Format:
1 Online-Ressource (283 pages)
ISBN:
9789811543357
Series Statement:
Perspectives on Asian Tourism Ser
Note:
Description based on publisher supplied metadata and other sources
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Intro -- Acknowledgments -- Contents -- Chapter 1: Contemporary Asian Artistic Expressions and Tourism - An Introduction -- 1.1 What Is Contemporary Art? -- 1.2 Art and Tourism in Contemporaneity -- 1.3 Contemporary Asian Artistic Expressions and Tourism -- 1.4 Structure of the Book -- 1.5 Chapter Conclusion -- References -- Part I: Contemporary Art, Tourism and Place Making -- Chapter 2: Ambassador Yōkai: Facilitating Non-Japanese Visitors in Learning Japanese Culture Through Japanese Folklore in Anime -- 2.1 Introduction -- 2.1.1 Anime, Yokai and Japanese Society -- 2.1.2 Yōkai Anime as a Carrier of Japanese Cultural Cues -- 2.2 Research Methodology and Design -- 2.2.1 Research Methodology -- 2.2.2 Theoretical Framework -- 2.2.3 Research Design -- 2.3 Findings -- 2.3.1 Stage One Findings in Response to Author's Deductive Coding of the Selected Anime -- 2.3.2 Stage Two Findings in Response to Focus Group's Reponses -- 2.4 Horizontal Connection Through Two Levels of Cultural Cues -- 2.4.1 Supernatural and Cat Spirit Cues -- 2.4.2 Animistic Belief in Old Japan -- 2.5 Vertical Connections Through Three Levels of Cultural Cues -- 2.5.1 Reverence of Animals in Modern Japanese Culture -- 2.5.2 Social Structure and Relationships Between Characters Through Attire and Architecture -- 2.5.3 Salt and Its Effect on Yōkai -- 2.6 Discussion -- 2.6.1 Limitations of the Study and Future Research Directions -- 2.7 Conclusion -- References -- Filmography -- Chapter 3: 'Academic Tourism' and Art: Student Submissions as a Means of Capturing Meaning at Pulai Village, Kelantan -- 3.1 Introduction -- 3.1.1 The Importance of Visual Imagery for Tourist Destinations -- 3.1.2 The Role of Art in Architectural Studies -- 3.2 Field Trips and Academic Tourism -- 3.3 Methodology -- 3.4 Interpreting Pulai Village -- 3.5 Challenges Faced in the Research
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3.6 Tangible Strategies -- 3.6.1 Creating a Tourist Destination -- 3.7 From Photography to Art -- 3.7.1 From Art to Souvenir Object -- 3.7.2 Capturing the Essence of the Built Environment -- 3.7.3 Capturing the Essence of a Way of Life -- 3.8 Producing Student Post-Cards -- 3.9 Summary and Conclusion -- References -- Chapter 4: Constructing an Art-Life: Tourism and Street Art in Sarawak -- 4.1 Introduction -- 4.2 Definitions, History & -- Context -- 4.3 Literature Review -- 4.3.1 Place Making -- 4.3.2 Tourist Perception -- 4.3.3 Politics and Commodification -- 4.3.4 Identity and Social Media -- 4.3.5 The Research Question -- 4.4 Methodology -- 4.5 Findings & -- Discussion -- 4.5.1 The Hobbyist -- 4.5.2 The Commercialist -- 4.5.3 The Graffitist -- 4.5.4 The Patron-Artist -- 4.5.5 The Institutionalist -- 4.6 Summary Discussion -- 4.6.1 Defining Success: Politics, Control and Perception -- 4.6.2 Story Content: Narrative and Production of Culture -- 4.6.3 Place Making for Tourism: Identity of Person and Place for Tourism -- 4.7 Conclusion -- References -- Part II: Contemporary Asian Art, Identities, Communities and Tourism -- Chapter 5: Revisiting 'Singapore' on Tour at the Venice Biennale -- 5.1 Introduction -- 5.2 Eradicating, Remembering and Identifying -- 5.3 Leaving Tourist Souvenirs -- 5.4 Singapore in Venice -- 5.5 Interlude: Singapore in Venice in Singapore -- 5.6 Conclusion -- References -- Chapter 6: Art Intervention in the Community Context: Community-Based Art Practice as an Inspiration for Creative Tourism -- 6.1 Introduction -- 6.2 Community Arts as Cultural Tourism -- 6.3 Creative Tourism -- 6.4 Community Arts in the Context of Public Art vs. Contemporary Art -- 6.5 Community-Based Art Practice (CAP) in the City of Taichung, Taiwan -- 6.5.1 From Soul Searching to Community Building
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6.5.2 Community-based Art Practice as Vehicle for Community Change -- 6.6 Community Practice Exchange in the Context of Creative Tourism -- 6.7 Self-Development in the Transformation Experience -- 6.8 Conclusion -- References -- Chapter 7: The Survival of Cultural Patterns in Malaysia's Contemporary Visual Landscape -- 7.1 Introduction -- 7.1.1 Beginnings of Malaysian Crafts -- 7.2 Methodology -- 7.3 The Cultural Basis for the Development of Malaysian Visual Culture -- 7.3.1 Woodcarving -- 7.3.2 Textiles -- 7.3.2.1 Batik -- 7.3.2.2 Songket -- 7.4 Analysis: Comparing the Visual Bricolage of Contemporary Photographs with the Historically Important Visual Culture of Malaysia -- 7.5 Conclusion: Contemporary Perspectives of Cultural Identity Through Art -- References -- Part III: Contemporary Asian Art and Tourist Objects -- Chapter 8: Motorbike Helmet Art as a Contemporary Design Form for Crafting Tourism Souvenirs of Thailand -- 8.1 Introduction -- 8.2 Graphic Design as a Helmet Artwork -- 8.3 Motorbike Culture and Helmet Use in Thailand -- 8.4 Research Design and Methodology -- 8.4.1 Timeline of the Research -- 8.4.2 Data Collection Processes -- 8.4.3 Progress Flow of the Project -- 8.5 Helmet Art as a Political Manifestation -- 8.6 Helmet Art as an Innovative Tool for Destination Branding -- 8.7 Customized Helmets as Souvenirs of Thailand -- 8.8 Conclusions and Future Applications -- References -- Chapter 9: Merging Batik and Stained Glass: Creating Contemporary Asian Art from Traditional Craft Objects -- 9.1 Introduction -- 9.2 Background -- 9.2.1 Batik -- 9.2.2 Stained Glass in Malaysia -- 9.2.3 Significance -- 9.2.4 Contemporary Artistic Narratives in Indonesia and Malaysia -- 9.3 Methodology -- 9.4 Interviews -- 9.4.1 Artists' Views on Formal Education -- 9.4.2 Art, Identity and Commercialism
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9.5 Creating Thematic and Technical Links Between the Past and the Present -- 9.5.1 New Responses Inspired by Craft-Tourist Products -- 9.5.2 Tourism and the Personalization Craft Objects -- 9.6 Technology and Heritage Continuity -- 9.6.1 3D Printing on Glass -- 9.6.2 Perceptions of Continuity and Change -- 9.7 Re-Creating the Craft Effect Through Hybrid Contemporary Art -- 9.7.1 Enhancing Two Dimensionality in an Asian Art Form: The Art of Layering Through Digital and Material Printing Technology -- 9.7.2 Asian artistic Attitudes via the Batik Medium -- 9.7.3 Adapting an Asian Visual Concept to a Tourist Narrative -- 9.8 Chapter Conclusion and Impact of the Study -- References -- Chapter 10: 'What Do I Get?' Punk Objects as Meaningful and Valuable Souvenirs -- 10.1 Introduction -- 10.2 Literature Review -- 10.2.1 Punk and Countercultural Goods -- 10.2.2 Souvenirs -- 10.3 Exploring the Nexus Between Souvenirs, Music and Punk -- 10.4 Methodology -- 10.5 Presenting the Empirical Material -- 10.5.1 The Multiple Meanings of Punk Objects -- 10.5.2 Values of Punk Objects -- 10.6 To Commoditise or Not? Issues of Punk Products as Souvenirs -- 10.7 Conclusion: Punk Objects as More Meaningful and Valuable Souvenirs -- References -- Part IV: Contemporary Asian Art and Multisensorial Tourist Experiences -- Chapter 11: Digital Art and Virtual Tourism Mobility: A Critical Discussion -- 11.1 Introduction -- 11.2 The Digital Age: A History -- 11.2.1 Digitalisation of Art -- 11.2.2 Digital and Virtual Art -- 11.3 Art, Space, and Consumption: Understanding Traditional and Contemporary Digital Art Spaces -- 11.4 Power and Politics of Art Mobilities: Democracy Through the Digital Arts? -- 11.5 The Way Forward: A Critical Discussion -- 11.6 Conclusion -- References -- Chapter 12: Contemporary Malaysian Pâtisserie: Tales of Asian Creativity Confined by Western Traditions
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12.1 The World Pastry Cup and Chefs as Culinary Tourism Ambassadors -- 12.2 Is Pastry Art? -- 12.3 Asians Versus the West: Ideological Distortions and Self-Orientalism -- 12.3.1 Ideological Distortions and Self-Orientalism -- 12.4 Notes From a Researcher's Journey -- 12.5 Tales of Asian Creativity -- 12.5.1 Tale One: 'The Drizzle'-Illuminating the Curse of the 'Enchanted Flower' -- 12.5.2 Tale Two: Pandora's Box -- 12.5.3 Tale Three: Ratatouille and La Senteur -- 12.6 Subjugated by Old World Traditions? -- 12.7 Conclusion -- 12.7.1 Implications for Culinary Tourism -- 12.7.2 Final Words -- References -- Chapter 13: Multisensory restaurants, Art and Tourism - Case study on Ultraviolet by Paul Pairet -- 13.1 Introduction -- 13.1.1 Defining the Multisensory Restaurant -- 13.1.1.1 Historical Antecedents and Contemporary Tendencies -- Dinner-and-show Formats and Twentieth Century Culinary Revolutions -- Thematic Dining Establishments and Multisensory Experiments -- The Multisensory Restaurants -- 13.1.1.2 Ultraviolet by Paul Pairet -- The Initial Idea -- "Gastrophysics" and "Psychotaste" as Core Pillars -- 13.1.2 The Multisensory Restaurant, Virtual Reality Tourism and Gastrotourism -- 13.1.2.1 Dining at Ultraviolet as a Touristic Experience -- The Metaphor of the Journey -- Tourism: A Dynamic Concept -- From "Holidaying at Home" to "Holidaying at the Restaurant" -- 13.1.2.2 Gastrotourism at Ultraviolet -- Contemporary Forms of Gastrotourism -- Recreating Food Cultures and Heritages -- Between Globalized Food and Genuine Asian or European Terroirs -- 13.1.3 The Artistic Features of the Multisensory Restaurant -- 13.1.3.1 Twentieth Century's Practices: Between art and Arts and Craft -- 13.1.3.2 Virtual Reality and Aesthetic Thinking in UV -- The Virtual Reality Experience: Immersion and Interaction -- Sixth Sense and Aesthetic Thinking -- 13.2 Conclusion
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References
Additional Edition:
Erscheint auch als Druck-Ausgabe Mura, Paolo Contemporary Asian Artistic Expressions and Tourism Singapore : Springer Singapore Pte. Limited,c2020 ISBN 9789811543340
Language:
English
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