde birtakım etkiler meydana getirmektedir. Bu araştırmanın amacı, izleyicilerin aşırı izleme kararları ardındaki motivasyonları ile aşırı izlemenin izleyiciler üzerindeki etkilerini tespit etmektir. Bu amaç doğrultusunda araştırma kapsamında nitel veri toplama yöntemlerinden derinlemesine görüşme tekniği kullanılarak veriler toplanmış ve betimsel analiz yöntemiyle analiz ediliştir. Araştırmayla katılımcıların aşırı izleme motivasyonları bireysel ve çevresel faktörler olmak üzere ikiye ayrıldığı tespit edilmiştir. Aşırı izleme, katılımcılar üzerinde birtakım olumlu ve olumsuz duyguların ortaya çıkmasına sebep olurken; katılımcıları bireyselliğe ve yalnızlaşmaya yönlendirdiği, bu durumun aile, sosyal ilişkiler, iş ve akademik başarı üzerinde birtakım etkileri olduğu sonucuna ulaşılmıştır.

The pandemic process experienced on a global scale, together with the health field in which it emerged, directly affected daily life from education to tourism, from production to consumption. This effect has been so great. Even the process of returning to normal starting from the first half of 2020 has been defined as the new normal, not the old normal. The new normal has changed the individual's daily life space and boundaries and imposed restrictions on the use of public exteriors from residential interiors. The change in the use of the space has also changed the relations, communication style, and interaction with space and those who use the space. Relationships and interactions established in daily life have started to be realized almost through residences due to the limitations on public space. Education, work, entertainment, commerce has been started distance and digital environment. This situation causes our behavior and the way we socialize to change. The change in the way people socialize and lifestyle with the epidemic causes changes in the use of public and private spaces. As the dynamics of the city change, these areas need to rethink the designs and develop creative solutions. However, changes that occurred during the epidemic process are not limited to the redesign of the built environment. With the development of communication systems, thanks to technology, people's interaction with each other is not prevented. Moreover, it suggests new socialization methods to facilitate physical distinction. The reflections of this situation, which develops with the constant exposure to technology, on our lives realized in the virtual environment. And these virtual environment appear as online platforms that allow social encounters. With the entry of mass media into the private sphere, the public sphere starts to be everywhere, and people are included in a virtual public sphere through these tools while they are in their private sphere. With the emergence of public spaces in the virtual environment, it is not known what the effects of this situation will lead to changes in spatial organizations. Therefore, within the scope of the study, the effects of the pandemic in urban spaces are tried to be understood. It is discussed how the possibilities of new public spaces occurring in the built environment and virtual environment will change the nature and definition of this concept., Küresel ölçekte yaşanan pandemi süreci; ortaya çıktığı sağlık alanıyla birlikte eğitimden turizme, üretimden tüketime gündelik yaşamı doğrudan etkilemiştir. Bu etki o kadar büyük olmuştur ki, 2020 yılının ilk yarısından itibaren başlayan normale dönme süreci bile eski normal değil, yeni normal olarak tanımlanmıştır. Yeni normal, bireyin gündelik yaşam alan ve sınırlarını değiştirmiş, konut iç mekânlarından kamusal dış mekânların kullanımına değin geçici bile olsa sınırlamalar getirmiştir. Mekâna ilişkin kullanım şeklinin değişmesi, mekânla ve mekânı kullananlarla olan ilişkileri, iletişim şeklini ve etkileşimi de değiştirmiştir. Gündelik yaşamda kurulan ilişkiler ve etkileşimler, kamusal mekâna getirilen sınırlılıklar nedeniyle neredeyse konutlar üzerinden kurulmaya başlanmıştır. Eğitim, çalışma, eğlence, ticaret, uzaktan ve dijital ortamda yapılarak davranışlarımızın ve sosyalleşme şeklimizin değişmesine neden olmaktadır. Salgın sonrası insanların sosyalleşme şeklinin ve yaşam tarzının değişmesi; kamusal ve özel alan kullanımlarında da değişiklikler meydana getirmektedir. Kentin dinamiklerinin değişmesiyle birlikte, bu alanların tasarımlarının yeniden düşünülmesi ve yaratıcı çözüm önerileri geliştirilmesi gerekmektedir. Ancak, salgın sürecinde meydana gelen değişiklikler sadece yapılı çevrenin yeniden tasarımıyla sınırlı değildir. Çağın bize sunduğu teknolojinin hayatımıza dâhil olmasıyla değişen iletişim sistemleri; insanlar arasındaki etkileşimi engellemeyerek, fiziksel ayrımı kolaylaştırmak için yeni sosyalleşme yöntemleri önermektedir. Teknolojiye sürekli maruz kalınmasıyla birlikte gelişen bu durumun hayatımıza yansımaları da sanal ortamda, sosyal karşılaşmalara izin veren çevrimiçi platformlar olarak karşımıza çıkmaktadır. Kitle iletişim araçlarının özel alana girmesiyle birlikte kamusal alan artık her yerde olmaya başlamakta; kişiler, özel alanları içerisindeyken, bu araçlar vasıtasıyla sanal bir kamusal alanın içine dâhil olmaktadır. Kamusal alanların sanal ortamda var olmaya başlamasıyla birlikte, bu durumun etkilerinin mekânsal organizasyonlarda ne gibi değişikliklere yol açacağı bilinmemektedir. Bu nedenle çalışma kapsamında; kentsel mekânlarda pandeminin etkileri anlaşılmaya çalışılarak; yapılı çevrede ve sanal ortamda meydana gelen yeni kamusal alan olasılıklarının; kamusal alan kavramının niteliği ve tarifini nasıl değiştireceği tartışılmaktadır.

As a result of the introduction of new technologies in consumer electronics, analog TV shifted from a mere viewing experience to a personalized digital TV experience where users are encouraged to interact. The application of these new technologies not only create changes in physical appearance and adding more functionalities to TVs but it also shifts user expectations, which are mainly emotionally driven. The initial attempt of this study is to determine which emotions are involved in smart TV preference and why those particular emotions are aroused. In other words, this study aims to discover the link among contents, activities and user interaction as well as the relationship between triggered emotions and user expectations. By doing so, it analyses user emotions and expectations towards a dream TV. The primary data is collected towards semi-structured in-depth interviews. The results show that Smartness, High quality, Personalization, Functionality and Appearance are the key features that meet the expectations towards TV experience. User-friendliness, compatibleness, enjoyableness, awareness, novel-interactions, self-defense smart software and voice remote are the consequent expectations. All these expectations arise from different underlying emotional tendencies. With its initial attempt to propose guidelines for designers, this study suggests that for designing a smart TV that meets user expectations, its design should enable smart interaction that simplifies managing task (Smartness), high quality of picture and sound to enable innovative continuous experience (High quality), supporting not missing any content of interest and filter unwanted ones (Personalization), utilize all kinds of usage comfortably (Functionality), and should have an aesthetic look, even seamless design that fits any possible environment (Appearance).

Arif Dino, Türkiye’de gelişen yakın dönem sanat ve kültür tarihinin önemli isimlerinden biridir. Kendisi Türkiye çağdaş sanat tarihinin önemli sanatçılarından Abidin Dino’nun abisidir. Abidin Dino’nun sanatsal üslubunun gelişiminde de büyük payı olan Arif Dino; spora olan tutkusu, tasarımları, şiirleri, sanat eleştirisi metinlerinin yanı sıra resimleri ile de Türkiye kültür-sanat dünyasına katkı sunmuş bir isimdir. Kardeşi Abidin Dino kadar sergilere dahil olmamış ve hakkında araştırmalar gerçekleşmemiş olan Arif Dino’ya dair literatür oluşturmak ve Abidin Dino ile aralarındaki sanatsal etkileşimi incelemek amacıyla bu çalışma gerçekleştirilmiştir. Arif Dino, çok yönlü, farklı ve yaratıcı kişiliği ile bilinen bir sanatçıdır. Şair ve sporcu kimliğinin yanı sıra Erken Cumhuriyet Dönemi’nde sergi stant ve kitap kapağı tasarımcısı olarak da üretimler gerçekleştirmiştir. Bu bağlamda makalede; Arif Dino’nun sanatçı kimliği ve üretimleri, Abidin Dino ile sanatsal bağları analiz edilecektir., Arif Dino is one of the important figures in the contemporary art and culture history in Turkey. His is the brother of Abidin Dino, who is one of the important artists of Turkish Contemporary art history. Playing a major role in the development of Abidin Dino's artistic style, Arif Dino is a figure who contributed to culture and arts scene of Turkey with his paintings in addition to his passion for sports, his designs, poetry, and articles of art criticism. This study is carried out in order to create a literature on Air Dino, who was not involved in exhibitions and in research as much as his brother Abidin Dino, and in order to examine the artistic interaction between him and Abidin Dino. Arif Dino is an artist known for his versatile, unique and creative personality. In addition to his personality as a poet and a sportsman, he also produced works as exhibition stand and book cover designer in the Early Republican Period of Turkey. In this context, Arif Dino's artistry and works as well as his artistic ties with Abidin Dino will be analyzed.

Covid19 ve etkileri dünyada hızla yayılırken bu sürecin etkilerini anlamak, sürdürülebilir bir toplum yaratmak açısından oldukça önemlidir. Salgın sürecinde gündelik yaşam büyük bir hızla dijitalleşmiş ve sosyal medya önemli bir etkileşim alanı olarak etkinliğini artırmıştır. Bununla birlikte salgın hem tüketicilerin hem de işletme sahiplerinin etkileşim becerilerini ve eğilimlerini değiştirmiştir. Sosyal medya kullanıcılarının, bu mecradaki pazarlama aktivitelerine yönelik algıları Covid19 korkusu ile etkileşim içine girmiştir. Bu çalışma sosyal medya pazarlama aktivitelerinin Covid19 korkusu perspektifinden incelenmesi açısından diğer çalışmalardan ayrılmaktadır. Çalışmanın bu yönüyle alana katkı sağlayacağı düşünülmektedir. Bu kapsamda araştırmanın amacı Covid19 korkusu ile sosyal medya pazarlama aktiviteleri algısı arasındaki ilişkinin araştırılması ve düşük/yüksek Covid19 korkusu ile sosyal medya pazarlama aktiviteleri algısı arasındaki ilişkinin tespit edilmesidir. Çalışmada bu amaç doğrultusunda veri toplama yöntemi olarak çevrimiçi anket yöntemi seçilmiş ve 757 (N=757) kişiden oluşan bir örneklem oluşturulmuştur. Araştırma sonucunda Covid19 korkusu ile sosyal medya pazarlama aktiviteleri algısı arasında anlamlı bir ilişki bulunmuş olup, elde edilen veriler ilgili literatür perspektifinde değerlendirilmiştir.

Kendine mal etme bir diğer adıyla temellük, genel olarak sanat eserlerinin alıntılanarak yeniden yorumlanması ve üretilmesi olarak açıklanabilir. Kendine mal etme, önceleri de görülmesine karşın postmodern dönemle ilişkilendirilmektedir. Yüksek sanatın eski önemini yitirdiği çoğulcu anlayışın öne çıktığı, kolaj ve montajın yaygınlaştığı postmodern dönemde sanatçılar; göstergelerarasılık kapsamında alıntı, pastiş, parodi, öykünme ve benzeri kullanım biçimleriyle farklı ifade ve etkiler içeren yeniden üretimler gerçekleştirmektedirler. Sanatçılar söz konusu yeniden üretim biçimleri aracılığıyla alıntıladıkları yapıtları, anlam ve içerik olarak farklı bağlamlarda kullandıkları gibi benzer eğilimler içerisinde de kullanabilmektedir. Çalışmada postmodern dönemin sanatsal nitelikleri doğrultusunda “kendine mal etme” kavramı üzerinde durularak İspanyol sanatçı Lluis Barba’nın “Amerikan Gotik”, “Atina Okulu” ve “Başak Toplayanlar” adlı yeniden üretim yapıtları, orijinalleriyle ilişkilendirilerek göstergelerarasılık bağlamında incelenmiştir.

Kampüs, lisans eğitimi için öğrencilerin dört yıl veya daha fazla bir zaman diliminde kullandığı yaşam alanıdır. Kampüs alanında eğitim binaları ve idari birimlere ek olarak sosyal ihtiyaçların da karşılanması için kamusal mekânlar yer almaktadır. Kampüs yaşantısında öğrencilerin sosyalleşebilecekleri çeşitli mekânların olması çok yönlü gelişimleri açısından oldukça önemlidir. Bu anlamda üniversite özelinde öğrencilerin hem eğlenebilecekleri hem de farklı disiplinlerde çalışabilecek alanları bünyesinde barındıran öğrenci yaşam merkezleri dikkat çekmektedir. Ülkemizdeki üniversite kampüslerinde de çeşitli işlevleri bünyesinde barındıran öğrenci yaşam merkezleri yer almaktadır. Bununla birlikte öğrenci merkezlerinde herhangi bir standart olmaması yapılan bu merkezlerin sosyal ihtiyacı ne kadar karşıladığı sorusunu beraberinde getirmektedir. Bu çalışmada Erzurum Atatürk Üniversitesi kampüsündeki bowling salonunun Öğrenci Yaşam Merkezi’ne dönüşümünün iç mimari proje ve uygulamasından bahsedilmiştir. Çalışmanın amacı, Erzurum Atatürk Üniversitesi kampüsündeki mevcut bowling salonunun Öğrenci Yaşam Merkezi’ne dönüşümünün iç mimari proje ve uygulaması ile yurt içi ve yurt dışında yer alan on iki örneğin işlevsel ve mekânsal boyutlarının karşılaştırılarak analizidir. Birinci adımda yurt içi yurt dışında yer alan öğrenci yaşam merkezi projeleri incelenmiş ve altışar adet proje seçilmiştir. Ardından seçilen projeler ve yapılan uygulama projesiyle ilgili bilgilendirme yapılmıştır. Üçüncü adımda ise toplam on iki örnek ile yapılan projede yer alan işlevler ve boyutlar tablolaştırılmıştır. Sonuç olarak, uygulanan projenin işlevsel ve boyutsal niteliği ortaya koyulmuştur. Bu bağlamda yapılan çalışma ile Atatürk üniversitesinde yapılan öğrenci merkezi uygulamasının yurt içi ve yurt dışı örneklerle karşılaştırılmış; sonuç olarak sosyal ihtiyaçların karşılanması için öğrenci merkezlerinde gerekli olan işlev programı için bir öneri oluşturulmuştur.

In this study, the Soviet animation cinema's ideological discourses, which showed the consequences and reflections of the political ideology of the era, were examined. In line with the findings, it was considered that these animated films constitute a kind of cultural memory that exhibits the political history and social culture of the Soviets. The article's ideological discourse analysis method was applied by considering Teun A. van Dijk's study titled Ideological Discourse Analysis. As part of this research, because ideological discourses were analyzed, only short films with propaganda content were regarded among Soviet animations, and the scope of the study was restricted. Furthermore, the date range taken about the films was the term of Soyuzmultfilm, the official animation studio of the Soviet Union. The films created by the studio, which began its actions in 1936 until the dissolution of the Soviet Union in 1991, were taken into account. The conclusions of discourse analysis were evaluated according to the headings 'self-identity', 'activity', 'goal', 'norm and value', 'position and relation' and 'resource' mentioned in the article Ideological Discourse Analysis, and the ideological discourses in Soviet animated cinema were analyzed.

Corporate websites are one of the most effective tools for the organization to communicate with its target audience. In addition to being effective communication tools, corporate websites also support corporate communications and help the formation of corporate identity. Corporate identity is a completely planned visual process in which the character of the corporation is expressed. Determining the extent of the usage of these tools and applications in the websites of corporates is important in terms of presenting the current situation and making predictions for the future. Universities use web sites to communicate effectively, efficiently and quickly with their internal and external stakeholders and hence make use of websites as promotional tools. In this study, the websites of the universities ranked top ten according to URAP 2020-2021 (University Ranking by Academic Performance) have been analyzed with content analysis method in the context of cultural identity dimensions. This study aims to determine how universities satisfy their promotional and informative purposes through websites, how they reflect the information on the website to their users, how they use visual and auditory elements to support the information and therefore, how they make use of websites of the faculties as promotional tools, Günümüzde kurumsal web siteleri kurumun hedef kitleleri ile iletişimini sağlamada en etkili araçlardan biri olarak karşımıza çıkmaktadır. Kurumsal web siteleri, etkili bir iletişim aracı olmasının yanı sıra kurumsal iletişimi desteklemekte ve kurumsal kimlik oluşumuna yardımcı olmaktadır. Kurum kimliği, bir kurumun kişiliğinin ifade edildiği, tamamı planlanmış görsel bir süreçtir. Kurumların web sayfalarında bu araç ve uygulamaların ne ölçüde kullanıldıklarının belirlenmesi hem mevcut durumun ortaya konması hem de geleceğe yönelik kestirimler yapabilmek adına önemlidir. Bu noktada üniversiteler, iç ve dış paydaşlarıyla etkin, verimli ve hızlı iletişim kurmak amacıyla web sitelerini kullanmakta, bu doğrultuda web sitelerinden tanıtım amaçlı bir araç olarak faydalanmaktadır. Bu araştırmada, URAP 2020-2021 (University Ranking by Academic Performance) verilerine göre sıralamada ilk 10 içerisinde yer alan üniversitelerin web siteleri kurumsal kimlik boyutları bağlamında içerik analizi yöntemi ile analiz edilmiştir. Araştırmada üniversitelerin hedef kitlelerine yönelik tanıtım ve bilgilendirme amaçlarını web siteleri aracılığıyla nasıl gerçekleştirdikleri, web sitelerindeki bilgileri kullanıcılarına nasıl yansıttıkları, görsel işitsel öğeleri bilgileri destekler şekilde nasıl kullandıkları, bu bağlamda fakültelerin web sitelerinden bir tanıtım aracı olarak nasıl yararlandıkları tespit edilmeye çalışılacaktır.

Bu araştırma ile, küreselleşme sürecinde değişen paradigmalar, kapitalizm ve enformasyon sistemleri üzerinden ele alınacaktır. Araştırmada, tüketim toplumunun bir aracı olarak, küreselleşme süreci ile ortaya çıkan yeni teori ve arayışlar, sanat ve tasarıma yansımaları bakımından incelemek amaçlanmaktadır. Tüketim kavramı, kendi başına küreselleşme sürecinde kapitalist oluşumun temel taşlarından birini oluşturmaktadır. Bu görüşle bakıldığında, günlük yaşantıda alışkanlıklarımıza bağlı sürdürülebilir ya da kullan-at niteliğinde olan nesnelerin yeri, ihtiyaç olmaktan öte bir anlama taşınarak bağlamını genişletmektedir. Özetle, kapitalist sistemin getirdiği toplumsal değişim ve metalaşma eğilimi, bireyin nesnelere olan tutumunu belirlemektedir. Tüketim nesnesi olarak sanat ve tasarımın, içerisinde tüketici davranışları, kültürel oluşum, popülerizm, markalaşma, vb. gibi bu sürece ait olan kavramlar ile sürekli devinim içerisinde ilerlediği görülmektedir. Bu devinimi oluşturan değer kavramı, metalaşma eğilimi içerisindeki toplumun çevresinde şekillenmektedir. Bu bakımdan incelendiğinde; araştırmanın temel problemini bir tüketim nesnesi olarak sanat/ tasarım, toplumsal süreçte değişen paradigmalar üzerinden şekillendiği anlayışı belirlemektedir. Bu araştırma, gerekli alan yazın taramalarıyla elde edilen veri ve içeriklerle, nitel araştırma yöntemi aracılığıyla oluşturulmuştur. Araştırma konusu ile taranacak veriler üzerinden, sanat ve tasarım alanında ortaya çıkan yeni tavır ve anlayışlar üzerinden görsel örnekler ile konu desteklenmek istenmektedir. Sonuç olarak, tüketim toplumunun oluşumunda kültürel ve toplumsal normların belirleyiciliği faktörü kitlelere ulaşma/ erişim bakımından oldukça önemli görülmektedir. Bu bağlamda, içerisinde yaşadığımız zaman diliminin nasıl bir şekle/ nesneye bürüneceği yani nasıl metalaşacağı, süreç içerisindeki paradigmaların oluşumuna göre değişkenlik göstermektedir. Araştırmanın, konuya bu bakış açısıyla sunularak, kuramsal olarak alan yazına büyük ölçüde katkı sağlayacağı öngörülmektedir., In this research, the paradigms changing with globalization on the consumer society, capitalism and information systems; it aims to examined through art and design as a consumption object / commodity. In the research, as a tool of the consumer society, new theories and searches that emerged with the globalization process will be presented in terms of their reflections on art and design. The concept of consumption is one of the basic structures of the capitalist formation in the process of globalization on its own. From this point of view, the place of sustainable and disposable objects related to our habits in daily life extends its context by carrying a meaning beyond need. Briefly, social change and the trend of commodification offered by the capitalist system, determines the individual's attitude towards objects.Art and design as a consumption object, consumer behavior, cultural formation, populism, branding etc. observed that it evolves continuously with such concepts. The concept of value that creates this motion, it is shaped around the society in the tendency to commodify. From this perspective; the main problem of the research, is the understanding of Art/ Design as a consumption object, it is shaping by changing paradigms in the social process. This research was created through the Qualitative research method, with the data and contents obtained through the necessary literature reviews. Based on the research subject and the data to be scanned, it is aimed to support the subject with visual examples through new attitudes and understandings in the field of art and design.As a result, the determination of cultural and social norms in the formation of the consumer society seems to be very important in terms of access to the masses. In this context, to be shape or object of the time period we live in, so how to commodify, it varies according to the formation of paradigms in the process. The research, presented to the subject from this perspective, theoretically it is predicted to contribute to the literature to a great extent.

Video oyunları ve sinema sektörünün kesişim noktalarından biri uyarlama konusudur. Filmlerden video oyunlarına veya video oyunlarından filmlere uyarlanan birçok yapım vardır. Bu çalışmada ise video oyunlarından uyarlanan filmlerin seyirci tarafındaki karşılığının tanımlanması hedeflenmiştir. Seyirci ve oyuncu, uyarlanan bu yapımların parçalarından biridir, onların konumu bu yapımların geleceğini şekillendirmesinde rol oynamaktadır, bu bağlamda bu çalışmada elde edilen sonuçlar bu yapımların potansiyelinin de ifade edilmesini sağlaması açısından değerlidir. Bu çalışmada objektif sonuçlara ulaşabilmek için iki farklı yöntem kullanılmıştır; sinema sektöründeki profesyoneller ve sinema eğitimi görmüş toplam da 11 kişiyle çevrimiçi anket, www.imdb.com ve www.metascore.com adlı film kritik sitelerinde verilen puanlar ve kayıtlı kullanıcıların yazdıkları yorumlardan toplanan verilerin analizi. Seyircilerden elde edilen bu yorumların analiziyle seyircilerin odaklandıkları noktalar tespit edilmiştir, çevrimiçi anket yöntemiyle de sinema eğitimi almış veya sinema sektörü içinde profesyonel olan kişilerin verdikleri cevaplarla da konu hakkında hem ön görü hem de içinde bulunan durum hakkında bilgi sağlanmıştır. Bu yöntemler kendi içlerinde, sonuç kısmında ise iki yöntemin sonuçları birleştirilerek analiz edilmiştir. Sonuç olarak ise seyircinin bu filmleri oyundan ayırmadan değerlendirdiği ve bu iş birliğinin gelişerek devam etmesini arzuladıkları yönündedir. Başarısız bulunan film örneklerinin video oyunlar hakkında belirleyici olmadığı tespit edilmiştir. Seyircinin, bu türün gelişeceğini daha başarılı sonuçların elde edileceğini düşünmesine rağmen oyun içindeki aktif olma duygusunun film içinde pasif olma duygusuna daha baskın bir şekilde yaşandığı anlaşılmıştır. Seyircinin filmlerle kurduğu ilişkinin video oyun merkezli olduğu, oyunda hissettiği duyguları ve oyunla ilgili detayları filmin iç yapısında da aradığı görülmüştür.

Colour changes of cultural heritage objects can be related with degradation of materials, thus a proper colour monitoring system can be used to detect conservation problems. With this purpose, a monitoring methodology for cultural heritage preventive conservation based on tailored colour reference charts and image analysis is proposed. Reference colour charts have been designed and tested for use in museums. Charts containing 64 colour patches have been printed using high-stability inks on 4 different substrates: Acid-free paper SkyLight, Acid-free paper covered with a propylene film, FOREX® and GlassPack. The stability has been studied by accelerated ageing in an UV chamber, and the harmlessness of the materials by Oddy Test. The final selection of material, laminated paper, is a balance between the colour change upon ageing and the performance in the Oddy Test. Using this material and the proposed design, colour change of copper and silver coupons has been assessed using images that are adjusted and calibrated by an adaptive calibration framework employing a given set of reference colours which homogenises the visual information in the supplied images. Thus, regardless of the camera of origin, any processed picture will deliver reliable information of the state of the colour in the metal surfaces at the moment it was taken. Results demonstrate the adequacy of the approach and the design for colour calibration, so these charts can be used to monitor colour change of sensitive materials ¿metal coupons¿ using photographs. As colour change of reference metals is a consequence of corrosion by environmental factors this may be used as a measure of air quality in museum environments. This methodology can be used to design a low-cost preventive conservation tool, where colour change of metal coupons ¿or other reference materials¿ can be followed through image analysis of pictures taken periodically by conservators or visitors, introducing citizen science in the conservation strategy., The final testing of the methodology is being possible thanks to the Museo Nacional de Ciencia y Tecnología (MUNCYT) and the Faculty of Chemistry of the Universidad Complutense de Madrid, that have allowed us to display the reference charts in their scientific collections. Authors also acknowledge the support of TechnoHeritage network and the CSIC Authors also acknowledge the support of TechnoHeritage network and the CSIC Interdisciplinary Thematic Platform-OPEN HERITAGE: RESEARCH AND SOCIETY (PTI-PAIS). Thanks are due also to Dr. Elena Mesa, for her suggestions and support, and Ignacio García, from Once34, for his generous collaboration for the printing of the charts. We acknowledge support of the publication fee by the CSIC Open Access Publication Support Initiative through its Unit of Information Resources for Research (URICI), and Digital.CSIC for their help with the dataset deposit. This work has been funded by Comunidad de Madrid, European Regional Development Fund and European Social Fund, project MIPAC-CM (Y2018/NMT-4913); and Ministerio de Ciencia, Innovación y Universidades, project COMPACT (HAR2017-89911-R) and grant PRE2018-086667.

Art and archaeology have a growing interaction, which is expressed mainly in displaying the material culture of ancient civilizations. The post-modernist concept suggests that art is for everyone. Likewise, archaeologists recognize the idea that archaeological narratives are supposed to be everyone to understand and enjoy. Today, many museum displays and special exhibitions consist of contemporary design features of art. The technology-driven exhibition techniques applied in the “Curious Case of Çatalhöyük” exhibition and Göbeklitepe Animation Center to increase the perception of visitors establish the basis of the study. The paper examines the backgrounds of the relation between two disciplines by “digging” up the history of archaeological theories and analyzing main art movements corresponding to a period from Dadaism to contemporary art. Archaeological storytelling of history and culture using post-modern rhetoric is defined as the “close encounter.” The interactive display provides new directions in the visual reconstructions of past societies. We proposed that the Çatalhöyük exhibition and Göbeklitepe Animation Center are among the best examples of the new approach for presentation in archaeology.

Düşünme, karmaşık zihinsel eylemleri içeren, bireysel farklılıklar gösteren bir beceridir. Düşünme yetisi insanoğlunu diğer canlılardan üstün kılan en önemli özelliğidir Bireysel farklılıklar düşünmenin farklı türlere evrilmesine neden olmaktadır. Analitik düşünme de bir bütüne ait tüm parçaları düşünme ve anlama eylemi olarak tanımlanabilir. Analitik düşünme felsefesine göre bütünü anlayabilmek için bütüne ait tüm parçaların anlaşılması gerekmektedir. Analitik düşünme yaklaşımında parçadan bütüne doğru bir akış vardır. Başka bir deyişle tümevarımsal bir yaklaşımdır. Bu bağlamda düşünüldüğünde bir iç mekânın anlaşılabilmesi, iç mekâna ait tüm öğelerin tek tek anlaşılması ve bütünle ilişkisinin kurulmasıyla sağlanabilir. Alan yazın taraması sonucunda analitik bir iç mekân çözümleme aracı ile ilgili sınırlı sayıda çalışmaya ulaşılmıştır. Bu nedenle araştırmanın amacı analitik bir iç mekân çözümleme aracı geliştirmek ve bir örnek kapsamında geliştirilen bu yöntemi değerlendirmek olarak belirlenmiştir. Bu amaç doğrultusunda bir iç mekân çözümleme aracı geliştirilmiş ve Mersin Tren İstasyon Binası bu araç kapsamında değerlendirme altına alınmıştır.

UNLABELLED: Historic legal deeds are one of the most abundant resources in British archives, but also one of the most neglected. Despite the millions that survive, we know remarkably little about their manufacture, including the species of animal on which they were written. Here we present the species identification of 645 sixteenth-twentieth century skins via peptide mass fingerprinting (ZooMS), demonstrating the preferential use of sheepskin parchment. We argue that alongside their abundance and low cost, the use of sheepskins over those of other species was motivated by the increased visibility of fraudulent text erasure and modification afforded by the unique structure of their skin. SUPPLEMENTARY INFORMATION: The online version contains supplementary material available at 10.1186/s40494-021-00503-6.

En la actualidad las instituciones sociales tradicionales, tales como la familia, la religion, el Estado y la ciudad, se han revelado como estructuras llenas de contradicciones y fisuras internas manifestadas en la exclusion, la represion y la segregacion socio espacial que padecen millones de personas. Ante esta realidad incierta es dificil no buscar explicaciones que den cuenta de las razones para que el mundo se presente de esa forma. Las respuestas a este fenomeno se han dado desde la filosofia, la sociologia, la historia, entre otras disciplinas. Para este texto esperamos exponer como dicha realidad se puede comprender a partir de la interrelacion de dos dimensiones de lo humano nombradas por Gilles Deleuze y Felix Guattari[1] como lo liso y lo estriado. Lo liso corresponde a la realidad conformada por lo caotico, por lo que no puede ser medido ni cuantificado, por aquello que se da sin regulaciones racionales y que existe espontaneamente en la incertidumbre del devenir cotidiano. Lo estriado, por su parte, hace referencia a la realidad regulada, planeada y racionalizada, que se constituye por medio de la cuantificacion, el control y la consolidacion de un mundo previsible. Bajo esta premisa, y si tenemos en consideracion que el diseno es una actividad que se ubica en el limite entre la reflexion y la produccion material de objetos que intermedian en las practicas humanas, consideramos que existe la posibilidad de establecer puentes entre las interpretaciones filosoficas, existenciales y politicas y el quehacer del diseno, respondiendo a traves del lenguaje a nuestras propias inquietudes y aproximaciones conceptuales de nuestro quehacer como disenadores. Para hacer entonces explicita esta conexion nos valdremos de la experiencia vivida en el Laboratorio de Diseno Reforma (Medellin, Colombia) con el proyecto Fisuras y resquicios, en el que se desarrollaron objetos de uso diario elaborados por medio de la ceramica como tecnica propicia para la exploracion de texturas y formas dentro de un lenguaje visual que sintetiza lo provechoso de entender los resquicios y las fisuras sociales como espacios propicios para el desenvolvimiento de lo diverso y lo multiple. [1] Se hace referencia a las ideas desarrolladas por estos dos autores en su texto Mil mesetas. Capitalismo y esquizofrenia, publicado por la editorial Pre-textos en el ano 2004 en Valencia, Espana.

Ruins are a statement on the building materials used and the construction method employed. Casa Ippolito, now in ruins, is typical of 17th-century Maltese aristocratic country residences. It represents an illustration of secondary or anthropogenic geodiversity. This paper scrutinises these ruins as a primary source in reconstructing the building’s architecture. The methodology involved on-site geographical surveying, including visual inspection and non-invasive tests, a geological survey of the local lithostratigraphy, and examination of notarial deeds and secondary sources to support fndings about the building’s history as read from its ruins. An unmanned aerial vehicle was used to digitally record the parlous state of the architectural structure and karsten tubes were used to quantify the surface porosity of the limestone. The results are expressed from four perspectives. The anatomy of Casa Ippolito, as revealed in its ruins, provides a cross-section of its building history and shows two distinct phases in its construction. The tissue of Casa Ippolito—the building elements and materials—speaks of the knowledge of raw materials and their properties among the builders who worked on both phases. The architectural history of Casa Ippolito reveals how it supported its inhabitants’ wellbeing in terms of shelter, water and food. Finally, the ruins in their present state bring to the fore the site’s potential for cultural tourism. This case study aims to show that such ruins are not just geocultural remains of historical built fabric. They are open wounds in the built structure; they underpin the anatomy of the building and support insights into its former dynamics. Ruins ofer an essay in material culture and building physics. Architectural ruins of masonry structures are anthropogenic discourse rendered in stone which facilitate not only the reconstruction of spaces but also places for human users; they are a statement on the wellbeing of humanity throughout history., peer-reviewed

The traditional concept of art is closely related to beauty and also to aesthetic pleasure. However, the emergence of avant‐garde and contemporary art has subverted that imagination. Art no longer seems to be pleasant, but it can also be disgusting and tedious, just like contemporary art that has often been criticized as such. From this point of view, this article attempts to look at the reasons why some art bores its viewers. From the epistemological perspective, we start to examine the philosophical thoughts of Plato and Kant on art, and the critique of Marxist ideology and aesthetics, exploring different perspectives on aesthetic beauty and pleasure. Furthermore, through the aesthetics of ugliness studied by Rosenkranz, of which opens the space for the discourse of negative beauty, we start our deduction of boredom in art. We discover that boredom generated by art does not have an absolute link with beauty and ugliness, but rather it has to do with the subjectivity of the viewers. With the examination of boredom from the perspective of the structure, content, time, mechanical production, and interpretation of the work, we have found that in addition to the characteristics of the work itself, the production of boredom is related to the educational and cultural background of the spectator, as well as to one´s personal taste. Finally, we also question whether art has begun to be boring and unremarkable after the historical progress of art being suspended, owing to “the end of art” suggested by Danto.

[EN] Based on the proposal to take part in the project "Variations on the map", a cycle of public and private actions conceived by the curators Ángela Montesinos and Juan Luis Toboso for the IVAM as a process of confronting the territory of the Barrio del Carmen (historic neighborhood of Valencia, Spain), in direct interaction with its multiple contexts (urban, social, economic and cultural), we developed (E)SPECULA(R), a collaborative work that invites to study cultural heritage, not only as what deserves to be preserved, but also as a space of material and symbolic dispute that affects the daily realities of the residents of certain territories that 'coexist' with heritage and under the impact of certain policies of heritage protection., [ES] A partir de la propuesta de formar parte del proyecto „Variaciones sobre el plano“, ciclo de acciones públicas y privadas concebido por los comisarios Ángela Montesinos y Juan Luis Toboso para el IVAM, que planteaba un proceso de confrontación con el territorio del Barrio del Carmen de Valencia, se desarrolló (E)SPECULA(R), un trabajo colaborativo que invita al estudio del patrimonio cultural, no solo como aquello que merece ser conservado, sino como un espacio de disputa material y simbólica que afecta a las realidades cotidianas de los vecinos de determinados territorios que ‘conviven’ con el patrimonio y bajo el impacto de determinadas políticas de protecciones patrimoniales., IVAM

The implementation of multidisciplinary research approaches is an essential prerequisite to obtain comprehensive insights into the life and works of the old masters and their timeline in the production of the arts. In this study, traditional art history, cultural heritage, and natural science methods were combined to shed light on an Adoration of the Shepherds painting by Jacques Jordaens (1593–1678), which until now had been considered as a copy. From dendrochronological analysis of the wooden support, it was concluded that the planks in the panel painting were made from Baltic oak trees felled after 1608. An independent dating based on the panel maker’s mark, and the guild’s quality control marks suggests a production period of the panel between 1617 and 1627. Furthermore, the size of the panel corresponds to the dimension known as salvator, which was commonly used for religious paintings during the period 1615 to 1621. Finally, the interpretation of the stylistic elements of the painting suggests that it was made by Jordaens between 1616 and 1618. To conclude, from the synthesis of: (i) dendrochronological analysis, (ii) panel makers’ punch mark and Antwerp Guild brand marks, (iii) re-examination of secondary sources, and (iv) stylistic comparisons to other Jordaens paintings, we suggest that the examined Adoration of the Shepherds should be considered as an original by Jordaens and likely painted in the period 1617–1618. The study is a striking example of the effectiveness of a multidisciplinary approach to investigate panel paintings.

El estudio de los especímenes tipográficos, también conocidos como muestras de letras o catálogos de tipos, permite una clase de investigación de fuentes primarias que combina las facetas histórica, tecnológica, artística y visual y, por extensión, arroja luz sobre otros aspectos de la cultura impresa. Si bien esas fuentes ofrecen una aproximación material al conocimiento del patrimonio gráfico regional, en América Latina se ha investigado poco sobre ellas. El objetivo principal de este trabajo es describir y analizar la estructura y el contenido de dos muestras tipográficas colombianas que fueron elaboradas durante la primera mitad del siglo XX, en el contexto de la enseñanza de artes y oficios en los colegios de los salesianos. El estudio de ambos documentos y su comparación con otras muestras (norteamericanas, europeas, y de dos países de América Latina), así como la revisión de bibliografía especializada, permitirá establecer el origen de algunas de las fundiciones tipográficas utilizadas en Colombia y visualizar una parte de las relaciones de la cultura gráfica colombiana con otras tradiciones tipográficas que a la fecha no se han planteado. #Patrimonio The study of type specimens —also known as letter samples or type catalogs— combines historical, technological, artistic and visual aspects to research primary sources. Even though these sources offer a material approach to the knowledge of the regional graphic heritage, there is scarcely any research on them in Latin America. The aim of this work is to describe and analyze the structure and content of two Colombian type specimens that were elaborated during the first half of the twentieth century in the context of arts and crafts teaching in Salesian order’s schools. The interpretative study of both documents and their comparison with others samples (American, European, Argentinian and Mexican), as well as the use of specialized bibliography, will allow us to establish the origin of the typographic foundries used in Colombia and to visualize some of the relations of Colombian graphic culture with international and regional typographic traditions.

This article presents an overview of Liu Kang’s (1911–2004) canvas painting supports from his early artistic phases, Paris (1929–1932) and Shanghai (1932–1937). The research was conducted on 55 artworks from the collections of the National Gallery Singapore and Liu family. The technical examination of the paintings was supplemented with archival photographs of the artist at work to elucidate his practice of preparation of painting supports. The analyses conducted with light microscopy, SEM–EDS, and FTIR allowed us to characterise the structure of the canvases and identify the natural fibres and formulation of the grounds. In addition, references to contemporary colourmen catalogues, in relation to certain materials, were made. The obtained results suggest that, in both locations, Liu Kang employed commercially prepared canvases purchased by the roll or by the metre, together with bare strainers or stretchers of standard sizes. In Paris, the artist commonly used linen canvases, while in Shanghai he preferred cotton canvases, with linen used sporadically. The identified grounds from the Paris and Shanghai canvases are white and single-layered, but their formulations vary significantly between the two locations. Hence, grounds composed predominantly of lead white with extenders and drying oil as a binder are considered as exclusive to the Paris phase. However, semi-absorbent or absorbent grounds based on chalk are typical for Shanghai phase. This research contributes to the knowledge of Liu Kang’s painting materials and working practices during the pre-war period in Paris and Shanghai.

Este artigo tem como objetivo apresentar as mudanças no projeto gráfico da revista AnaMaria, publicação destinada ao público feminino, entre 2006 e 2009, período de crescimento da classe média brasileira. Como resultado da mudança do perfil dos consumidores, bem como da exigência e expansão do mercado editorial, verificou-se significativa transformação na linguagem visual desse e de outros títulos de nicho semelhante. A evolução dessa linguagem, das referências e dos fatores determinantes para a nova proposta editorial, que perdura sem mudanças significativas até hoje, pode ser verificada neste artigo. #Revistas This article presents the graphic design changes of AnaMaria magazine, a publication targeted to women, between 2006 and 2009; a period of growth for Brazilian middle class. As a result of some changes in the profile of its readers, the demand, and the expansion of the publishing market, there was a significant change in the visual language of this publication and similar editorial projects. The evolution of such language, references and reasons for the new editorial proposal, which so far continues without significant changes, can be verified in this paper.

From the invention of Perkin’s Mauve in 1856, to publication of the first edition of theColour Indexin 1924, more than 1200 synthetic organic colourants were introduced. Some achieved commercial success, while others were rarely used for reasons such as high cost, low fastness, and toxicity. This turbulent period of innovation was largely driven by demand of the textile industry; however, synthetic colourants were subsequently adopted in many other applications. An understanding of the most common materials and their properties is therefore important to the study of heritage collections and their preservation. The risk of light damage during exhibition of objects is often a concern due to the fugitive nature of many synthetic colourants.To provide a foundation for focused research on synthetic dye identification and lightfastness, work was carried out to identify the most prominent of these colourants used in North America up to the year 1924 when the first edition of theColour Indexwas published. Information was compiled and analysed from several sources including multiple editions of theColour Index, and government documents related to the manufacture and trade of synthetic dyes that provide data from 1914 onwards. Cross-referencing between the information sources provided a summary of parameters for each colourant including the date of introduction, number of manufacturers, lightfastness, and quantity produced or imported in the United States.A document published in 1916 by the US Department of Commerce listed 259 colours with Schultz number imported during the 1913–1914 fiscal year, in quantities above 10,000 lb (4536 kg). Adding domestic products to the list, and removing duplicates, gave 289 individual colours with Schultz number imported and/or produced in the US. In addition, there were some imports of unknown composition: 96 azo, 23 sulphur, and 68 unclassified. Further review of census data from 1917 through the 1920’s suggested that less than one quarter of the dyes listed in theColour Indexwere imported or manufactured in significant amounts. The results of this analysis are presented as summary statistics, which are complemented by an open dataset publication to facilitate future research.

TV drama has gone through many developmental stages until it reached and settled in the form of TV series of thirty episodes. Alongside the development of the TV technologies and the widespread of satellite channels, the form of the TV drama has changed and the series has consisted of two parts and then parts multiplied until they amounted to ten parts and more. This form of TV drama has become an artistic phenomenon, that once the series is displayed on one of the channels and achieves a noticeable success, its producers work to produce a second part of that series and so on. This form of TV drama has remained away from being researched. This has urged the researcher to accomplish this study entitled (TV series of multiple parts from the viewers' viewpoint) which aimed to know the viewers' opinions in many aspects of the TV drama with multiple parts. In the theoretical framework, the researcher studied the development stages of TV drama in the first section and the TV series with multiple parts in the second section. The researcher, in the third chapter, determined the descriptive approach as the questionnaire constitutes one of its main tools. The researcher designed the research tool, which is the questionnaire form that consists of seven questions covering what has been mentioned in the research aims. The research sample is limited to three hundred respondents from Baghdad aged between 15-40 years old.

El presente artículo expone un fragmento del componente metacognitivo que fue investigado en la tesis doctoral El boceto para pensar, conversar y convencer en diseño industrial del año 2019. El eje central del estudio se basó en los procesos de evolución que le ocurren al boceto de diseño industrial dibujado en el taller de proyectos básico. En las siguientes líneas, se pretende evidenciar como el estudiante mediante el dibujo de un boceto relaciona la información propia del contexto que experimenta día a día con la información recién adquirida en el proyecto de diseño (Sternberg, 1986). Un proceso de toma de decisiones que le permite proponer soluciones, el cual está definido en gran medida por unas operaciones de regulación metacognitiva (Jaramillo & Osses, 2012), (Mateos, 2001), (Soto, 2002), (Argüelles, 2007), que aplican los estudiantes cuando hacen preguntas y aprenden de los errores, mientras reflexionan sobre sus procesos de pensamiento y se preocupan por la forma como interiorizan lo aprendido. #DiseñoIndustrial This article presents a fragment of the metacogni-tive component addressed in the 2019 doctoral thesis work titled «The sketch to think, speak, and persuade in industrial design.» The central axis of this study is based on the evolution processes of industrial design sketches drawn as part of basic design courses. In the following lines, this work will try to show how students relate infor-mation from their daily personal context with information recently acquired in design project courses at the time of drawing a sketch (Sternberg, 1986). This becomes real through a decision-making process —largely defined by metacognitive regulation operations— that allows indi-viduals to propose solutions (Argüelles, 2007; Jaramillo & Osses, 2012; Mateos, 2001; Soto, 2002), and that and is deployed by students when they ask questions and learn from mistakes while reflecting on their thinking processes and focusing on how they internalize what they learn.

Metal formates sometimes occur as degradation products on heritage objects due to the use of wood products or other sources of formic acid and formaldehyde. They are often related to alkaline surfaces which transform formaldehyde directly into formate. The dominant role of formate on alkaline surfaces, for example in glass-induced metal corrosion (GIM) or calcium carbonate degradation, was explored in the Stuttgart research on rare heritage corrosion products. This review discusses these findings together with those from the literature: ocurrences of sodium and potassium formate on glass, calcium formate and calcium acetate-formate phases on calcareous materials, magnesium formate on Sorel cement and dolomitic sandstone, lead formate on metal and pigments, cadmium formate on coated objects, as well as various copper and zinc formates on copper alloys. In the latter cases, formates dominate as glass-induced metal corrosion products. The formation of formates constitutes irreversible damage, degrading the material of heritage objects. Therefore, preventive conservation needs to remove all sources of carbonyl pollutants in order to avoid such corrosion.

This work presents the first results of the iconographic study and analytical characterisation of a set of four stained-glass panels that are part of the collection of National Palace of Pena (Sintra, Portugal). These panels were collected by the King Ferdinand II in the mid-nineteenth century, for his main residence the Palace of Necessidades (Lisbon, Portugal), and only first presented to the general public in 2011. This study contributes with the knowledge of Technical Art History and Heritage Science to a better and deeper understanding of their history, materials and techniques used in the production, where an art-historical and a scientific approach are applied to attribute their origins. Based on the analysis of the formal and stylistic characteristic of the panels, it is proposed that the drawings used for the production of three of these panels may be based on the design and painting being carried out in the same workshop, and that the four panels have the same provenance (Germany). The composition of the glass and grisaille was determined and colourising elements were identified. Through this approach, conclusive correlation between the analysed glasses was possible: all are calcium rich or calcium–potassium rich types, and the results also suggest that the same source of silica was used for their production. A typical mixture of glass and lead oxide was found in the grisaille applied on the painted panels. However, less usual was the use of a copper oxide pigment for the black grisaille. All these findings support the proposals made regarding provenance and production period (fifteenth century).

The Valley of the Kings (KV) is a UNESCO world heritage site with more than thirty opened tombs. Since the first tombs were constructed, at least 24 historical flash flood events has been identified, each of which has been contributed to the destruction and deterioration of the tombs. Recently, most of these tombs have been damaged and inundated after 1994 flood. In order to understand the Geo-environmental impact mainly the past flash floods due to the intensive rainfall storm on the valley of kings and the long-term rock mass behavior under geostatic stresses in selected Horemheb tomb (KV57) and its impact on past failures and current stability, Remote sensing, GIS, LIDAR, 3D finite element stability analysis and rock mass quality assessments had been carried out using advanced methods and codes. Our work provides environmental satellite space views via landviewer Erath Observation System (EOS) Platform with passive and active sensors which include the Normalized Difference Vegetation Index (NDVI), Soil-Adjusted Vegetation Index (SAVI), Atmospherically resistant vegetation index (ARVI), Green Chlorophyll Index (GCI), Normalized Burn Ratio (NBR), Normalized Difference Snow Index (NDSI), Light Detection And Ranging (LIDAR) images, Terrain (DEM) Digital Elevation Models, 3D geological maps. In other hand experimental and numerical geotechnical evaluations and modeling of the rock mass of these underground structures and their surroundings have been executed. We estimated the rock mass quality of the different members within the Thebes limestone and Esna shale formations using the mechanical testing and Rock Mass Rating (RMR), rock quality system (Q-system) and Geological Strength Index (GSI) systems. Our recent analyses show that the KV57 rock- cut tomb at Luxor has been cut into poor to very poor quality marl shale masses due to the impact of flash foods. Rock failures of ceilings and pillars were frequently facilitated by local, unfavorably oriented persistent discontinuities, such as tension cracks and faults. Other failures were related to the disintegration of the marl limestone and Esna shale Formations into individual nodules upon weathering. Our data suggest that, in ancient Egypt monumental tomb construction, low-strength rock masses rarely resulted in modifications of the planned tomb design in order to minimise the risk of rock falls and to prevent collapses. The current flood protection measures are not enough. For this two following measures are proposed 1—to rise the current wall by 50 cm. 2—to fill the depression by reshaping bathymetry.

Carillons are a diverse and global form of musical and civic heritage: musical instruments comprised of a series of 23 or more bells, typically hung in a tower-like structure, tuned chromatically and played from a touch-sensitive manual and pedal console using an elaborate mechanical action. Carillon bells have a distinct series of musical overtones which should be accurately tuned to one another and with other bells they sound alongside. Although these overtones have been previously studied ex situ, this study assesses the acoustic characteristics of two early-twentieth century carillons in Toronto, Canada as a combination of structure, bells, and mechanical action. Thus, the instrument and its context are considered holistically, more accurately reflecting the musical sensitivity of a carillonist. Spectral analysis of audio samples of each bell at different musical dynamic levels enabled the analysis of the acoustic qualities of the bells and the mechanical action of the instruments. The tuning of bells in the instruments varied; most importantly, there was a significant difference between the audial intensity of the bell tones produced by the instruments, demonstrating the importance of the mechanical action as part of the ‘carillon system’. This was represented with a resistive power-law model, that represents the sensitivity of intensity to carillonist musical dynamic level. A discussion of the implications for artistic and heritage practice follows. Understanding the in situ physical acoustics of the carillon as a holistic instrument in its context informs performers, arrangers, and composers of how they can best embrace the instrument’s unique qualities to improve artistic pursuits and support the appreciation of carillons as heritage instruments and function as civic voices.

Scientific imaging of a large fragile work of art can be especially challenging, but especially rewarding to better grasp the complexity and changes that have occurred during its creation and lifetime. Here, noninvasive imaging, macro X-ray fluorescence (MAXRF) imaging spectroscopy and reflectance imaging spectroscopy, from the visible to the near infrared spectral range, are utilized to document a 14-m-long Japanese narrative handscroll, The Miraculous Interventions of Jizō Bosatsu. Due to the scroll’s age and its handling during past use as a teaching tool, it has a number of conservation needs and shows evidence of past repairs. The scroll has extensive and severe creasing, breaks and tears, as well as unstable and powdering pigments. Microscopic observation and scientific analyses were performed both to document the current condition of the scroll and to better understand its long history. Combining RIS and MAXRF allowed for pigment characterization through elemental and molecular information. While RIS and MAXRF previously have been applied to the study of other painted materials, their application to East Asian paintings is rare. The obstacles of the scroll’s length and fragile uneven surface were overcome by optimizing the setups of the two imaging systems. The MAXRF and RIS analyses, here focused on a select scene of the scroll, found certain original pigments common in early Japanese scroll paintings were used frequently, such as vermilion, iron-based compounds (yellow and red ochres), and copper-containing greens, while others occurred sparingly, such as azurite and red lead. A chloride-containing lead-based white pigment was employed. Faded organic colorants, notably indigo as well as an organic yellow/brown, could be detected but their vibrancy has been muted over the centuries. In the case of indigo, it may be visibly observed in some areas; however, analysis revealed its previously unknown presence mixed with a copper green in a select area. This focused study sets a foundation for further studies on both this object and other Asian works of art.

The Thannhauser Collection of the Solomon R. Guggenheim Museum, New York, represents an important survey of European avant-garde art production during the late 19th and early 20th centuries. Among the works included in this collection are three paintings by Vincent van Gogh, namely Roadway with Underpass (1887), Landscape with Snow (1888), and Mountains at Saint-Rémy (1889). These examples each exhibit some degree of surface alteration, including fading of specific pigments and, in one case, a non-original, discolored varnish, resulting in obscured color and spatial relationships, as well as being the subject of questions regarding authenticity in the case of the two earlier pictures. Initial examination involved documentation of the brushwork, paint quality, and distribution of colors under magnification. Infrared (IR) and ultraviolet (UV) photography, as well as X-radiography, provided additional information on the surface coatings, the structure of the works, and their supports. Subsequently, an in-depth scientific investigation of the ground and paint layers, with a special focus on fading colors and altered surfaces, was carried out non-invasively with point and macro-X-ray fluorescence (XRF) spectroscopy, visible reflection spectroscopy, and multi-channel visible spectrum four-light imaging, followed by the analysis of cross sections and dispersed pigment samples by means of optical microscopy, transmission Fourier-transform infrared (FTIR) and Raman spectroscopies, and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM/EDS), as well as high-performance liquid chromatography with photodiode array detection (HPLC-PDA) and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS). Results indicated that both the brushwork and artist's palette of all three paintings are consistent with data previously reported for other Van Gogh works and with pigments described in the artist’s letters to his friends and his brother Theo. Most notably, evidence of biodeterioration and paint alteration phenomena was found on Roadway with Underpass, while specific pigments such as eosin red—historically sold as geranium lake—were detected in areas of Landscape with Snow and Mountains at Saint-Rémy that display severe fading. In addition to assisting the development of a suitable plan for the conservation of the 1887 painting, this study traces the progression of Van Gogh’s practice over three years critical to his artistic development, discusses the historical context in which each masterpiece was created, identifies the range of materials and techniques used, and addresses authenticity questions by providing a comparison with results of scientific analysis from other similar works.

El proceso de creación y producción de las series de ficción históricas en España ha mostrado un notorio crecimiento durante los últimos años. Con Isabel (2012- 2014), Víctor Ros (2015-2016) y El Ministerio del Tiempo (2015-2020) Javier Olivares y su hermano han logrado dar vida a un universo único logrando invadir la pantalla de personajes históricos ligados al patrimonio cultural español. Olivares, uno de los más importantes productores y guionistas de la ficción española de nuestros días, habla en esta entrevista de la lógica de realización de las series ficcionales e históricas. Se detallan además cuestiones ligadas a la (re)producción y a la (re)creación de figuras emblemáticas del arte y la historia de España, su proceso de construcción estético, su grado de alcance e impacto en la sociedad, así como las perspectivas futuras del productor. In recent years, the genre of historical fiction has seen notable growth in Spanish television. With Isabel (2012-2014), Víctor Ros (2015-2016) and El Ministerio del Tiempo (2015-2020), Javier Olivares manages to give life to a unique universe, managing to invade viewers’ screens with historical characters linked to Spanish cultural heritage. Olivares, one of the most important producers and scriptwriters of Spanish fiction today, talks about the logic behind the production of fictional and historical series in this interview. Issues related to the (re) production and (re) creation of emblematic figures in the art and history of Spain, their aesthetic construction process, their degree of scope and thier impact on society, as well as the producer’s upcoming projects.

Reseña del libro de Ricard Carbonell i Saurí (2019). La mirada prohibida. El plano subjetivo en el cine.

Reseña del libro de Filomena Serra, Paula André y Sofia Leal Rodrigues (2020). Projectos editoriais e Propaganda. Imagens e Contra-Imagens no Estado Novo.

En el presente capítulo realizaremos un análisis textual de la película Amor (Amour, 2012) de Michael Haneke. Hemos seleccionado el fragmento —localizado en la tercera secuencia del filme— en que la protagonista Anne se queda mirando al vacío en estado de catatonia mientras su marido Georges intenta reanimarla sin éxito. Para ello, haremos uso metodológico de la Teoría del Texto y tomaremos como marco conceptual el estudio de lo real elaborado por Jesús González Requena dentro del campo psicoanalítico. Más concretamente, nos centraremos en su teorización en base a la función de la Imago Primordial en el surgimiento de la consciencia aplicada a la técnica del plano contraplano. Planteamos como hipótesis explorativa que, más allá de la dimensión comunicativa de esta técnica, persiste una huella de lo real que desactiva todo enunciado denotativo.

El presente estudio aborda el concepto de la “imagen-exceso” (Lipovetsky y Serroy, 2009), un recurso cinematográfico que consigue introducir al espectador en una sucesión vertiginosa de escenas visuales hiperespectaculares. Es a partir de la extraordinaria evolución tecnológica de las últimas décadas cuando las creaciones digitales (realidades virtuales) han generado imágenes en el cine que llegan a competir con la realidad, solapándola y haciendo compleja su diferenciación para el receptor. En el texto abordamos el papel determinante que el simulacro y el juego ejercen al ser motores clave para la construcción de esa imagen-exceso, que se establece entre parámetros virtuales de características neobarrocas y sublimes. Por tanto, nos adentraremos en conocer cómo el simulacro se desarrolla en el ámbito del cine, y cómo el juego va desplegando todo su potencial para actuar en la mente del espectador con el firme propósito de inducirle a una hiperrealidad, la metarrealidad que el propio cine supone. Aunque algunas producciones cinematográficas presentan la limitación conocida como uncanny valley al producir un rechazo de credibilidad en el observador, nuestra principal conclusión subraya la necesidad de atracción que ha de suscitar la imagen-exceso para que el simulacro y el juego hagan acto de presencia. The present study addresses the concept of the “image-excess” (Lipovetsky & Serroy, 2009), a cinematographic resource that manages to introduce the viewer into a dizzying succession of hyperspectacular visual scenes. It is from the extraordinary technological evolution of the last decades when digital creations (virtual realities) have generated images in the cinema that come to compete with reality, overlapping it and making its differentiation complex for the receiver. In the text we address the determining role that simulation and game play as they are key drivers for the construction of that image-excess, which is established between virtual parameters of neo-baroque and sublime characteristics. Therefore, we will delve into knowing how the simulation develops itself in the field of cinema, and how the game unfolds its full potential to act in the mind of the viewer with the firm intention of inducing him to a hyper-reality, the meta-reality that cinema supposed. Although some cinematographic productions present the limitation known as uncanny valley by producing a rejection of credibility in the observer, our main conclusion underlines the need for attraction that the excess-image must arouse, so that simulacrum and game make an appearance.

This paper aims to analyze the activity of the three biggest movie studios in social media, 20h Century Fox, Warner Bros and Universal Studios, and how that is affecting in the numbers and importance of each. Through deep searches, professional advice and the use of some statistic programs, we were able to pull out some interesting assumptions that will be discussed. We have focused in different parts of each Social Media since, we think, each one is designed to fulfill one specific aspect, for example create discussions or just present a piece of work or trailer in our case. With that approach we expect to determine which of the companies has understood better the way they have to be used and if they had won any kind of advantage through the good use of this medias presented as more interaction between themselves and the viewers and a more effective way to present their products. We conclude a correlation between movie studios impact and social media in terms of posts and comments. YouTube is the main social media for movie studios companies.