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  1. added 2019-07-25
    Close Looking and Conviction.Sam Rose - 2017 - Art History 40:156-77.
    This article analyses the processes involved in description and ‘close looking’ in relation to works of art. Aspects discussed include the often-unspoken appeal to a limited form of artistic intention, the use of ‘context’, and the way that pictorial features are manipulated in the service of interpretation. Ultimately the article shows how great a role the writers’ overarching assumptions (such as about the history of modernism) are likely to play in apparently object-focused analysis, and as such why we should be (...)
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  2. added 2019-07-07
    Louvre Museum - Paintings.Nicolae Sfetcu - 2018 - Drobeta Turnu Severin: MultiMedia Publishing.
    The Louvre Museum is the largest of the world's art museums by its exhibition surface. These represent the Western art of the Middle Ages in 1848, those of the ancient civilizations that preceded and influenced it (Oriental, Egyptian, Greek, Etruscan and Roman), and the arts of early Christians and Islam. At the origin of the Louvre existed a castle, built by King Philip Augustus in 1190, and occupying the southwest quarter of the current Cour Carrée. In 1594, Henri IV decided (...)
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  3. added 2019-06-14
    Структура музеєзнавства: актуальні проблеми розвитку науки.Bondarets Oksana - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:72-78.
    У статті автор досліджує сучасні проблеми музеології (музеєзнавства) як науки, зокрема структуру. Якщо включення до загальної музеології таких підрозділів, як історична музеологія, теоретична музеологія, прикладна музеологія, та деякі інші положення сьогодні не викликають дискусій серед значного кола науковців, то щодо місця в структурі, зокрема, музейного джерелознавства, музейної педагогіки, музейної інформатики, музейної соціології, музейної психології висловлюють різні думки. Зміна ролі музею в сучасному світі призводить до трансформації функцій музею, що, своєю чергою, визначає появу нових напрямів музейної діяльності та розвиток науки.
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  4. added 2019-06-14
    Аналіз композиції «світове дерево» на рушнику: як статистично визначити зміст зображення.Samara Oksana - 2017 - NaUKMA Research Papers. History and Theory of Culture 191:63-67.
    У статті обговорено принципи кількісного дослідження в культурології, а саме можливості статистики та структурно-семіотичного методу в аналізі явищ традиційної культури. Метод застосовано до композиції українського рушника. Структурно-семіотичний аналіз композиції на рушнику може допомогти відрізнити обов’язкові елементи зображення від декоративних і встановити зв’язок між частинами. Нині вважають, що всі контури композиції мають однакову семантику. Але проведений аналіз показав, що однакову семантику мають орнаментальна смуга і рослинний орнамент. Інші елементи потрібні для того, щоб відділити їх від верхнього поля зображення і світового дерева. (...)
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  5. added 2019-06-13
    Про музеологічну освіту та деякі особливості викладання музеологічних дисциплін.Oksana Bondarets - 2018 - NaUKMA Research Papers. History and Theory of Culture 1:69-75.
    У рамках підвищення кваліфікації (стажування) автор ознайомилась зі специфікою викладання музеологічних дисциплін у низці закладів вищої освіти України та наголошує як на важливості музеологічної освіти для наукових працівників музею, так і на необхідності удосконалення змісту, форм і методів цієї освіти. Розробка методики викладання музеологічних дисциплін є на сьогодні вкрай необхідною.
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  6. added 2019-06-13
    Білий куб: формування галерейного простору.Boris Sorokin - 2018 - NaUKMA Research Papers. History and Theory of Culture 1:24-28.
    У статті розглянуто концепцію «білого куба», специфічного галерейного та музейного простору для демонстрації і споглядання мистецтва. Проаналізовано, як тривалі експерименти з формою демонстрації робіт у музейних приміщеннях були зумовлені потребою створити особливий простір, де кожний експонат був би максимально ізольованим і самодостатнім. Так виник «білий куб», який фактично був легітимізований Альфредом Барром, першим директором музею сучасного мистецтва в Нью-Йорку. Починаючи з Брайана О’Догерті, дослідники вказують, що галерейний простір, яке нібито є максимально нейтральним, насправді є глибоко ідеологізованим. Уваго було приділено і (...)
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  7. added 2019-06-07
    ´The Better Form´ - Josef Albers´s Idealistic Concept of Art Reveals its Socio-Cultural Function.Martina Sauer - 2019 - Art Style: Art and Culture International Magazine 2 (2):30-55.
    With the aim of teaching and practicing art for the good or moreover the better, Josef Albers proves to be an idealist. At the same time, he confirms with this conviction that art can also arouse the opposite. This conviction is already evident in the grammatical form of the term, which proves that art is functional or a technique for socio-cultural applications, whether good or bad. In the presentation of the political and philosophical background of this idea as well as (...)
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  8. added 2019-06-06
    Visualität und Geschichte. Bilder als historische Akteure im Anschluss an Verkörperungstheorien.Martina Sauer - 2015 - In Grüne Niels & Oberhauser Claus (eds.), Jenseits des Illustrativen. Visuelle Medien und Strategien politischer Kommunikation. V&R uni press. pp. 39-60.
    Do have pictures an impact on future? Yes, say theories of embodiment by making perceptual foundations in place of representational arrangements responsible for it. -/- Wirken sich Bildern auf die Zukunft aus? Ja sagen Verkörperungstheorien und machen dafür weniger Repräsentationsmodelle als Wahrnehmungsweisen verantwortlich.
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  9. added 2019-06-06
    When Windmills Turn Into Giants: The Conundrum of Virtual Places.Erik Champion - 2007 - Techné: Research in Philosophy and Technology 10 (3):1-16.
    While many papers may claim that virtual environments have much to gain from architectural and urban planning theory, few seem to specify in any verifiable or falsifiable way, how notions of place and interaction are best combined and developed for specific needs. The following is an attempt to summarize a theory of place for virtual environments and explain both the shortcomings and the advantages of this theory.
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  10. added 2019-06-05
    Laclos and the Dark Side of the Enlightenment.Derek Allan - manuscript
    The conventional view that all Enlightenment thinkers believed that the fruits of Reason could only be beneficial is not necessarily accurate. Laclos, whose celebrated novel "Les Liaisons dangereueses" was published in 1782, provides a perspective on the world of Reason that does not square with that view. Working at the level of individual psychology, Reason in Laclos's novel divides the world into the strong and the weak – more specifically, the astute and the naive. It defines human worth in terms (...)
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  11. added 2019-05-03
    Cultural Revolution: Mykhail Semenko, Ukrainian Futurism and the “National” Category.Oleh S. Ilnytzkyj - 2017 - Kyiv-Mohyla Humanities Journal 4:45-52.
    This paper examines Mykhail Semenko’s Futurist manifestos that developed an opposition between “national” and “international” art, and specifically called “national” art provincial and retrograde. In promoting the international European avant-garde, Semenko’s essays demonstrate how consistently he championed a contemporary and modern Ukrainian culture in the face of home-grown conservatism.
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  12. added 2019-04-24
    Ambivalation of the Author’s role in a photographic image.Yuliia Petruk - 2018 - Наукові Записки Наукма. Філософія Та Релігієзнавство 2:17-25.
    This article questions the role of the author in the photographical image. Undoubtedly, the invention of photography has changed our attitude towards ourselves, towards the world. The impact of photography on one’s life is growing with the development of technology, mainly the photo-technology. One cannot but trust technological tools more than oneself, because any technological device nowadays is considered to be smarter, faster, and more precise than any human being. The technology plays a special role in photography, and that is (...)
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  13. added 2019-03-29
    The Space of Reception: Framing Autonomy and Collaboration.Jennifer A. McMahon & Carol A. Gilchrist - 2017 - In Brad Buckley & John Conomos (eds.), Who Runs the Artworld: Money, Power and Ethics. Faringdon, UK: Libri Publishing. pp. 201-212.
    In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (...)
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  14. added 2019-03-04
    Azul pintado de azul. Leyendas de artistas sin obras.Filippo Fimiani - 2017 - Boletín de Arte (38):35-44.
    En el verano de 1947, Yves Klein, Claude Pascal, Armand Fernández, sentados en la playa de Niza: contemplan el mar y el cielo azul, no hacen nada, y hacen declaraciones sobre el arte que llegará, sobre el Arte y el Gran Estilo del Futuro. A partir de ese momento, y de esas palabras, cada una de sus vidas cambia radicalmente: se convertirá en una vida nueva, una vida de artista sin obras, hecha solo de palabras, narraciones, gestos. En ese episodio, (...)
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  15. added 2019-01-25
    Stanislaw Lem Vs. Andrei Tarkovsky.Nicolae Sfetcu - manuscript
    Tarkovsky recognizes these differences, saying that there is a contradiction with Lem's initial idea, because he was interested in the problems of inner life, spiritual problems, so to speak, and Lem was interested in the collision between man and Cosmos. In an ontological sense of the word, in the sense of the problem of knowing and the limits of this knowledge - it is about that. Lem even said that mankind was in danger, that there was a crisis of knowledge (...)
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  16. added 2019-01-23
    Art and the Unknown.Dan J. Bruiger - manuscript
    Abstract: The purpose of this essay is to explore the nature and role of art as a human phenomenon from a broadly cognitive perspective. Like science and religion, art serves to mediate the unknown, at once to embrace and to defend against the fundamental mystery of existence. Thus, it may challenge the status quo while generally serving to maintain it. Art tracks the individuation of subjectivity, serving the pleasure principle, yet is appropriated by the collective’s commitment to the reality principle. (...)
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  17. added 2018-10-08
    Un manifesto dell'inumano. Carmelo Bene a quindici anni dalla morte.Fabio Vergine - 2017 - Kasparhauser 1.
    Articolo in occasione del quindicesimo anniversario della morte di Carmelo Bene.
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  18. added 2018-09-20
    Phasmagraphy: A Potential Future for Artistic Imaging.Elke Reinhuber - 2017 - Technoetic Arts 15 (3):261-273.
    In recent years, a rising interest in scientific imaging has become apparent, in art production and in thematic exhibitions, as well as in popular media and advertising. Images captured by, and supposedly read through, machines open up a new era – not only for an as-yet-undefined aesthetic journey, but also to reveal insight into a normally invisible layer of reality. A wide range of techniques is already well established – not only in science, but also in an artistic context. Based (...)
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  19. added 2018-07-24
    Piotr Piotrowski, Art and Democracy in Post-Communist Europe. [REVIEW]Tomas Hribek - 2014 - Umění/Art 62:87-89.
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  20. added 2018-07-16
    Ikonische Grenzverläufe, Ed. By Martina Sauer.Martina Sauer (ed.) - 07/2018 - Tuebingen, Germany: IMAGE, Zeitschrift für interdisziplinäre Bildwissenschaft, Themenheft, 28.
    The task of the congress of the German Society for Semiotics in Passau / Germany in September 2017 was to explore and describe "boundaries". A total of 12 sections of the society wrote a call for paper for this purpose. With the present anthology it has to be made evident, how concretely also the boundaries of the own, the other and the foreign can be negotiated via pictures. -/- -------------- Papers: -/- - Martina Sauer: Ikonische Grenzverläufe. Szenarien des Eigenen, Anderen (...)
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  21. added 2018-03-09
    Review of Elkins Our Beautiful Dry and Distant Texts: Art History as Writing. [REVIEW]Jennifer A. McMahon - 2001 - Australasian Journal of Philosophy 79 (1):142-143.
    In order to say what one means, and be understood, one needs to know to whom one wishes to communicate, the particular mindset one addresses. Expressing oneself clearly and naturally requires some art. Style, then, is an important component of the message received, or so it is in art history writing according to James Elkins. He attempts to demonstrate that what constitutes art history writing is consequently unanalysable; that art history under analysis becomes something else. ‘The glare of logic’ Elkins (...)
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  22. added 2018-02-16
    Creation Ex Nihilo: André Malraux and the Concept of Artistic Creation.Derek Allan - manuscript
    One might naturally suppose that philosophers of art would take a strong interest in the idea of creation in the context of art. In fact, this has often not been the case. In analytic aesthetics, the issue tends to dwell on the sidelines and in continental aesthetics a shadow has sometimes been cast over the topic by the notion of the “death of the author” and by the claim, as Roland Barthes put it, that the author is only ever able (...)
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  23. added 2018-02-08
    Why Art is Never Representation - Even When It Represents.Derek Allan - manuscript
    The question of whether or not art is essentially a representation of reality has long been a bone of contention among philosophers of art – especially in the major branch of that discipline called the analytic philosophy of art, or analytic aesthetics. This paper argues that art - visual art, literature or music - is never essentially representation. The argument is based on the thinking of André Malraux in "The Voices of Silence".
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  24. added 2018-01-20
    Filming Dance: Embodied Syntax in Sasha Waltz' S.Helen A. Fielding - 2015 - Paragraph 38 (1):69-85.
    This paper brings Merleau-Ponty’s phenomenological approach to Sasha Waltz’s dance film S, which focuses on the relation between sexuality and language. Maintaining that movement in cinema takes place in the viewers and not the film, the paper considers how the visual can be deepened to include the ways we move and are moved. Saussure’s insights into language are brought to the sensible, which is here understood in terms of divergences from norms. Though film would seem to privilege vision, viewing this (...)
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  25. added 2018-01-10
    La apariencia ( Schein ) en las Lecciones sobre la estética de G. W. F. Hegel.Carlos Vanegas - 2016 - Revista Estudios de Filosofía:33-55.
    Desde Platón el arte ha sido deslegitimado filosóficamente porque su elemento y su medio es la apariencia. De tal manera que, el ser y la verdad, según la antigua teoría, se encuentran en las ideas y no en las apariencias sensibles. Hegel está lejos de este platonismo en sus Lecciones sobre estética y, por el contrario, va a realizar una reivindicación de la apariencia en el arte. El interés de este artículo es indagar por la distinción entre apariencia que engaña, (...)
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  26. added 2018-01-10
    De la historia del arte como posibilidad actual del humanismo en Julius von Schlosser y Giulio Carlo Argan.Carlos Vanegas - 2014 - Co-herencia (20):79-98.
    The complex world of thought and sensitivity in the sphere of contemporary art has entailed the revision and exclusion of disciplines aimed at providing a model to explain and conceptualize reality. Art history, as one such discipline, has had many of its contributions questioned from Gombrich’s epistemological reformulation to the postmodern discourses, which extol the death of the author, the post-structuralist idea of tradition as a textual phenomenon, and the declaration of the death of history as a consequence of the (...)
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  27. added 2018-01-10
    La fotografía y los desplazamientos en el arte contemporáneo colombiano. [REVIEW]Carlos Vanegas - 2013 - Cuadernos de Música, Artes Visuales y Artes Escénicas:137-140.
    PHOTOGRAPHY AND ITS DISPLACEMENTS IN COLOMBIAN CONTEMPORARY ART. BOOK REVIEW: THE LIMITS OF THE INDEX. THE PHOTOGRAPHIC IMAGE AND CONTEMPORARY ART IN COLOMBIA BY EFREN GIRALDO.
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  28. added 2017-12-20
    Knowledge, Spirit, Law: Book 2, The Anti-Capitalist Sublime.Gavin Keeney - 2017 - New York: Punctum.
    A critique of neo-liberal academia and platform cultures, Knowledge, Spirit, Law: Book 2, The Anti-capitalist Sublime closes the "Knowledge, Spirit, Law" project (2014-2016). The project included the conclusion of PhD studies in Australia, in 2014, and subsequent post-doctoral activities in Europe and the USA, 2014-2016.
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  29. added 2017-12-07
    An Artist's View of the History of Art From the Perspective of 'Analogic Representation'.Michael Joseph Winkler - 2017 - Published Online in Relation to the Henge Lab Component of the Artist's Starlight Ridge Project.
    This article is basically an artist's statement published in connection with a major interdisciplinary art project currently in development (completion date estimated to be 2020).
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  30. added 2017-11-19
    Konzeptuelle Kunst in Amerika Und England Zwischen 1963 Und 1976.Thomas Dreher - 1988 - Dissertation, Ludwig-Maximilians-Universität
    The core of the Conceptual artists (Mel Bochner, Sol LeWitt; the Siegelaub group with Robert Barry, Douglas Huebler, Joseph Kosuth, Lawrence Weiner; English and American members of Art & Language) is situated in the art context of the late sixties and the first half of the seventies. The self-positioning of the Conceptual artists within the art world in texts dealing with art theoretical as well as institutional problems is outlined, and selected works are interpreted.
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  31. added 2017-10-21
    1,000 Holes in the Wall.Gavin Keeney - manuscript
    Co-authored research paper written with José Vela Castillo on the subject of Pablo Román's wall of 1,000 images, Vienna, 2013. -/- “Vienna” or “The Wall” is an ongoing project by architect/artist Pablo Román that, upon its completion, will consist of the round number of 1,000 images taped onto an off-white wall. One of the many walls he has designed/produced in the past months (architectural or otherwise), its elementary condition is at the same time enhanced and diminished by its very presence (...)
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  32. added 2017-10-16
    Empathy, Engagement, Entrainment: The Interaction Dynamics of Aesthetic Experience.Ingar Brinck - 2018 - Cognitive Processing 2 (19):201-213.
    A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of (...)
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  33. added 2017-10-10
    Not-I/Thou: Agent Intellect and the Immemorial.Gavin Keeney - 2015 - In Manuel Gausa (ed.), Rebel Matters/Radical Patterns. Genoa: University of Genoa/De Ferrari. pp. 446-51.
    Not-I/Thou: The Other Subject of Art & Architecture is to be a highly focused exhibition/folio of works by perhaps 12 artists (preferably little-known or obscure), with precise commentaries denoting the discord between the autonomous object (the artwork or architectural object per se) and the larger field of reference (worlds); inference (associative magic), and insurrection (against power and privilege) – or, the Immemorial. Engaging the age-old “theological apparatuses” of the artwork, the folio is intended to upend the current fascination with personality, (...)
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  34. added 2017-10-10
    Medvedkine.Gavin Keeney - 2013 - eVolo 5 (Architecture Xenoculture):247-49.
    Chris Marker’s portrait of Alexandre Medvedkine in the 1993 film Le tombeau d’Alexandre/The Last Bolshevik is highly instructive of his own relationship to Soviet cinema. Most especially, this difficult or troubled rapport with the antecedents to cinéma vérité in the West (and its protean formal properties, in terms of structure and often satirical-critical commentary) comes forth in the figures he assembles to comment upon Medvedkine’s life work. When Medvedkine’s Scast’e (Le Bonheur/Happiness) (1934) leaked to the West (c.1967), sent like an (...)
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  35. added 2017-10-08
    The Artistic Turn.Tine Wilde - 2012 - Dutch Internet Journal BLIND! 29 (Macht).
    We are living in an increasingly complex world. How are we able to cope with this complexity and the difficulties that arise from it? Can philosophy and art, classified as the two utmost useless and pointless disciplines, have any (positive) influence on the urgent and pressing problems at hand? And, related to this, if the two have more than just their uselessness in common, how, then, are philosophy and art related? In this article, I will argue that although ‘useless’ disciplines (...)
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  36. added 2017-08-16
    Entre o natural e o artificial: visualização e representação no século XVI.Fumikazu Saito - manuscript
    Recentes estudos em história da ciência têm apresentado indícios de que é impossível estabelecer uma clara distinção entre estudos de óptica e de perspectiva linear quando nos referimos aos séculos XVI e XVII. Embora a perspectiva linear lidasse com a representação geométrica do espaço numa superfície bidimensional, estava, entretanto, estreitamente ligada a questões relativas à natureza da visão humana. Devemos considerar que, naquela época, o termo perspectiva era a tradução latina da palavra grega optikè, denotando a visão direta e distinta (...)
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  37. added 2017-07-30
    Visual Trope and the Portland Vase Frieze: A New Reading and Exegesis.Randall L. Skalsky - Winter 1992 - Arion 2 (1).
    Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...)
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  38. added 2017-07-30
    Hiding in Plain Sight, Yet Again: An Unseen Attribute, An Unseen Plan, and A New Analysis of the Portland Vase Frieze.Randall Skalsky - Spr/Summer 2010 - Arion 18 (1):1-26.
    All interpretations of the Portland Vase frieze to date have failed to see, much less explain, a crucial figural attribute in the frieze, one that proves to be both explicit and explicatory, and whose location and appearance secures the identification of not one but, indeed, three figures. Furthermore, the attribute lies at the heart of a distinct schema of figural grouping and arrangement which has also gone unheeded in previous treatments of the Portland Vase frieze. By dint of this previously (...)
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  39. added 2017-04-06
    Does the New Classicism Need Evolutionary Theory?Ray Scott Percival - 2016 - In Elizabeth Millán (ed.), After the Avant-Gardes: Reflections on the Future of the Fine Arts. Chicago: Open Court Publishers. pp. 109-126.
    In what way might the new classicism gain support from evolutionary theory? My rough answer is that evolutionary theory can help defend a return to more classical artistic standards and also explain why classical standards are not simply imposed by social conditioning or by powerful elites, but arise naturally from something more fundamental in the human constitution. Classical standards and themes are an expression of our evolutionary history. The mind can be seen as a biological organ or function, produced by (...)
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  40. added 2017-02-20
    Letter to a Friend on Creative Thinking and Intuiiton (Art, Writing, Philosophy, Science).Ulrich de Balbian - manuscript
    -/- Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking and intuition (art, writing, philosophy, science, etc ) .
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  41. added 2017-01-30
    OSMAN LINS A ECONOMIA DA NATUREZA E A TERRA POR VIR.João Guilherme Dayrell de Magalhães Santos - 2015 - Dissertation, Universidade Federal de Minas Gerais (UFMG)
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  42. added 2016-11-24
    A estética política do ativismo através de novas mídias.Meg Stalcup - 2016 - In Marinyze Prates de Oliveira & Jonathan Warren (eds.), Miradas sobre o Brasil: cultura, arte e poder. Editora da Universidade Federal da Bahia. pp. 13-33.
    Neste capítulo, analisa-se a documentação visual dos protestos de 2013, contrastando a cobertura da grande mídia em São Paulo e Rio de Janeiro com a de ativistas usando as tecnologias de nova mídia. Os temas centrais são a forma como o exercício do poder político é mediado através de novas tecnologias de mídia e a racionalidade política que anima os ativistas. Dito de outro modo, pergunta-se: por que os atores criaram imagens da forma que o fizeram e que objetivos políticos (...)
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  43. added 2016-11-23
    Situated Cognition, Dynamic Systems, and Art: On Artistic Creativity and Aesthetic Experience.Ingar Brinck - 2007 - Janus Head 9 (2):407-431.
    It is argued that the theory of situated cognition together with dynamic systems theory can explain the core of artistic practice and aesthetic experience, and furthermore paves the way for an account of how artist and audience can meet via the artist’s work. The production and consumption of art is an embodied practice, firmly based in perception and action, and supported by features of the local, agent-centered and global, socio-cultural contexts. Artistic creativity and aesthetic experience equally result from the dynamic (...)
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  44. added 2016-10-17
    Merleau-Ponty and Expressive Life: A Hermeneutical Study.William D. Melaney - 2004 - In Anna-Teresa Tymieniecka (ed.), LXXXIII. Springer. pp. 565-582.
    This paper is concerned with Maurice Merleau-Ponty’s contribution to the hermeneutical theory of expressive meaning that has been developed on the basis of an ongoing dialogue with traditional phenomenology. The early portion of the paper examines the unstable boundaries between expression and indication as a key to a new approach to expressive meaning. The paper then takes up Merleau-Ponty’s understanding of expressive life as it emerges in ‘Phenomenology of Perception,’ his first attempt to discuss perception, aesthetics, and temporality in comprehensive (...)
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  45. added 2016-10-15
    Spenser's Poetic Phenomenology: Humanism and the Recovery of Place.William D. Melaney - 1995 - In Anna-Teresa Tymieniecka (ed.), XLIV. Springer. pp. 35-44.
    The present paper defends the thesis that Spenser's recovery of place, as enacted in 'The Faerie Queene,' Book VI, can be linked in a direct way to his use of a poetic phenomenology which informs and clarifies his work as an epic writer. Spenser's "Book of Courtesy" enacts a Neo-Platonic movement from the lower levels of temporal existence to an exalted vision of spiritual perfection. The paper explores this movement along phenomenological lines as a mysterious adventure that embraces self and (...)
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  46. added 2016-10-11
    Christopher Marlowe's Edward The Second-A Critical Evaluation, The Way I Do.Rituparna Ray Chaudhuri - 2016 - @Article{Chaudhuri2016christopher, Title={Christopher Marlowe's Edward The Second-A Critical Evaluation, The Way I Do.}, Author={Chaudhuri, Rituparna Ray}, Year={2016}.
    “Marlowe wrote Edward The Second in 1590. He found a suitable tragic theme in the Holinshed’s account of Edward II’s reign though it was not a promising dramatic material from the chronological point of view as the events were disjointed and uninspiring disastrous. Improper coordinates of the sources has left its mark on Marlowe’s play, nevertheless, this is his most finished and satisfactory of plays…Edward The Second can surely be regarded as Marlowe’s finest technical achievement.” (Edited, Dr. S. Sen…)[http://philpapers.org/profile/112741].
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  47. added 2016-07-04
    Reflexivity Imagined as Art Practise.Donald Brierley - 2015 - Dissertation, Usyd
    A consideration of the relationship between conscious self-aware systems and art. I introduce my art practice and demonstrate the connections language has to self-conscious reflexivity. The document of research can be considered part of a creative practice that also uses language as a material. The specialist use and subversive manipulation of information in science and art as practiced in the service of culture are discussed to show how this informed the creation of Access Restricted-Operational Reasons as a response to my (...)
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  48. added 2016-05-12
    History of Computer Art.Thomas Dreher - 2014 - IASLonline.
    A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, evolutionary art (...)
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  49. added 2016-05-12
    Performance Art Nach 1945 Aktionstheater und Intermedia.Thomas Dreher - 2001 - Munich, Germany: Wilhelm Fink.
    The outline of the development of Performance Art features happenings in New York and Vienna in the sixties as well as body art and performances with closed circuits in the seventies (among others). Action Art, Environmental Theater and Intermedia are the terms defining the main characteristics of the works discussed. The research method is mainly based on Intertextuality (Mikhail Mikhailovich Bakhtin) and Systems Theory (Niklas Luhmann).
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  50. added 2016-05-08
    Literature and the Passing of Time: Reflecting on the Temporal Nature of Art.Derek Allan - manuscript
    The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.
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