Abstract: Preserving the authenticity of historical monuments is an inseparable part of restoration activities that has always been asserted by the international principles of historical preservation. However, the local condition of historical sites may influence such a primitive intention of restorers. While historical documents are appropriate sources which can provide restorers with the real condition of ancient structures in the course of time, investigation through these precious materials is a time-consuming process and the reliability of these old evidences is, itself, a challenging issue. The Italian Institute for Middle and Far East (IsMEO) missioned long-term restoration activities in Persepolis between 1964 and the Islamic Revolution in Iran. Generally, this institute is praised for this series of projects. In this paper, the author questions the historical authenticity of restoration activities missioned by this institute in a structure so-called The Gate of All Nations. Indeed, the restoration of this structure was influenced by the 2500th anniversary of the Persian Empire, which was held in Persepolis in 1971. By tracing the context of historical evidences and presenting a method for obtaining the authenticity of these documents, this paper demonstrates a new perspective towards the arrangement of a stone-made capital, which ornaments the uppermost part of a re-erected ancient column.
Abstract: In parallel with my social activism, I introduced architecture into my kinetic art and participatory activism into my architecture. Flexibility and participation in architectural design has been a permanent feature of my practice, bringing new opportunities for self-expression in urban living. To form follows function I opposed form follows movement because it is man oriented while function is object oriented. After my 1962–1964 Mecanographs, machine-made images based on an interaction between the movement, the artist and the machine, I joined forces with Len Lye to determine what kind of positive attributes a Museum of Kinetic Art should have, defining three aspects of kinetic movement: illumination, sound, and physical movement. Vasarely and other kinetic artists put their mark on their time by promoting a form of social art, accessible to all, suggesting movement without actual movement. Walking through my medieval village can be a kinetic experience. The sense of wonder you feel at every corner compares with that of optical art. In the past decade, I moved toward a new form of participatory kinetic expression using state-of-the-art technology (plastics, LED, wireless devices). I view my kinetic work as an architectural experience and architecture as a stimulating kinetic experience.
Arts2015, 4(3), 101-120; doi:10.3390/arts4030101 - published 23 September 2015 Show/Hide Abstract
Abstract: Throughout the world, iconic rock art is preceded by non-iconic rock art. Cupules (manmade, roughly semi-hemispherical depressions on rocks) form the major bulk of the early non-iconic rock art globally. The antiquity of cupules extends back to the Lower Paleolithic in Asia and Africa, hundreds of thousand years ago. When one observes these cupules, the inquisitive mind poses so many questions with regard to understanding their technology, reasons for selecting the site, which rocks were used to make the hammer stones used, the skill and cognitive abilities employed to create the different types of cupules, the objective of their creation, their age, and so on. Replication of the cupules can provide satisfactory answers to some of these questions. Comparison of the hammer stones and cupules produced by the replication process with those obtained from excavation can provide support to observations. This paper presents a manual of cupule replication technology based on our experience of cupule replication on hard quartzite rock near Daraki-Chattan in the Chambal Basin, India.
Abstract: Beginning with the chariot as an ancient and pan-cultural example of the way in which art has humanized technology, this essay explores the limited role which modern art has thus far played in dealing with the current crisis of technocentrism. It does so by bringing to bear on the subject a newly-promulgated theory of the development of modern art which focuses on the absence therein of an evolved kinetic sculpture.