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Published by Nick Mulgrew over at Uhlanga Press , it's available on Amazon , and good bookstores near you. And now I have it, hard copy, in my hands all the way in Taiwan! Sooo exciting! In this 10 minute episode I chat to Charlie Storrar on Radio Taiwan International and read three poems about revisiting home and communication breakdown. Give me and my nerves a listen. Megan Ross on Twitter: "And thank to the most dope, loveleorajoy for this incredible cover art.

A group of school children walk up the steps to visit the Taipei Biennial. Photo: Leora Joy. We can't wait to see you x For more information visit our event page on FB here. Photo by Michael Garber. Modern Romance. Makings of a Millennial. The Anxiety of Influence. The Anxiety of Indecision. The Anxiety of Infection. The Anxiety of Integrity.

Sleeping as problem solving. Tweeting as problem solving. Eating as problem solving.

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Fucking as problem solving. Walking subverts structure.


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Hyperlinks subvert structure. In terms of the development of art, ever since pop art adopted news events and the consumer culture as their raw materials, contemporary art has engaged in a complex dialogue with media culture.

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Playing different cultural roles, art production and the mass media are shaped by different factors, and have different effects on society. However, there is still a close relationship between the two.

This issue explores how the topics and technology of media culture are appropriated and adapted by artists, how artists employ or intervene into mainstream media, or create alternative media, and what role the media play in the promotion and marketing of art. Cheng Hui-wen. In recent years, social media has gradually become a focal point for public attention and discourse, and of artists. Among those artists interested in social media, Ai Weiwei is among the most passionate.

He employs social media as a channel to give himself a voice, and in the flexible creation and development of large-scale community times features. However, the larger the social media art creation, the more powerful the Internet presence needed for participation. How Ai Weiwei attracts netizens to work for him is the question at the core of this research, and from this other questions derive, such as: how is social media used?


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  6. What kind of image recognition does it develop? This research focuses on two social platforms, blogs and Twitter, which are most often used by Ai Weiwei, analyzing how he utilizes social media, establishes the meaning of actions, and develops recognition.

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    I begin by elaborating the rise of social media era via changes in society and art. Secondly, I analyze how Ai Weiwei rehearses autonomous propagation and organizational connections through his blog to create a force strong enough to contend with the government. Lastly, I will indicate how Ai Weiwei repeatedly, intentionally designs an Internet movement via Twitter capable of directing his followers. Keywords: Ai weiwei, social media, blog, Twitter, identity.

    Chu Chi-jung. Met Gala, the fundraising event designated to benefit the fashion exhibition, also attracted considerable media attention and raised a significant amount in donations to the museum. It presented how, in their creative processes, Western designers were inspired by Chinese aesthetics. How was the exhibition presented, and what issues arose out of the exhibition? This article concludes that, with abundant resources, the exhibition constructed a succinct curatorial statement.

    Together with a design team consisting of talents from various fields—especially the film industry—the exhibition created an unprecedented on site visual experience and established a new milestone in exhibition design. However, the dynamic between the museum and its sponsors, and the ethical issues involved in fashion exhibitions, remains contested.

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    Keywords: curatorial study, exhibition design, fashion exhibitions, museum ethics. Tai Peng-yi. The tinkerer may not be the most pervasive character in the history of the American animation, but its presence often marked important turning points in the early development of the animation industry. In the late s, the character of the tinkerer first appeared in popular animated cartoons, but disappeared within a decade.

    Interestingly, its demise coincided with the labor rationalization process that was implemented to produce feature-length animated films. In many ways, the division of labor clashed with the work of the tinkerer, not only in industrial society as a whole, but with animators, who I argue to have always invested in the tinkerer identity. Moreover, the development of the tinkerer character can be identified through the transformations of the operational aesthetic which in turn began to eclipse the tinkerer character in the final stage of full labor rationalization. The essay will therefore approach the tinkerer character in animation from the perspective of the animator, the mode of production of the studio and the operational aesthetic in the major works by early Disney, Fleischer, and Aardman Animations in order to explore their social and cultural meanings.