Results for 'performing arts'

999 found
Order:
  1. 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).
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  2. Toward A Deweyan Theory of Ethical and Aesthetic Performing Arts Practice.Aili Bresnahan - 2014 - Journal of Aesthetics and Phenomenology 1 (2):133-148.
    This paper formulates a Deweyan theory of performing arts practice that relies for its support on two main things: The unity Dewey ascribed to all intelligent practices (including artistic practice) and The observation that many aspects of the work of performing artists of Dewey’s time include features (“dramatic rehearsal,” action, interaction and habit development) that are part of Dewey’s characterization of the moral life. This does not deny the deep import that Dewey ascribed to aesthetic experience (both (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  3.  43
    Installation Art and Performance: A Shared Ontology.Sherri Irvin - 2013 - In Christy Mag Uidhir (ed.), Art and Abstract Objects. Oxford University Press. pp. 242-262.
    This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...)
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  4.  95
    ART(S) OF BECOMING: PERFORMATIVE ENCOUNTERS IN CONTEMPORARY POLITICAL ART.İbrahim Okan Akkin - 2017 - Dissertation, Middle East Technical University
    This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  5. The Art, Poetics, and Grammar of Technological Innovation as Practice, Process, and Performance.Coeckelbergh Mark - 2018 - AI and Society 33 (4):501-510.
    Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge and (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  6. David Davies, Art as Performance.Reviews by Robert Stecker & John Dilworth - 2005 - Journal of Aesthetics and Art Criticism 63 (1):75–80.
    In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  7. Art: What It Is and Why It Matters.Catharine Abell - 2012 - Philosophy and Phenomenological Research 85 (3):671-691.
    In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...)
    Download  
     
    Export citation  
     
    Bookmark   10 citations  
  8.  61
    Review of Richard Shusterman, Performing Live: Aesthetic Alternatives for Ends of Art. [REVIEW]William Day - 2004 - Journal of Aesthetics and Art Criticism 62:300-302.
    Download  
     
    Export citation  
     
    Bookmark  
  9.  70
    Martens, J., Rietveld, R., & Rietveld, E. (2022). A Conversation on Collaborative Embodied Engagement in Making Art and Architecture: Going Beyond the Divide Between ‘Lower’ and ‘Higher’ Cognition. In K. Bicknell & J. Sutton (Eds.) Collaborative Embodied Performance: Ecologies of Skill (Pp. 53–68). London,: Methuen Drama.Janno Martens, Ronald Rietveld & Erik Rietveld - 2022 - Londen, Verenigd Koninkrijk: Methuen Drama.
    RAAAF [Rietveld Architecture-Art-Affordances] is an interdisciplinary studio that operates at the crossroads of visual art, experimental architecture and philosophy. RAAAF makes location- and context-specific artworks, an approach that derives from the respective backgrounds of the founding partners: Prix de Rome laureate Ronald Rietveld and Socrates Professor in Philosophy Erik Rietveld.
    Download  
     
    Export citation  
     
    Bookmark  
  10. A Theater of Ideas: Performance and Performativity in Kierkegaard’s Repetition.Martijn Boven - 2018 - In Eric Jozef Ziolkowski (ed.), Kierkegaard, Literature, and the Arts. Evanston, IL, USA: pp. 115-130.
    In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  11.  41
    PERFORMANCE INDICATORS AND PUBLIC ORGANIZATIONS: AN ANALYSIS OF SYMPHONY ORCHESTRAS.Carolina Asuaga & Manuel Esmoris - 2006 - Anales Del II Congreso Del Mercosur.
    The performing arts and their financing have been analyzed by cultural economics. Many papers have focused on importance of state intervention both as a financing agent, as a provider and producer of cultural services. Otherwise, several studies have appeared focusing on management of the performing arts in Management Accounting framework. This paper shows relevance of performance indicators for evaluating cultural policies and focuses on symphony orchestras financed with public funds. The objective is verifying strategy compliance and (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  12. Arte Conceptual.Elisa Caldarola - 2018 - Enciclopedia de la Sociedad Española de Filosofía Analítica.
    La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, Robert Barry, Lawrence Weiner, (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  13.  90
    Bodies in Skilled Performance: How Dancers Reflect Through the Living Body.Camille Buttingsrud - 2021 - Synthese 199 (3-4):7535-7554.
    Dancers and dance philosophers report on experiences of a certain form of sense making and bodily thinking through the dancing body. Yet, discussions on expertise and consciousness are often framed within canonical philosophical world-views that make it difficult to fully recognize, verbalize, and value the full variety of embodied and affective facets of subjectivity. Using qualitative interviews with five professional dancers and choreographers, I make an attempt to disclose the characteristics of what I consider to be a largely overseen state (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  14.  32
    Theatrical Performances and the Works Performed.Sherri Irvin - 2009 - Journal of Aesthetic Education 43 (3):pp. 37-50.
    I consider James Hamilton’s discussion of what I term the complete autonomy thesis, according to which no theatrical performance is a performance of some other work. While agreeing with Hamilton that theatrical performances are often artworks in their own right and that theatrical performance is not a derivative or subsidiary art form, I argue that the complete autonomy thesis overshoots the evidence. Some theatrical performances are autonomous, but many belong to an established tradition of close adherence to the texts of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  15. Performing the Unexpected Improvisation and Artistic Creativity.Alessandro Bertinetto - 2012 - Daimon: Revista Internacional de Filosofía 57:117-135.
    In this paper I suggest that we look to improvisation in order to understand artistic creativity. Indeed, instead of being anti-artistic in nature, due to its supposed unpreparedness, inaccuracy, and repetitive monotony, improvisation in art exemplifies and 'fuels' artistic creativity as such. I elucidate the relationship between improvisation and artistic creativity in four steps. I discuss the concept of creativity in general (I) and in reference to art (II). Then I focus on the properties and the phenomenology of improvisation (III). (...)
    Download  
     
    Export citation  
     
    Bookmark  
  16. Is Proprioceptive Art Possible?Markus Schrenk - 2014 - In Graham George Priest & Damon Young (eds.), Philosophy and the Martial Arts. New York: Routledge. pp. 101-116.
    I argue for the possibility of a proprioceptive art in addition to, for example, visual or auditory arts, where aspects of some martial arts will serve as examples of that art form. My argument is inspired by a thought of Ted Shawn’s, one of the pioneers of American modern dance: "Dance is the only art wherein we ourselves are the stuff in which it is made.” In a first step, I point out that in some practices of martial (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  17. The Double Content of Art.John Dilworth - 2005 - Prometheus Books.
    The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies his (...)
    Download  
     
    Export citation  
     
    Bookmark   10 citations  
  18. Failures of Intention and Failed-Art.Michel-Antoine Xhignesse - 2020 - Canadian Journal of Philosophy 50 (7):905-917.
    This paper explores what happens when artists fail to execute their goals. I argue that taxonomies of failure in general, and of failed-art in particular, should focus on the attempts which generate the failed-entity, and that to do this they must be sensitive to an attempt’s orientation. This account of failed-attempts delivers three important new insights into artistic practice: there can be no accidental art, only deliberate and incidental art; art’s intention-dependence entails the possibility of performative failure, but not of (...)
    Download  
     
    Export citation  
     
    Bookmark   3 citations  
  19. Performance, performatividad y memoria.Diana Paola Triana Moreno - 2018 - Cuestiones de Filosofía 4:17-34.
    El objetivo del presente artículo de reflexión es hacer evidente la relación entre la categoría de performatividad en Judith Butler y el arte de la performance como una aproximación a la construcción de la memoria. Por un lado, el arte de la performance ofrece un problema en torno al registro, al archivo y a la memoria de la acción artística al considerar que el acto es irrepetible, único y fugaz. Esta discusión está vinculada con la reperformación como alternativa de memoria (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  20. Performance, performatividad y memoria.Diana Paola Triana Moreno - 2018 - Cuestiones de Filosofía 22 (4):17-34.
    El objetivo del presente artículo de reflexión es hacer evidente la relación entre la categoría de performatividad en Judith Butler y el arte de la performance como una aproximación a la construcción de la memoria. Por un lado, el arte de la performance ofrece un problema en torno al registro, al archivo y a la memoria de la acción artística al considerar que el acto es irrepetible, único y fugaz. Esta discusión está vinculada con la reperformación como alternativa de memoria (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  21. What is Art ? A Philosophical Definition.Jakob Zaaiman - 2012 - Alldaynight.Info.
    Abstract: For art to be art it has to present the viewer with a distinctly out-of-the-ordinary perspective on everyday reality. Art is to be clearly differentiated from all forms of decorative craft, which are essentially concerned only with aesthetic experiences. Art is essentially about finding ways, through the manipulation and orchestration of presentational media – such as painting, sculpture, literature, film, and performance – to bring to life strange and unusual perceptions. All these media are quasi-theatrical and poetic in nature, (...)
    Download  
     
    Export citation  
     
    Bookmark   6 citations  
  22. Musicians (Don't) Play Algorithms. Or: What Makes a Musical Performance.Mira Magdalena Sickinger - 2020 - Kriterion - Journal of Philosophy 34 (3):1-22.
    Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a human. (...)
    Download  
     
    Export citation  
     
    Bookmark  
  23. Between Philosophy and Art.Jennifer A. McMahon, Elizabeth B. Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  24.  47
    Arts Entrepreneurship Through Strategic Collaboration in Korean Classical Music.Jieun Park & Joanne Bernstein - 2020 - Journal of Arts and Humanities 9 (8).
    Arts Entrepreneurship is a comparatively new concept in arts management however, it is inevitable for the arts, especially classical music to adapt the concept for its survival. This article investigates how arts entrepreneurship is executed through strategic collaboration in three different cases of classical music organizations in Seoul, Korea: Yellow Lounge Seoul, Ensemble Ditto and The New Baroque Company. By providing vivid examples of how to apply arts entrepreneurship in classical music products, it will better (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  25.  92
    Cultural Identity of Art Works.Curtis Carter, Disikate Ke, Min Yu & Chengji Liu - unknown
    Nelson Goodman (1906-2007) approached the arts and other kinds of knowledge as forms of symbolism. His principal aim in philosophy was to advance understanding and remove confusions by verbal analysis and logical constructions. Goodman's philosophical theories encompass nominalism, constructivism and a version of radical relativism. In his Languages of Art, Goodman sets forth distinctions among the various art according to differences in the forms of symbols employed. He contributed as well to arts education and to philosophy of the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  26. Is Bill Cosby Still Funny? On Separating the Art From the Artist in Standup Comedy.Phillip Deen - 2019 - Studies in American Humor 5 (2):288-308.
    Bill Cosby’s immorality has raised intriguing aesthetic and ethical issues. Do the crimes that he has been convicted of lessen the aesthetic value of his stand-up and, even if we can enjoy it, should we? This article first discusses the intimate relationship between the comedian and audience. The art form itself is structurally intimate, and at the same time the comedian claims to express an authentic self on stage. After drawing an analogy between the question of the moral character of (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  27.  96
    Da série Pulsantes: performance orientada para fotografia.Evna Moura - 2021 - REVISTA POIÉSIS: Estudos Contemporâneos Das Artes 22 (37):31-40.
    This text aims to theoretically think on the performative work devel-oped in the region of Belém, Pará, as attempts to understand its modes of subjectivation related to the narratives of Amazonian culture and identities of the ancestral past that molds the present of the islands around the city, more specifically the Island of Cotijuba. Experiencing these liveliness territories, I absorb myself to comprehend both the imagetic production of this research and the potentialities that emerge when connected through the intentional intervention (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  28.  62
    Minha Cor (É) Vermelha: performance como ritual, imagem como pele da performance.Mapige Gemaque - 2021 - REVISTA POIÉSIS: Estudos Contemporâneos Das Artes 22 (37):63-76.
    This text presents actions from the “live” moment of the ritual performance My Colour (Is) Red in which a political, ideological and ritualistic body seeks to understand the social dramas experienced by people who live and demark spaces in Amazon through performatic experiments that create connections with the social and anthropological life of Amazon. They act as resistance elements, poetical struggles and crossings, because it is a matter of (re)existing to exist in some places of this cartography.
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  29. State of the Art of Audio- and Video-Based Solutions for AAL.Slavisa Aleksic, Michael Atanasov, Jean Calleja Agius, Kenneth Camilleri, Anto Cartolovni, Pau Climent-Perez, Sara Colantonio, Stefania Cristina, Vladimir Despotovic, Hazim Kemal Ekenel, Ekrem Erakin, Francisco Florez-Revuelta, Danila Germanese, Nicole Grech, Steinunn Gróa Sigurđardóttir, Murat Emirzeoglu, Ivo Iliev, Mladjan Jovanovic, Martin Kampel, William Kearns, Andrzej Klimczuk, Lambros Lambrinos, Jennifer Lumetzberger, Wiktor Mucha, Sophie Noiret, Zada Pajalic, Rodrigo Rodriguez Perez, Galidiya Petrova, Sintija Petrovica, Peter Pocta, Angelica Poli, Mara Pudane, Susanna Spinsante, Albert Ali Salah, Maria Jose Santofimia, Anna Sigríđur Islind, Lacramioara Stoicu-Tivadar, Hilda Tellioglu & Andrej Zgank - 2022 - Alicante: University of Alicante.
    It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be referred (...)
    Download  
     
    Export citation  
     
    Bookmark  
  30. Art, World, Artworld.Horvath Gizela - 2016 - Synthesis Philosophica 31 (1):117-127.
    Ancient Greek philosophers claimed that the particular task of art was mimesis. This kind of view about the relation between art and the world was dominant until the beginning of the 19th century. The theory of genius rethought this relation, and it did not presume that art needs to mirror the world. On the contrary, it expected originality, that is, the creation of a new world. Since the beginning of the 20th century, the artworld operates under a wider notion of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  31.  34
    Music, Cage's Silence, and Art: An Interview with Stephen Davies, PhD.Marcella Georgi & Stephen Davies - 2022 - Stance 15:120-142.
    Stephen Davies taught philosophy at the University of Auckland, Auckland, New Zealand. His research specialty is the philosophy of art. He is a former President of the American Society for Aesthetics. His books include Definitions of Art (Cornell UP, 1991), Musical Meaning and Expression (Cornell UP, 1994), Musical Works and Performances (Clarendon, 2001), Themes in the Philosophy of Music (OUP, 2003), Philosophical Perspectives on Art (OUP, 2007), Musical Understandings and Other Essays on the Philosophy of Music (OUP, 2011), The Artful (...)
    Download  
     
    Export citation  
     
    Bookmark  
  32. Epistemic Viciousness in the Martial Arts.Gillian Russell - 2010 - In Graham Priest & Damon Young (eds.), Martial Arts and Philosophy. Chicago and Lasalle, Illinois: Open Court. pp. 129-144.
    When I was eleven, my form teacher, Mr Howard, showed some of my class how to punch. We were waiting for the rest of the class to finish changing after gym, and he took a stance that I would now call shizentai yoi and snapped his right fist forward into a head-level straight punch, pulling his left back to his side at the same time. Then he punched with his left, pulling back on his right. We all lined up in (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  33.  28
    "¿Qué son las obras de arte? Las propuestas de los teóricos de la acción".Elisa Caldarola - 2021 - In Leopoldo La Rubia, Nemesio García Carril Puy & Francisco Larubia Y. Prado (eds.), Teorías contemporáneas del arte y la literatura. Madrid: Tecnos.
    Este capítulo presenta dos versiones de la teoría según la cual deberíamos centrarnos en ciertas acciones realizadas por los artistas para comprender qué tipo de objetos son las obras de arte: la propuesta de Gregory Currie (An Ontology of Art, 1989) y la de David Davies (Art as Performance, 2004). Si bien estas teorías no están exentas de problemas, es cierto que estas proporcionan una guía completa de algunos de los temas en los que uno debería meditar al evaluar y (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  34.  91
    Notes for a Phenomenology of Musical Performance.Arnold Berleant - 1999 - Philosophy of Music Education Review 7 (2):73-79.
    In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, certain (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  35. Orange Alternative at the Convergence of Play, Performance and Agency.Elçin Marasli - 2017 - Dialogue and Universalism 27 (3):115-124.
    By observing the mediating role of Pomarańczowa Alternatywa [Orange Alternative], the Polish artistic-activist formation of the 80s and 90s, this paper aims to determine the properties, values and ideals that make a piece of art a public act that can engage people from different social groups in play, and can allow them to reveal their self-determining agency in light of social change. Within the system of varying degrees of social permission, art should allow for the transition from the realm of (...)
    Download  
     
    Export citation  
     
    Bookmark  
  36.  20
    From the Ethnography of Performance-to-Performance Ethnography: An Appraisal of the Place of Performance in Contemporary Bakor Oral Narrative Experience.James Otoburu Okpiliya - 2020 - International Journal of Humanitatis Theoreticus 3 (2):252-266.
    The perceived shift of emphasis on performance studies to the contextual imperative necessitates a corresponding examination of approaches that have the potential to yield better result on contextual analysis of performances and society, (Magoulick:2014, van der Aa and Blommaert: 2015). The ethnography on performance studies has therefore emphasized either the ethnography of performance or performance ethnography, two approaches that require in-depth immersion of the researcher in the target community’s life and practices to enhance “interactive” and “insider” views of performance contexts (...)
    Download  
     
    Export citation  
     
    Bookmark  
  37. Overcoming the Heisenberg Principle: Art Theory Arising Out of Wolfgang Pauli’s Collapsed Wave.Lisa Paul Streitfeld - unknown
    “Applying the Heisenberg Uncertainty Principle to 21st Century Art” was delivered to the 2009 Congress of the International Association of Art Critics (AICA) in Dublin as a guide to critical thinking through a paradigm shift. This new paper uncovers a new critical theory in the form of a formula that has been successfully applied to a universal appraisal of arts across all boundaries, whether they be gender, discipline or culture. The configuration predicted by Pauli as arising from under the (...)
    Download  
     
    Export citation  
     
    Bookmark  
  38. Contro gli artisti. Tanizaki Jun’ichirō e l’uomo d’arte.Enea Bianchi - 2017 - Ágalma: Rivista di studi culturali e di estetica 33:54-64.
    Against the Artists. Jun'ichirō Tanizaki and the Man of Art. -/- This essay explores the concepts of "art" (gei) and "man of art" (geinin) in Tanizaki's works. These two notions belong to an ancient Japanese aesthetic tradition. The concept of 'gei' means "realization", "skill", but also "technique" and "ability". Traditional stage performances such as 'nō', 'kyōgen', 'bunraku', 'kabuki', are typical examples of 'gei'. On the other hand the concept of 'geinin' implies three pivotal aspects: 1) a strict and harsh aesthetic (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  39. “From Museum Walls to Facebook Walls”*. A New Public Space for Art.Gizela Horvath - 2014 - In Gizela Horvath, Rozalia Klara Bako & Eva Biro Kaszas (eds.), Ten Years of Facebook. Proceedings of the Third International Conference on Argumentation and Rhetoric. Partium Kiado. pp. 73-88.
    The ‘museal’ approach to art has been attacked from many angles in the last decade; the main issue raised by most of these attacks was that such an approach would promote a certain idea of art which has little to do with real-life or the layman’s interest. Some artists have protested by stepping out of the museum space with projects deliberately designed as non-museum items (performance, land-art, public art etc.). Art, however, is always meant for a public, so, as an (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  40. Je Est Un Autre. Mimicries in Nature, Art and Society.Filippo Fimiani, Paolo Conte & Michel Weemans - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (2):3-6.
    Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating consensus (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  41. A Phenomenological “Aesthetics of Isolation” as Environmental Aesthetics for an Era of Ubiquitous Art.Matthew E. Gladden - 2018 - Polish Journal of Aesthetics (49):11-25.
    Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.
    Download  
     
    Export citation  
     
    Bookmark  
  42.  61
    Scenic Design and Countering Terrorism in the Performance of Emma Dandaura’s Venom for Venom.Tochukwu Okeke - 2019 - Hofa: African Journal of Multidisciplinary Research 4 (1).
    The art of the theatre is a collaborative enterprise. It involves the creative efforts of different artists: director, stage manager, set, lighting, properties, costume, make-up and sound designers. These artists work together for the realization of a theatrical production. They work within a production concept which is the guiding principle upon which a production is based. However, as the theatre is audio-visual and immediate, it is the duty of these artists to ensure that every aspect of the production is perfectly (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  43. The Problem With Sentimental Art.Nada Gatalo - 2008 - Postgraduate Journal of Aesthetics 5 (2):20-31.
    If we feel confident in criticizing art for being sentimental, we ought to be able to precisely state how and why sentimentality is an aesthetic fault. This entails demonstrating that sentimental art fails to perform some function that is essential to art. In this paper I will argue that any critique of sentimental art that does not satisfy such a condition is not a legitimate aesthetic critique. Additionally I will put forth a genuinely aesthetic critique of sentimental art, establishing why (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  44.  55
    Twixt Mages and Monsters: Arendt on the Dark Art of Forgiveness.Joshua M. Hall - 2016 - In Court D. Lewis (ed.), Philosophy of Forgiveness, Volume II: New Dimensions of Forgiveness. Wilmington, DE, USA: pp. 215-240.
    In this chapter, I will offer a strategic new interpretation of Hannah Arendt's conception of forgiveness. In brief, I propose understanding Arendt as suggesting—not that evil is objectively banal, or a mere failure of imagination—but instead that it is maximally forgiveness-facilitating to understand the seemingly unforgivable as merely a failure of imagination. In other words, we must so expand our imaginative powers (what Arendt terms “enlarged mentality”) by creatively imagining others as merely insufficiently unimaginative, all in order to reimagine them (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  45.  89
    Semantic Interoperability in Healthcare. State of the Art in the US. A Position Paper with Background Materials.Werner Ceusters & Barry Smith - 2010 - In European Union ARGOS Project: Transatlantic Observatory for Meeting Global Health Policy Challenges through ICT-Enabled Solution.
    Semantic interoperability can be defined as the ability of two or more computer systems to exchange information in such a way that the meaning of that information can be automatically interpreted by the receiving system accurately enough to produce useful results to the end users of both systems. Several activities are currently being performed by a variety of stakeholders to achieve semantic interoperability in healthcare. Many of these activities are not beneficial, because they place too great a focus on business (...)
    Download  
     
    Export citation  
     
    Bookmark  
  46. Dancing with Nine Colours: The Nine Emotional States of Indian Rasa Theory.Dyutiman Mukhopadhyay - manuscript
    This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant states’ (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
  47.  71
    What If Heidegger Used Fountain Instead of van Gogh’s Shoes to Launch the Origin of a Work of Art?’.Paul Halloran - 2020 - Toutfait Online Journal.
    Heidegger’s reimagining of the artwork was instrumental in forcing a re-evaluation of modern aesthetic assumptions in the first half of the twentieth century. Heidegger’s theory of the origin of the work of art derives from a hermeneutic analysis of a single van Gogh masterpiece. On Heidegger’s view, the artwork provides a substantive and practical way of accessing the nature of art even if questions remain about all manifestations of the nature of art in general. This paper turns his analysis to (...)
    Download  
     
    Export citation  
     
    Bookmark  
  48.  41
    Machine Intelligence, New Interfaces, and the Art of the Soluble.Michael J. Lyons - 2017 - Arxiv.
    Position: (1) Partial solutions to machine intelligence can lead to systems which may be useful creating interesting and expressive musical works. (2) An appropriate general goal for this field is augmenting human expression. (3) The study of the aesthetics of human augmentation in musical performance is in its infancy. -/- CHI 2015 Workshop on Collaborating with Intelligent Machines: Interfaces for Creative Sound, April 18, 2015, Seoul, Republic of Korea.
    Download  
     
    Export citation  
     
    Bookmark  
  49. Editoriale–Etichettare/descrivere/mostrare.Filippo Fimiani & Pietro Kobau - 2011 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 4 (2):2-7.
    “Art”—what is it? What sort of entities are artworks? “Art”—when is it? Normally, when we visit an art exhibition, when we listen to a concert or when we look at a performing art in a setting, we use to read the titles, the tags or something textual, a threshold not crafted by the author, about the exposed or executed artworks in order to grasp their subject, style, history, and author. But: how does a title, a non-fiction depiction or a (...)
    Download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  50. Theater, Representation, Types and Interpretation.John Dilworth - 2002 - American Philosophical Quarterly 39 (2):197-209.
    In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation  
1 — 50 / 999