Sjoukje Van Der Meulen
Biographic Data
| ID | 734772 |
|---|---|
| NAME | Sjoukje Van Der Meulen |
| GIVEN NAMES | Sjoukje |
| FAMILY NAME | Van Der Meulen |
| SIGNATURE | VAN DER MEULEN S |
| AFFILIATIONS | University of Applied Sciences Utrecht |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
Documenting China's Garment Industry
This essay examines two films by the Chinese documentary filmmaker Wang Bing about temporary migrant workers in small, privately owned garment workshops in Zhejiang Province, China: Bitter Money (Ku Qian; 2016) and 15 Hours (Shi Wu Xiao Shi; 2017). Wang's films portray Chinese garment workers' lived experiences of "suspension," as defined by Biao Xiang in this issue, in unique cinematic ways. Social sciences have paid close attention to the exper…
Database Art and Design
This issue of Stedelijk Studies focuses on the future imaginings of digital archives and collections.[1] Database art should have a special place in such an issue, as it has played such a pioneering role in opening up and expanding our ideas and approaches to archives and collections in the digital world. And it did so before museums even cared to maintain a website and an online presence as an addition to, and intertwined with, their (exhibition…
Digital Art Archives in Asia for the Public Domain
Below is a written account of a conversation between Bo Zheng and Lu Pan about digital archives in Asian contemporary art and visual culture, which took place via Zoom on March 30, 2020, and was moderated by Sjoukje van der Meulen, co-editor in chief of Stedelijk Studies. While the challenges and promises of increasing connectivity, inclusivity, and easy and unrestricted access in regard to digital archives and collections are ordinarily presente…
Sjoukje van der Meulen. Review of "A History of Art History" by Christopher S. Wood
Man as ‘aggregate of data’
Since the emergence of the innovative field of artificial intelligence (AI) in the 1960s, the late Hubert Dreyfus insisted on the ontological distinction between man and machine, human and artificial intelligence. In the different editions of his classic and influential book What computers can’t do (1972), he posits that an algorithmic machine can never fully simulate the complex functioning of the human mind—not now, nor in the future. Dreyfus’ …
A Strong Couple
Despite the relevance of new media art for the critical understanding of the information and network societies today, it is largely ignored as a socially engaged practice—certainly compared to other forms of socially engaged artistic practices in the international field of contemporary art. This article outlines the reasons for this relative neglect and specifies different kinds of new media art that qualify for the category of socially engaged a…
Witness and presence in the work of Pierre Huyghe
Between Benjamin and McLuhan
My thanks to Andreas Huyssen and David Bathrick for their superb editorial guidance. Thanks as well to Max Bruinsma for his editorial support and indispensable critical insights and to Willem van Weelden for introducing me to Flusser's work years ago and acting as an important interlocutor ever since
Between Benjamin and McLuhan
My thanks to Andreas Huyssen and David Bathrick for their superb editorial guidance. Thanks as well to Max Bruinsma for his editorial support and indispensable critical insights and to Willem van Weelden for introducing me to Flusser's work years ago and acting as an important interlocutor ever since
Between Benjamin and McLuhan
My thanks to Andreas Huyssen and David Bathrick for their superb editorial guidance. Thanks as well to Max Bruinsma for his editorial support and indispensable critical insights and to Willem van Weelden for introducing me to Flusser's work years ago and acting as an important interlocutor ever since
Witness and presence in the work of Pierre Huyghe
A Strong Couple
Despite the relevance of new media art for the critical understanding of the information and network societies today, it is largely ignored as a socially engaged practice—certainly compared to other forms of socially engaged artistic practices in the international field of contemporary art. This article outlines the reasons for this relative neglect and specifies different kinds of new media art that qualify for the category of socially engaged a…
Man as ‘aggregate of data’
Since the emergence of the innovative field of artificial intelligence (AI) in the 1960s, the late Hubert Dreyfus insisted on the ontological distinction between man and machine, human and artificial intelligence. In the different editions of his classic and influential book What computers can’t do (1972), he posits that an algorithmic machine can never fully simulate the complex functioning of the human mind—not now, nor in the future. Dreyfus’ …
Database Art and Design
This issue of Stedelijk Studies focuses on the future imaginings of digital archives and collections.[1] Database art should have a special place in such an issue, as it has played such a pioneering role in opening up and expanding our ideas and approaches to archives and collections in the digital world. And it did so before museums even cared to maintain a website and an online presence as an addition to, and intertwined with, their (exhibition…
Digital Art Archives in Asia for the Public Domain
Below is a written account of a conversation between Bo Zheng and Lu Pan about digital archives in Asian contemporary art and visual culture, which took place via Zoom on March 30, 2020, and was moderated by Sjoukje van der Meulen, co-editor in chief of Stedelijk Studies. While the challenges and promises of increasing connectivity, inclusivity, and easy and unrestricted access in regard to digital archives and collections are ordinarily presente…
Sjoukje van der Meulen. Review of "A History of Art History" by Christopher S. Wood
Documenting China's Garment Industry
This essay examines two films by the Chinese documentary filmmaker Wang Bing about temporary migrant workers in small, privately owned garment workshops in Zhejiang Province, China: Bitter Money (Ku Qian; 2016) and 15 Hours (Shi Wu Xiao Shi; 2017). Wang's films portray Chinese garment workers' lived experiences of "suspension," as defined by Biao Xiang in this issue, in unique cinematic ways. Social sciences have paid close attention to the exper…
Art (8 works) · Sociology (6 works) · Art history (5 works) · Computer Science (4 works) · Law (4 works) · Philosophy (4 works) · Political science (4 works) · Visual arts (4 works) · Aesthetics (3 works) · Literature (3 works)