โ™ฅ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ๐Ÿฒ ๐—ข๐—ป๐—น๐—ถ๐—ป๐—ฒ ๐—š๐—ฟ๐—ผ๐˜‚๐—ฝ ๐—ง๐˜‚๐˜๐—ผ๐—ฟ๐—ถ๐—ฎ๐—น๐˜€ ๐—ช๐—ถ๐˜๐—ต ๐—Ÿ๐—ถ๐—ป๐—ฑ๐—ฎโ™ฅ๏ธŽ๏ธŽ

According to Linda’s introduction and case presentation, I learned how to write the final research plan, as well as the format, content and so on. The cases shown let me clearly know the structural framework of the article. From the summary, research questions, literature review, research methods, research significance and contribution, knowledge exchange and influenceContinue reading โ™ฅ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ๐Ÿฒ ๐—ข๐—ป๐—น๐—ถ๐—ป๐—ฒ ๐—š๐—ฟ๐—ผ๐˜‚๐—ฝ ๐—ง๐˜‚๐˜๐—ผ๐—ฟ๐—ถ๐—ฎ๐—น๐˜€ ๐—ช๐—ถ๐˜๐—ต ๐—Ÿ๐—ถ๐—ป๐—ฑ๐—ฎโ™ฅ๏ธŽ๏ธŽ

โ™ฅ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ๐Ÿด ๐——๐—ฟ ๐—๐—ผ๐—ป๐—ฎ๐˜๐—ต๐—ฎ๐—ป ๐—š๐—ฎ๐—ฟ๐—ฑ๐—ป๐—ฒ๐—ฟโ™ฅ๏ธŽ๏ธŽ

๐——๐—ฟ ๐—๐—ผ๐—ป๐—ฎ๐˜๐—ต๐—ฎ๐—ป ๐—š๐—ฎ๐—ฟ๐—ฑ๐—ป๐—ฒ๐—ฟ talked us through his research and work, how research overlaps with attractions, objects and materials, particularly creative work related to waste and wasteland, how people use dumps like this. Discusses what is contemporary archaeology and then archeology and the connection between art and archaeology and how to use archeology as a mythContinue reading โ™ฅ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ๐Ÿด ๐——๐—ฟ ๐—๐—ผ๐—ป๐—ฎ๐˜๐—ต๐—ฎ๐—ป ๐—š๐—ฎ๐—ฟ๐—ฑ๐—ป๐—ฒ๐—ฟโ™ฅ๏ธŽ๏ธŽ

โ™ฅ๏ธŽ๐˜„๐—ฒ๐—ฒ๐—ธ๐Ÿญ๐Ÿฌ ๐Ÿญ ๐˜๐—ผ ๐Ÿญ ๐—ง๐˜‚๐˜๐—ผ๐—ฟ๐—ถ๐—ฎ๐—น๐˜€โ™ฅ๏ธŽ๏ธŽ๐—”๐—ป๐˜๐—ต๐—ฟ๐—ผ๐—ฝ๐—ผ๐—น๐—ผ๐—ด๐—ถ๐—ฐ๐—ฎ๐—น ๐—ฅ๐—ฒ๐˜€๐—ฒ๐—ฎ๐—ฟ๐—ฐ๐—ต ๐—ผ๐—ณ ๐—จ๐—ฟ๐—ฏ๐—ฎ๐—ป ๐—”๐—ฟ๐˜ ๐——๐—ถ๐˜€๐˜๐—ฟ๐—ถ๐—ฐ๐˜-๐—–๐˜‚๐—น๐˜๐˜‚๐—ฟ๐—ฎ๐—น โ€œ๐—ฅ๐—ฒ๐—ฝ๐—ฟ๐—ผ๐—ฑ๐˜‚๐—ฐ๐˜๐—ถ๐—ผ๐—ปโ€

Anthropological Research of Urban Art District-Cultural โ€œReproductionโ€ Keywords: public arts, urban art district, culture clash, commercialization, free art form, social transformation Brief:ย  Nowadays, “art districts” appear in more and more cities, attracting many tourists to check in. such as :Kabukicho First Street in Tokyo, Japan, the old Qianmen Dashilan area in Beijing, Beijing 798, SouthContinue reading โ™ฅ๏ธŽ๐˜„๐—ฒ๐—ฒ๐—ธ๐Ÿญ๐Ÿฌ ๐Ÿญ ๐˜๐—ผ ๐Ÿญ ๐—ง๐˜‚๐˜๐—ผ๐—ฟ๐—ถ๐—ฎ๐—น๐˜€โ™ฅ๏ธŽ๏ธŽ๐—”๐—ป๐˜๐—ต๐—ฟ๐—ผ๐—ฝ๐—ผ๐—น๐—ผ๐—ด๐—ถ๐—ฐ๐—ฎ๐—น ๐—ฅ๐—ฒ๐˜€๐—ฒ๐—ฎ๐—ฟ๐—ฐ๐—ต ๐—ผ๐—ณ ๐—จ๐—ฟ๐—ฏ๐—ฎ๐—ป ๐—”๐—ฟ๐˜ ๐——๐—ถ๐˜€๐˜๐—ฟ๐—ถ๐—ฐ๐˜-๐—–๐˜‚๐—น๐˜๐˜‚๐—ฟ๐—ฎ๐—น โ€œ๐—ฅ๐—ฒ๐—ฝ๐—ฟ๐—ผ๐—ฑ๐˜‚๐—ฐ๐˜๐—ถ๐—ผ๐—ปโ€

โ™ฅ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ๐Ÿณ-๐˜€๐—ถ๐˜๐—ฒ ๐—ถ๐—ป๐˜€๐—ฝ๐—ฒ๐—ฐ๐˜๐—ถ๐—ผ๐—ปโ™ฅ๏ธŽ๏ธŽ

I followed the members of other groups to the Royal Botanic Gardens in Edinburgh, where I found a lot of interesting content and took pictures (including plants, some small animals, garbage stations, etc…) I really like the environment, the air, everything It’s so natural. But when I was about to leave, I saw a lotContinue reading โ™ฅ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ๐Ÿณ-๐˜€๐—ถ๐˜๐—ฒ ๐—ถ๐—ป๐˜€๐—ฝ๐—ฒ๐—ฐ๐˜๐—ถ๐—ผ๐—ปโ™ฅ๏ธŽ๏ธŽ

โ™ฅ๏ธŽ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ 1 -๐—ฎ๐—ฏ๐—ผ๐˜‚๐˜ ๐˜๐—ต๐—ฒ ๐—พ๐˜‚๐—ฒ๐˜€๐˜๐—ถ๐—ผ๐—ป๐˜€ โ™ฅ๏ธŽ๏ธŽ

  How / does artistic auto-ethnography differ from anthropological auto-ethnography? Is there any significant difference or do artists simply adopt an anthropological auto-ethnographic approach and apply it to their practice? Art autoethnography is more subjective in nature and involves some creative medium, such as some form of creative writing or performance. In given cases, artistsContinue reading โ™ฅ๏ธŽ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ 1 -๐—ฎ๐—ฏ๐—ผ๐˜‚๐˜ ๐˜๐—ต๐—ฒ ๐—พ๐˜‚๐—ฒ๐˜€๐˜๐—ถ๐—ผ๐—ป๐˜€ โ™ฅ๏ธŽ๏ธŽ

โ™ฅ๏ธŽ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ๐Ÿฑ-๐—Ÿ๐—ฒ๐—ฐ๐˜๐˜‚๐—ฟ๐—ฒ ๐˜„๐—ถ๐˜๐—ต ๐—ฃ๐—ฟ๐—ผ๐—ณ ๐—ฅ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฟ๐—ฑ ๐—•๐—ฎ๐˜…๐˜๐—ฟ๐—ผ๐—บโ™ฅ๏ธŽ๏ธŽ

1โƒฃ๏ธIn class we watched a movie with no side, no music, no color just live music, which appealed to me because it was fun. Regarding the connection between contemporary art and anthropology, anthropology and contemporary art in the late nineteenth and early twentieth centuries overlapped a lot, and anthropologists always saw themselves as special, andContinue reading โ™ฅ๏ธŽ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ๐Ÿฑ-๐—Ÿ๐—ฒ๐—ฐ๐˜๐˜‚๐—ฟ๐—ฒ ๐˜„๐—ถ๐˜๐—ต ๐—ฃ๐—ฟ๐—ผ๐—ณ ๐—ฅ๐—ถ๐—ฐ๐—ต๐—ฎ๐—ฟ๐—ฑ ๐—•๐—ฎ๐˜…๐˜๐—ฟ๐—ผ๐—บโ™ฅ๏ธŽ๏ธŽ

โ™ฅ๏ธŽ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ ๐Ÿฐ -๐—ฎ๐—ฏ๐—ผ๐˜‚๐˜ ๐˜๐—ต๐—ฒ ๐—พ๐˜‚๐—ฒ๐˜€๐˜๐—ถ๐—ผ๐—ป๐˜€ โ™ฅ๏ธŽ๏ธŽ

In theย official blurb that accompanied its screening (link),ย Workers!ย is described as being co-authored by the artist and filmmaker Petra Bauer and sex worker-led organisation SCOT-PEP.ย  In theย PRODUCTION DOSSIERย and in article โ€œWorkers! A Conversationโ€, can you find other ways that this working relationship is described? Linking sex workers and artists through the means and medium of interviews,Continue reading โ™ฅ๏ธŽ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ ๐Ÿฐ -๐—ฎ๐—ฏ๐—ผ๐˜‚๐˜ ๐˜๐—ต๐—ฒ ๐—พ๐˜‚๐—ฒ๐˜€๐˜๐—ถ๐—ผ๐—ป๐˜€ โ™ฅ๏ธŽ๏ธŽ

โ™ฅ๏ธŽ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ ๐Ÿฐ ๐—ฃ๐—ฟ๐—ฒ๐˜ƒ๐—ถ๐—ฒ๐˜„โ™ฅ๏ธŽ๏ธŽ

1โƒฃ๏ธWorkers a Conversation Without Us, Without Us, a film co-authored by Petra Bauer and sex worker-led organization SCOT-PEP follows the collective experiences of Scottish sex workers, their struggle for labor rights, and their work with (women) relationships as the center. The entire interview brings together four members of the film production as they work onContinue reading โ™ฅ๏ธŽ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ ๐Ÿฐ ๐—ฃ๐—ฟ๐—ฒ๐˜ƒ๐—ถ๐—ฒ๐˜„โ™ฅ๏ธŽ๏ธŽ

โ™ฅ๏ธŽ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ๐Ÿฏโ™ฅ๏ธŽ๏ธŽ

Contemporary art case: Simone Leigh, who “decodes the construction of black female subjectivity”. She was born in Chicago in 1967 and is of Jamaican descent. Her artwork takes the form of sculpture, video, and installations and addresses issues such as African history, black women, and racial policy. Through interviews and fieldwork, the artist feels socialContinue reading โ™ฅ๏ธŽ๏ธŽ๐—ช๐—ฒ๐—ฒ๐—ธ๐Ÿฏโ™ฅ๏ธŽ๏ธŽ