Nondeliberative Crisis Intervention in Disaster Zones: Social Group Work Using Guided Artwork with Child Survivors

ABSTRACT

Sudden disasters cause devastating loss and trauma. Social groupwork can help heal and empower survivors through the use of nondeliberative practice forms. The authors describe a social group work model using guided artwork activities with child survivors of disasters such as the Indian Ocean Tsunami in 2004 and the 2014 Typhoon Haiyan in the Philippines. The authors also examine the features of nondeliberative theory exemplified through work with artful media in this groupwork context. Features include the use of analogs, representational problem solving, and feedback that takes place in a lived, experiential dimension.     

艺术品营销传播中的伦理问题

在营销传播领域中,艺术品这个独特的对象,本身兼具很强的伦理色彩,其社会责任、道德价值,法律与规范等问题的探讨极为重要.艺术品营销传播模式带来的不应该是艺术品审美价值和精神价值的沉沦,也不应该丧失其伦理体系成为纯技术市场的附庸.艺术品的精神属性和社会属性决定了艺术品营销传播不能只趋从于市场的价值规律和供求关系.     

论中国画的“写”

中国画曰写而不曰画,是基于写的抒情性和书法意识,这是文人审美趣味渗透到绘画的表现。写有置物和输心之义,置物即由此器传之彼器,输心即情感的抒发。前者的字义通过引申,有摹画、绘画之义,但摹写易陷于只求形似而遗其神韵气骨的泥淖。自宋代始,因文人参与绘画创作,把画当作性情的摅写之具,渐倾向于情感的抒发。及至元代,画写胸中逸气,以写代画成一时之盛。从置物到输心是一个渐变的过程,体现出中国绘画从重在客观的造型艺术到重在主观的抒情艺术的发展变化,也体现出中国绘画的文学化进程,以及文人画家在这一进程中的作用。写字最早称画字,后改画为写,亦出于置物和输心两义,而书画皆曰写,正反映出绘画的书法意识,不仅以书入画,更是对置物和输心的共同追求,尤其是对后者的强调。随着文人画的发展,隶家和逸品越来越受人推崇,发生了由工入写的变化,表明文人画家作画的态度重在情感的抒发而不在于追求绘画的逼真精巧,写逐渐成为划清文人画与院体画界限的标志。     

艺术品证券化的法律分析——以风险防范为切入点

艺术品证券化是金融创新的产物。借助传统证券定义,艺术品证券可通过证券内涵的三重检验,即公众性、投资性、失控性,因而在鼓励金融创新的背景下应将其纳入证券法的调整范围。但艺术品证券在价值来源、投资收益模式等方面存在颇多独特之处,蕴育着特有的交易风险。法律需从风险防范的角度对艺术品证券交易作出较为周全的系统性的安排。     

Synesthesia,transformation and synthesis: toward a multi-sensory pedagogy of the image

Clinical synesthesia is commonly defined as the experience of having perceptions in one sensory modality triggered by a stimulus from another. This paper adopts a particular orientation toward synesthesia, exploring it as a cultural phenomenon common to us all, as an ability that can be learnt instead of an accidental neurological condition. If synesthesia is both a capacity that we are not fully aware of and a way to access what is stored in memory even at the unconscious level, can art help us to bring this awareness back? Bearing upon a close reading of selected artworks created by Johannes Deutsch, a multi-media artist who has been experimenting with synesthesia, the paper argues that synesthesia can become a tool in the hands of contemporary artists to revitalize the Wagnerian ideal of a “total work of art”. This is to be understood as a politics of the senses based on communality rather than individualism, not as an ideology of totalitarian tendencies. Ultimately, the transformative potential of certain art resides in its capacity to foster a pedagogy of the image that is based upon multi-sensoriality, memory and history.     

实用艺术品及其相关概念的界定和法律保护

对实用艺术品的概念在法律上无明确界定 ,在实践中也经常在不同意义上使用 ,并与工业品外观设计及工艺美术品等概念混合使用。本文试图在理论上就实用艺术品及其相关概念作出清晰界定 ,并在此基础上阐明我国对实用艺术品和相关作品保护现状及其与有关国际公约的差距     

依法规范艺术品市场

随着文化产业的迅猛发展,带动了艺术品市场的迅速崛起,但是市场的无序竞争,制做赝品、作伪等不法行为的泛滥,严重影响了艺术品市场的进一步繁荣。只有加强管理,依靠法律法规,才能使方兴未艾的艺术品市场更加繁荣。     

艺术品证券化的法律困境与对策

艺术品证券化本质上是物权法上的按份共有.艺术品证券化可以分为公募证券类、私募理财类两种.我国有悠久的历史文化,有数量庞大、种类繁多的艺术品,艺术品证券化在我国有着巨大的市场潜力.但我国现有的案例并不成功,艺术品证券化面临的法律问题亟待解决.我国应当建立起规范的文化产权交易所,建立起专业的SPV参与制度,成立权威的艺术品鉴定机构和估价机构,规范艺术品私募理财类产品,制订专门的艺术品证券化的法律规范.     

艺术品证券化的风险分析与现实反思

从艺术品证券化发展历程中的特点可以看出艺术品证券化模式是一把“双刃剑”,从实证分析中可以看出它的收益与系统性风险呈负相关关系,违背了“高风险高收益”的基本投资原则,不存在CAPM所设想的系统性风险与收益之间的显著线性相关关系,说明中国艺术品证券投资市场是一个不成熟不健全的投资市场.目前艺术品证券化模式已经被叫停,因此有必要对这种模式进行反思总结,并探索一条适合中国艺术品投资实际的新路子.