bluuebunny/crossref_metadata_2025_split huggingface dataset:
Multi-criteria decision method for choosing ERP cloud systems in Industry 4.0 era
Authors: Torbacki Witold 
Published: September 2019

Abstract
The article presents the issues covering the modern ERP cloud systems for manufacturing companies within the currently developed concept Industry 4.0. In this approach, research problems arose as to which parameters and characteristics of ERP cloud systems are the most important from the point of view of manufacturing companies as well as how the process of choosing an ERP system should be conducted. In addition, mutual relationships between these parameters were established. In the article, a multi-criteria decision analysis (MCDA) was used to assess these characteristics. The Decision making trial and evaluation laboratory (DEMATEL) technique was chosen for this assessment. The article can be useful to people interested in modern IT solutions in the production industries.
Michelangelo Antonioni’s Blow-Up as Abstract Art Theory
Authors: Ijuin Takayuki 
Published: September 2019

As is well known, Blow-Up (1966) directed by Michelangelo Antonioni is based on Julio Cortázar’s short story; “Las babas del diablo” (1959). In literary terms, it is very difficult to find similarities between both works, except in their outlines. Many critics, therefore, thought Blow-Up was Antonioni’s own film with no special connection with “Las babas del diablo”. But we should focus on the common outlines of the two. Both deal with ‘vision’. The change of seeing through a viewfinder to seeing through a photographic print gives the protagonists a daydream-like experience.
Cortázar was not only a writer but also an amateur photographer, and Antonioni a film director. If both auteurs reveal their interest in ‘vison’ in their works, we can say that Antonioni follows Cortázar regarding this theme and further develops it through his use of abstract paintings. Antonioni was concerned with differences between the vision of the naked eye and photographic vision, and with similarities between the photographic vision and abstract painting. So, what is Antonioni’s understanding of vision?
I think there is a key to resolve this question in Blow-Up itself. One can focus on not only the change of the protagonist’s behavior in following the story’s development, but also on photographs, abstract paintings, and landscape paintings that appear in the film. Then we would find the possibility that Antonioni thinks photographs and pointillist paintings are based on the same principle; the retinal mesh-like structure.

Article received: April 10, 2019; Article accepted: June 5, 2019; Published online: September 15, 2019; Original scholarly paper
Post-Human Aesthetics of Apocalypse
Authors: Yaren Özgür 
Published: September 2019

This paper aims to illustrate the transformation of point of view in apocalyptic/dystopian genre films, abandoning the lamenting tone in favor of other species. It also intends to exhibit the aesthetic strategies conforming to the shifting tone of these genre films towards a post-human stance. It can be argued that the conjuncture which is shaped by several coinciding narratives of crisis from the Anthropocene to the more recent political crisis of rising Populism led Posthumanist discourse gain prevalence. The paper will try to link the shifting tone of genre films with the lineages of Posthumanist discourse and contemporary collective anxieties. Through analyzing the voice of narrative and its visual language, this paper will attempt to layout significant characteristics of post-human aesthetics in apocalyptic/dystopian genre films.

Article received: April 23, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019; Review article
How to Produce Novelty? Creating, Borrowing, Modifying, Repeating And Forgetting: The Process of Contemporary Fashion Aesthetics
Authors: Liao Ruhan 
Published: September 2019

The aesthetics of fashion can be regarded as the aesthetics of novelty since constant changes make novelty the core of fashion. Based on Colin Campbell’s theory, novelty is a judgment about our subjective experiences, indicating something we never experienced before. In the early stage of the fashion system, designers led fashion trends by creating brand-new items or borrowing foreign elements. Then, as the pace of fashion circulation increased, designers started to produce novelty by modifying details, or by repeating what was in fashion long before. Hence, fashion became cyclical. And the cycle duration would become shorter and shorter as the repetition sped up. At this stage, novelty is not based on whether the item is brand-new, but whether we still remember it. In the future, maybe the repeating of the old cannot maintain the feeling of novelty any more since the pace of fashion change is too quick to give enough time for the new to become old and forgotten. At that time, the novelty will not be based on whether we still remember it, but whether we want to forget it. Therefore, with the acceleration of fashion change, the method of how fashion produces novelty has gone through a logical sequence as follows: creating something brand-new, borrowing foreign elements, modifying details, repeating the forgotten old, and forgetting what is still new. Novelty has gone through a process from ‘externally determined’ to ‘internally determined’, moving to the direction of ‘self-deception determined’.

Article received: April 20, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019; Original scholarly paper
Between Life and Non-Life: Sachiko Kodama’s Black and Bridget Riley’s Pink
Authors: Kato Yukiko 
Published: September 2019

The contemporary world is so technological that humans are located on the verge of life and non-life. Computers, cyborgs, artificial intelligence, and androids permeate human society, and people are even fascinated by such menaces of the non-life. This paper clarifies why contemporary society loves the idea of the rise of artificial beings by analyzing the use of artificial colors – black and pink – by the cutting-edge female artists Sachiko Kodama and Bridget Riley.
Media artist Kodama uses black liquid while the abstract artist Riley uses pink pigments as key materials. According to Asao Komachiya, black is the color of the blind; it appears on the verge of being and non-being. Meanwhile, Barbara Nemitz identifies pink as an artificial color that does not exist in the spectrum of sunlight. Both colors are highly evaluated in technological and consumer society and widely used on many goods. Kodama’s and Riley’s high reputation signifies that contemporary society likes the precarious artificial beings between life and non-life. Moreover, their original and unique works have realized the field of liberty as their extensive use of artificial colors black and pink indicates ultra-human.
Kodama’s and Riley’s gender is also key. As Dora Haraway suggests in “Cyborg Manifesto” (1991), contemporary women, historically dealt with as peripheral existences, survive as ultra-human beings rather than the ancient goddesses. By considering significant female artists such as Kodama and Riley, we can understand not only the contemporary aesthetics of visual arts, but also the concurrent yearning of contemporary society for liberty, ultra-humanity, and non-life.

Article received: April 17, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019: Review article
The Aesthetics of Relations: The Modernist, Contemporary and Post-Contemporary General Conceptualizations of Art
Authors: Kraner Kaja 
Published: September 2019

The article will juxtapose the modernist, contemporary and post-contemporary general conceptualization of art and aesthetic appearance of an artwork. Even though all three conceptualizations can be understood as intertwined because they are largely established in mutual relations, for our purpose they will be analyzed in terms of the basic epistemological terrain on which art enters the Western tradition of knowledge and power: the terrain of aesthetic education. The conceptualization of modernist art/artwork will mainly draw from its link with the autopoietic image of artwork/artistic creativity that can be traced to Romanticism as well as the tradition of the so-called aesthetics of form at the beginning of the 20th century, while conceptualization of contemporary art will be primarily reconstructed on the ground of cultural studies and its reception theory that focused on the analysis of social mediation of cultural texts where the text itself loses the status of an exclusive source of meaning. On the one hand, this article attempts to expose the difference between the two by focusing on conceptualizations of their modes of production of meaning (modernist autopoiesis as producing the artwork’s meaning by, through and of itself versus contextually determined meaning of the artwork within conceptualizations of contemporary art), while on the other, it will expose a general aesthetic appearance of the two based on the differentiation of avant-garde and dialogical aesthetics. From there on, the article will focus on conceptualizations of post-contemporary art in the last ten years that also offered a critique of how contemporary art has been (self)limited to aesthetic experience and by it the present time. In the final part, post-contemporary art will be compared with modernism, for instance in terms of the modernist aim for the transcendent standpoint and its methods of aesthetic alienation in contrast to the post-contemporary aim to eliminate aesthetic experience as such and demonstrate that there can be knowledge without aesthetic experience, or the modernist media research to the post-contemporary media archaeology.

Article received: April 30, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Review article
Interspaces of Art And Social Life – Challenges For Contemporary Aesthetics
Authors: Puncer Mojca 
Published: September 2019

The paper deals with the consequences of an exceptional rise of hybrid forms of in-between spaces in contemporariness, which are populated with objects and phenomena from a wide and very heterogeneous field of (visual) arts. Theoretical reflection on this field requires cross-disciplinary networking and transdisciplinary treatment, intersectional co-operation of disciplines, and the deployment of new methodological approaches that often result from the recombination of already existing methods and procedures. We are dealing with the consequences of the productive fading of the boundaries of different areas (especially aesthetics, political philosophy, new urban studies and contemporary art history), i.e. by introducing new hybrid research subjects, which expound the potentials of ever new, yet unexplored areas, which can also be marked on the level of terminology.
The discussion aims to contribute to the analysis of participatory art from the perspective of intermediate spaces between art and everyday social reality. The focus is on the critical reflection of such art with examples from Slovenia in the light of the need to find new ways of analyzing art, which would no longer be related only to visuality. The author comes from the view that participatory art due to its hybrid and transdisciplinary nature cannot be adequately evaluated within the traditional framework of art criticisms, and thus strives for more general concepts in the field of philosophy and political theory. Deployment of contemporary approaches, which contribute significantly to the reflection on such art (besides Rancière’s politics of aesthetics, the affirmation of aesthetics based on critical discourses of post-Marxist, post-socialist and post-transitional perspectives), is particularly helpful for the author.

Article received: April 12, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Original scholarly paper
Black Feminism and the Feeling of the Sublime in the Performance Merci Beaucoup, Blanco!
Authors: Lino Lecci Alice 
Published: September 2019

This paper presents a criticism of the performance Merci Beaucoup, Blanco! by Michelle Mattiuzzi and the self-reflection on it published in the 32nd Biennial of São Paulo – “Live Uncertainty” (2016) – entitled Written Performance Photography Experiment. To this end, we emphasize the performance’s formal elements alongside aspects of the history of racist practices and theories in Brazil, in addition to the official historiography concerning the black population, which contextualize the feelings of pain and horror impregnating both the artist’s personal experience and her performance.
Accordingly, the elements of this performance that can incite feelings of pleasure in the observer such as the resistance of black women and their political representation are analyzed in the field of art and culture. Lastly, to conclude, this paper argues about the possibilities of the performance’s fruition. This argument is based on the artist's text and certain constituent arguments of the feeling of the sublime’s concept, as presented by Edmund Burke, Immanuel Kant and Jean-François Lyotard.
Considering an analogy with the aesthetics of the sublime, it is argued that Merci Beaucoup Blanco! gravitates in the atmosphere of horror, pain and shock, recalling/suggesting feelings of racial violence and discrimination still existing in Brazil. This performance of a black woman against racist oppression also constitutes an act of resistance of the artist, capable of awakening feelings of pleasure in their watchers. The public then moves from shock, pain and horror to contentment of the political consciousness of race, gender, and class.

Article received: April 23, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019. Original scholarly paper
Zlatko Paković's Vox Dei – Civil Disobedience as an Embodied Text: The Impact of Different Types of Spaciality on Semioticity of a Performance
Authors: Milovanović Marija 
Published: September 2019

This paper deals with the corporeality of a performance and its place in the process of the emergence of meaning, following a case study of a Serbian theatrical piece Vox Dei – Civil Disobedience. Performance is constituted by bodies brought together by a certain purpose and temporal and spatial coordinates, and it is more and more often now decoded by the feedback loop performers and participants form in specific kinds of spatiality. Artistic corporeality defies objectivization, therefore the relational aesthetics is needed instead of an idealistic one to investigate the materiality of these performances. Using this theoretical framework, the analysis of the two different performances of the same dramatic text from the recent Serbian political theater production will tend to examine the nature of political potential of bodily co-presence in artistically and socially different environments and its implications for the semioticity of the given embodied text.

Article received: April 5. 2019; Article accepted: June 10, 2019; Published online: September 2019; Original scholarly paper
Total Environment (Sculpture) as a Symbology: The Mesological Study of the Axe Majeur in Cergy-Pontoise
Authors: Wang Yi-Ting 
Published: September 2019

In Cergy-Pontoise, the artist Dani Karavan is commissioned to conceive the three-kilometer linear path named Axe Majeur (Main Axis), connecting the city center and the vast riverside. Instead of a work of art to contemplate, Karavan builds 12 stations in succession and in the form of instruments with which people are equipped to measure and to process the existent environmental data and to find their own interpretation of the site. By making factual information measurable and translatable into cultural connotations, Karavan’s work implies a mesological point of view from which osmosis between the sculpture and the site invalidates the opposite physical/phenomenal. The paper studies this method based on the notion mediance proposed by the geographer Augustin Berque and on a field survey. Two principles constitute the method: First, Karavan invents a sculptural metrology functioning in the way of the perceptive calibration system. Secondly, the Axe Majeur shows a “total environment” which means not only 12 parts as a single unit but also the inseparable relationship of Karavan’s environment (art) with the whole geographical environment. Each part annotates the signs left behind after Earth’s motion (e.g. topography, geothermal energy) and after cultural activities (e.g. orchard, view of Paris) and turns these signs into the basis on which imagination could be formed and new meaning could arise. By articulating historical and spatial dimension with an environmental symbology, the Axe Majeur constitutes an innovative urban planning method which moves away from an international-vernacular (modernism) or historical-ahistorical (postmodernism) debate.

Article received: April 2, 2019; Article accepted: May 25, 2019; Published online: September 15, 2019; Original scholarly paper
Рукописный буддийский текст «Стослоговая мантра Ваджрасаттвы» на ойратском языке из Национального музея Тувы
Authors: Mandzhieva Bayrta B. , Sumba Rita P. 
Published: September 2019

В настоящей статье вводится в научный оборот рукописный буддийский текст «Стослоговая мантра Ваджрасаттвы» в транслитерации и переводе на русский язык из собрания Национального музея Республики Тыва. Текст является частью ойратской рукописи, именуемой «Ekeyin zürken tarni orošiboi» (‘Хридая-дхарани Матерей’). Примечателен тем, что представляет известную буддийскую стослоговую мантру Ваджрасаттвы, которая практикуется буддистами с древнейших времен до наших дней.Ваджрасаттва — будда ваджраяны, символ чистоты Просветления (Бодхи) и Закона (Дхарма). Прочтение сакральной стослоговой мантры для буддистов имеет магическое значение: если прочесть ее сто восемь раз — очищает тяжелую карму человека; если произнести ее миллион раз — дарует просветление. Стослоговая мантра превыше всех других мантр, поэтому буддийские ламы говорят, что не существует практики более глубокой, чем «Стослоговая мантра Ваджрасаттвы».
Геокультурные образы буддийского мира тувинцев: исторический контекст и современность
Authors: Lamazhaa Chimiza K. 
Published: September 2019

В статье представлен анализ геокультурных образов буддийского мира у тувинцев, которые рассматриваются как представления, сформированные в тувинской культуре для описания территорий распространения буддизма.Укрепление буддизма на территории Тувы пришлось на вторую половину XVIII — начало ХХ в. При этом колония Китайской империи оставалась замкнутой от внешнего мира. Укоренение буддизма в тувинской культуре позволило появиться тувинскому варианту буддизма. Он усложнил и обогатил мифологическую картину мира тувинцев, связывая их с буддийским миром, но пока на общем уровне космологических представлений. Постсоветское время позволило тувинцам расширить пространственную картину мира. Тува в 1992 г. принимала легендарного буддийского иерарха Далай-ламу XIV, других тибетских учителей, жители республики стали выезжать за границу на буддийские учения. Это позволило буддистам Тувы осознать свою причастность к миру буддийской конфессии и сформировать геокультурные буддийские образы.Важнейшим из них стал Тибет, колыбель северного буддизма. Однако, в связи с тем, что после 1959 г. центр тибетского буддизма переместился в индийский город Дхарамсалу, образ получился смещенным — тибетско-индийским («Тибет в изгнании»). Главным фактором этого смещения стала жизнь и деятельность Далай-ламы XIV, который стал выступать персональным центром геокультурного образа наиболее известного направления буддизма. Соответственно, буддийский мир воспринимается в связи с деятельностью его лидера, проповедника в изгнании, кочевого центра духовной жизни буддистов.Рассматриваются также геокультурные образы буддийского мира в России, которые имеют для тувинцев особую значимость.
Роль ценностных ориентаций молодых тувинцев в пространственном развитии Республики Тыва
Authors: Persidskaya Olga A. 
Published: September 2019

В работе пространственное развитие Республики Тыва рассматривается как проблема развития общества и экономики региона, решаемая с учетом культурных ценностей коренного населения республики, составляющего более 80% всего населения. То есть речь идет об учете этнокультурной составляющей в трактовке пространственного развития. Основной акцент сделан на ценностно обусловленном экономическом поведении. Обосновывается, что такой анализ позволяет выявить основания экономического поведения большинства населения и зафиксировать специфику современного этноэкономического уклада Тувы. Поэтому такой подход эвристичен для разработки стратегий пространственного развития региона.Эмпирической базой исследования выступили данные социологического опроса тувинской молодежи, проведенного в Туве в 2012 г. представителями новосибирской школы этносоциологии под руководством Ю. В. Попкова. Анализ данных выполнен на основе переосмысления автором некоторых параметров культуры Г. Хофстеде. Сделаны заключения о специфике системы ценностей молодежи Тувы, которые позволили охарактеризовать культуру тувинцев как коллективистски ориентированную, феминную и с высокой степенью избегания неопределенности.Проведенный анализ позволил дополнить портрет Тувы чертами, важными как для выявления ее социокультурной специфики, так и для решения задачи по учету этнокультурной составляющей в социально-экономическом развитии субъектов Российской Федерации. Подчеркивается, что выявление социокультурной специфики позволяет искать точки роста для программ экономического развития конкретных регионов. Сформулированы рекомендации, касающиеся характеристик организационной этики и особенностей менеджмента предприятий в Туве.
Развитие системы здравоохранения Тувы в 1944–2017 гг.
Authors: Semenov Mikhail A. 
Published: September 2019

В статье на основе изучения динамики медицинской сети и кадрового состава медицинских работников Республики Тыва выделены этапы развития системы государственного здравоохранения региона в 1944–2017 гг., проанализированы основные направления, в том числе тенденции пространственного развития.1944–1960 гг. — время формирования системы здравоохранения Тувы. Основная задача: достижение наибольшего пространственного распространения медицинской помощи с целью обеспечить максимальный охват населения. Была развернута широкая сеть амбулаторно-поликлинических и врачебно-стационарных учреждений. 1961–1980 гг. — время сравнительно медленного развития медицинской сети, ее приспособления к потребностям создающейся промышленности Тувы. Новые учреждения появляются, прежде всего, в быстро растущих промышленных поселениях. 1981–1990 гг. — попытка дальнейшего развития медицинской сети, перехода ее на качественно новый уровень. 1991 — начало 2000-х гг. — время стагнации и локальных кризисов в различных областях здравоохранения.С начала 2000-х гг. вплоть до современности — период трансформации системы здравоохранения. Это выразилось в концентрации медицинской помощи в крупных населенных пунктах, прежде всего в г. Кызыл, снижении общего числа медицинских учреждений в республике, резком сокращении врачебно-стационарной помощи населению и, в тоже время, продолжающимся ростом кадрового потенциала здравоохранения республики. Эта концентрация сочетает в себе как положительные, так и отрицательные стороны.