Journal articles on the topic 'Art History and Appreciation'
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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (April 30, 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.
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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.
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Gelman, Susan A., Meredith A. Meyer, and Nicholaus S. Noles. "History and essence in human cognition." Behavioral and Brain Sciences 36, no. 2 (March 18, 2013): 142–43. http://dx.doi.org/10.1017/s0140525x12001628.
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AbstractBullot & Reber (B&R) provide compelling evidence that sensitivity to context, history, and design stance are crucial to theories of art appreciation. We ask how these ideas relate to broader aspects of human cognition. Further open questions concern how psychological essentialism contributes to art appreciation and how essentialism regarding created artifacts (such as art) differs from essentialism in other domains.
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Chan, Ching-Chuan, and Cynthia Andreas. "Art Appreciation History and Technology: Bridging the Gap." International Journal of the Humanities: Annual Review 5, no. 6 (2007): 19–24. http://dx.doi.org/10.18848/1447-9508/cgp/v05i06/41402.
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Bullot, Nicolas J., and Rolf Reber. "The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation." Behavioral and Brain Sciences 36, no. 2 (March 18, 2013): 123–37. http://dx.doi.org/10.1017/s0140525x12000489.
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AbstractResearch seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework.
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Eastmond, A. "Later Byzantine Painting: Art, Agency, and Appreciation." English Historical Review CXXIII, no. 503 (August 1, 2008): 1013–14. http://dx.doi.org/10.1093/ehr/cen232.
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Carroll, Noël. "History and the Philosophy of Art." Journal of the Philosophy of History 5, no. 3 (2011): 370–82. http://dx.doi.org/10.1163/187226311x599862.
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Abstract In this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.
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Hirstein, William. "Memories of Art." Behavioral and Brain Sciences 36, no. 2 (March 18, 2013): 146–47. http://dx.doi.org/10.1017/s0140525x12001665.
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AbstractAlthough the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that artworks express.
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Bai, Hui. "The Exploration of Arnheim‘s Theory of Visual Perception in the Field of Art Appreciation and Review in Junior High School." Learning & Education 9, no. 2 (November 10, 2020): 139. http://dx.doi.org/10.18282/l-e.v9i2.1428.
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Rudolf Arnheim (German Rudolf Arnheim, 1904-2007) is a famous Gestalt psychologist and aesthetician in the history of western aesthetics. His research on the theory of visual perception plays an important role in exploring human thinking activities. Arnheim’s theory of visual perception and related research in the field of art education can provide professional and detailed theoretical support for the teaching of art curriculum appreciation and review in middle school. Through the analysis and exploration of Arnheim’s visual perception theory, this paper attempts to apply his visual perception theory to the learning field of junior high school art curriculum appreciation review. Teachers can make use of Arnheim’s relevant research results to make students understand and master art language more easily, and make full use of art language knowledge for art appreciation.
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Böthig, Antonia M., and Gregor U. Hayn-Leichsenring. "Taste in Art—Exposure to Histological Stains Shapes Abstract Art Preferences." i-Perception 8, no. 5 (October 2017): 204166951773607. http://dx.doi.org/10.1177/2041669517736073.
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Exposure to art increases the appreciation of artworks. Here, we showed that this effect is domain independent. After viewing images of histological stains in a lecture, ratings increased for restricted subsets of abstract art images. In contrast, a lecture on art history generally enhanced ratings for all art images presented, while a lecture on town history without any visual stimuli did not increase the ratings. Therefore, we found a domain-independent exposure effect of images of histological stains to particular abstract paintings. This finding suggests that the ‘taste’ for abstract art is altered by visual impressions that are presented outside of an artistic context.
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Elsner, John. "Image and ritual: reflections on the religious appreciation of classical art." Classical Quarterly 46, no. 2 (December 1996): 515–31. http://dx.doi.org/10.1093/cq/46.2.515.
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It is a cliché that most Greek art (indeed most ancient art) was religious in function. Yet our histories of Classical art, having acknowledged this truism, systematically ignore the religious nuances and associations of images while focusing on diverse arthistorical issues from style and form, or patronage and production, to mimesis and aesthetics. In general, the emphasis on naturalism in classical art and its reception has tended to present it as divorced from what is perceived as the overwhelmingly religious nature of post-Constantinian Christian art. The insulation of Greek and Roman art from theological and ritual concerns has been colluded in by most historians of medieval images. Take for instance Ernst Kitzinger's monographic article entitled ‘The Cult of Images in the Age before Iconoclasm’. Despite its title and despite Kitzinger's willingness to situate Christian emperor worship in an antique context, this classic paper contains nothing on the Classical ancestry of magical images, palladia and miracle-working icons in Christian art. There has been the odd valiant exception (especially in recent years), but in general it is fair to say that the religiousness of antiquity's religious art is skirted by the art historians and left to the experts on religion.
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Royan, Bruce. "The art of partnership: a Scottish case study." Art Libraries Journal 28, no. 3 (2003): 15–22. http://dx.doi.org/10.1017/s0307472200013195.
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The Scottish Cultural Resources Network is a nationwide collaboration of institutions from many curatorial domains, which has built a massive and sustainable multimedia digital library including tens of thousands of resources for the study and appreciation of art. This paper traces the history and governance of SCRAN, with examples of how it manages the creation of digital content. It goes on to describe issues of intellectual property rights and organisational sustainability and discusses what future such a service may have. Finally, it introduces a number of SCRAN-based digital libraries, including Resources for Learning in Scotland, the AMICO Library™, and the British History Library, as well as portal services such as Netwide Search.
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Al-Radaideh, Bassam, Raed Al-Share, and Asem Obidat. "Re-conceptualizing the Jordanian Art Education Curricula: Suggested Entries for Teaching Discipline-Based Art Education Theory." Asian Culture and History 11, no. 2 (April 6, 2019): 26. http://dx.doi.org/10.5539/ach.v11n2p26.
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The curricula of art education in the elementary and secondary schools of Jordan is limited to teaching technical skills for making art, and students did not receive tangibleeducation about history of art, aesthetic, and critical aspects of art. This study identified the theory of Discipline-Based Art Education (DBAE) and its significance in teaching art, and it provided suggestions for teaching history of art, criticism, aesthetic and artistic production. Furthermore, the study justified the possibility of implementing the DBAE approach in Jordan art education curricula. The research revealed that DBAE theory improved and elevated art education to a new level because the four disciplinary content area played a significant role in the development of essential knowledge and skills in the art such as developing the creativity, appreciation, understanding and learning about the role and function of art in human civilization. The study recommends to include the components of DBAE to art education instruction in Jordanian curricula.
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Klaehn, Jeffery. ""The History and Appreciation of an Art Form": Talking Comics Studies with M. Thomas Inge." Inks: The Journal of the Comics Studies Society 3, no. 2 (2019): 205–12. http://dx.doi.org/10.1353/ink.2019.0017.
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Soemaryatmi, Soemaryatmi. "Peningkatan Apresiasi Seni Dan Budaya Masyarakat Dalam Upaya Mewujudkan Desa Mergowati Sebagai Desa Wisata." Abdi Seni 10, no. 1 (April 28, 2020): 34–46. http://dx.doi.org/10.33153/abdiseni.v10i1.3034.
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AbstrakPeningkatan Apresiasi Seni Dan Budaya Masyarakat Dalam Upaya Mewujudkan Desa Mergowati Sebagai Desa Wisata, merupakan kegiatan dalam rangka meningkatkan kesadaran masyarakat Desa Mergowati terhadap potensi seni budaya yang dimiliki untuk dijadikan industri wisata. Mergowati adalah wilayah pedesaan yang memiliki lingkungan alam yang sejuk asri, dan pemandangan yang indah serta kehidupan sosial masyarakat yang ramah dan penuh kekeluargaan. Desa Mergowati memiliki sejarah yang menarik, didukung dengan situs-situs peninggalan Kerajaan Mataram dan memiliki seni budaya serta kerajinan tangan terbuat dari bambu. Metode apresiasi dengan pendekatan aplikatif dan dengan meminjam pemikiran Alfian tentang kreatif, digunakan untuk membahas bagaimana meningkatkan apresiasi seni tradisional masyarakat Desa Mergowati, dan bagaimana meningkatkan kreativitas pengrajin anyaman bambu. PPM Tematik di Desa Mergowati kali ini difokuskan pada peningkatan apresiasi seni tradisioal, workshop pemanfaatan bambu untuk cinderamata, dan mengapresiasi tradisi budaya (Grebeg Gunung Boto). Hasil kegiatan dapat disampaikan sebagai berikut, (1) Pelatihan seni tradisional Tari Kuda Lumping, Tari Kreasi Baru: Tari Rigen, Tari Kupu-Kupu, Tari Merak, Tembang Mocopat, Tembang Dolanan. (2) Workshop pemanfaatan bambu: Lampu Hias, Pot Gerabah Hias, Gantungan Kunci. Diharapkan muncul kegiatan yang bernuansa ekonomi kreatif.Keywords. Apresiasi, Seni, Mergowati, Wisata. AbstractIncreasing the Appreciation of Arts and Culture in the Community Efforts to Realize Mergowati as a Tourism Village, is an activity in order to increase the awareness of the Mergowati people to the potential of the arts and culture they have to make into the tourism industry. Mergowati is a rural area which has a cool natural environment, beautiful scenery and social life that is friendly and full of family. Mergowati village has an interesting history, supported by sites of the kingdom of Mataram and has cultural and handicraft made from bamboo. The appreciation method, with an applicative approach and by borrowing Alfian’s thoughts about creative, is used to discuss how to increase the appreciation of traditional art from the people of Mergowati Village, and how to increase the creativity of woven bamboo craftsmen. Thematic PPM in Mergowati Village this time is focused on increasing appreciation of traditional art, workshops on the use of bamboo for souvenirs, and appreciating cultural traditions (Grebeg Gunung Boto). The results of the activities can be delivered as follows, (1) Traditional arts training on Kuda Lumping Dance, New Creative Dance: Rigen Dance, Kupu Kupu Dance, Merak Dance, Mocopat Song, Dolanan Song. (2) Workshop on the use of bamboo: Decorative lamps, decorative pottery pots, key chains. It is hoped that creative economic activities will emerge.Keywords: Appreciation, Art, Mergowati, Tourism
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Montgomery, Scott B. "Pioneers of psychedelic art: an appreciation of Bonnie MacLean and Wes Wilson." Sixties 13, no. 1 (January 2, 2020): 72–76. http://dx.doi.org/10.1080/17541328.2020.1752075.
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Hein, Laura. "Modern Art Patronage and Democratic Citizenship in Japan." Journal of Asian Studies 69, no. 3 (June 22, 2010): 821–41. http://dx.doi.org/10.1017/s002191181000149x.
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Wakimura Yoshitarō, a prominent Japanese economics professor and art collector, helped establish or sustain at least eight art museums in postwar Japan. He did so to create important institutions of democratic empowerment rather than nationalist displays of power. The crucial context was defeat in World War II, which left many Japanese, including Wakimura, committed to taming capitalism. Wakimura was particularly interested in creating new practices of art appreciation that could mediate relations between potentially antagonistic groups of Japanese, and in building museums as fresh spaces to house these newly egalitarian relationships. He emphasized the value to society created when individuals developed their aesthetic and thus political judgment. His efforts help explain the proliferation of both public and private art museums in postwar Japan as well as the nature of postwar political culture.
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Arai, Shihoko, and Hideaki Kawabata. "Appreciation Contexts Modulate Aesthetic Evaluation and Perceived Duration of Pictures." Art and Perception 4, no. 3 (September 16, 2016): 225–39. http://dx.doi.org/10.1163/22134913-00002052.
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When looking at visual stimuli, context often easily affects elements of perception and cognition such as aesthetic evaluation, memory, and time perception. However, the relationships between aesthetic evaluation and time perception as influenced by context are not fully understood. This study’s aim was to examine whether context can influence not only aesthetic evaluation but also time perception. To achieve this, a temporal reproduction task was used. Participants viewed stimuli in either an art context or a realistic context. Identical affective pictures were presented in one of three durations (2500 ms, 4500 ms, or 6500 ms) and the participants reproduced their perceived viewing time for each picture. The pictures were rated as more pleasant when viewed in the art context compared to the realistic context. Additionally, the perceived duration of identical visual stimuli differed according to the particular context. Thus, contextual differences were found to be attributed to different operations of a switch within the internal clock. In sum, context can influence both aesthetic evaluation and time perception.
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Zembylas, Tasos. "Controversial works of art." Communicating/Doing Politics 3, no. 3 (December 31, 2004): 385–407. http://dx.doi.org/10.1075/jlp.3.3.03zem.
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Art is a public affair because its meaning is always collectively negotiated. Thus, public conflicts that are triggered by works of art are essentially political and inevitable. The analysis of these conflicts points to the effective limits of acceptability of art in a given social constellation. The following paper investigates two types of art conflicts: (1) conflicts that, at first glance, revolve around the interpretation and the aesthetic appreciation of an artwork; and (2) conflicts that explicitly call into question the legal legitimacy of publication of an artwork. This investigation aims to reveal the variety of contents and conditions which pre-structure public conflicts. Further, it opens a normative discussion of the current forms of dealing with such conflicts in the mass media and in the jurisdiction. Such a critical discussion is necessary, since the political quality of a society can be assessed on how it relates to its own conflicting nature.
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White, S. "A collector's odyssey." International Journal of Cultural Property 7, no. 1 (January 1998): 170–76. http://dx.doi.org/10.1017/s094073919877016x.
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The author recounts the process of acquiring a work of art, focusing on one object but encapsulating the thoughts and experience of many years. In so doing, she reflects on the value added to the appreciation of artistic works and her joy in sharing this with others through public display of her collection.
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Carlson, Allen. "Is Environmental Art an Aesthetic Affront to Nature?" Canadian Journal of Philosophy 16, no. 4 (December 1986): 635–50. http://dx.doi.org/10.1080/00455091.1986.10717140.
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In this discussion I consider one aesthetic issue which arises from certain intimate relationships between art and nature. The background to these relationships can be traced to the seventeenth and eighteenth centuries. It includes factors of considerable importance in the history of the aesthetic appreciation of nature such as the eighteenth century infatuation with landscape gardening and the continuingly influential role of landscape painting. Here, however, I concentrate on these relationships only as exemplified in a contemporary phenomenon – environmental art. By environmental art I mean both the earthworks and earthmarks of artists such as Robert Smithson, Michael Heizer, and Dennis Oppenheim and certain structures on the land such as those of Robert Morris, Michael Singer, and Christo. Some paradigm cases are Smithson's Spiral Jetty (1970), Heizer's Double Negative (1969-70), Singer's Lily Pond Ritual Series (1975), and Christo's Running Fence (1972-76).
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de Groot, Joanna. "Keith McClelland and Gender & History : An Appreciation." Gender & History 30, no. 2 (July 2018): 317–19. http://dx.doi.org/10.1111/1468-0424.12393.
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Courville, Mathieu E. "Part Lion, Part Wolf." Studies in Religion/Sciences Religieuses 45, no. 3 (July 10, 2016): 415–38. http://dx.doi.org/10.1177/0008429816637637.
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In this essay, I begin by examining arguments concerning “Orientalism” from the work of the late Edward W. Said. I then highlight the way that Kurban Said’s novella Ali and Nino is indebted to this tradition, the author relying upon it in order to create a complex world within a few pages. On the one hand, this novella is a wonderful work of art with which to work out some of Edward Said’s key ideas, and on the other hand, appreciating Edward Said’s key ideas is also crucial for a better appreciation of this novella’s complexity. The second part of the paper focuses on the novella itself, so as to think of Ali and Nino with Edward Said’s critique of Orientalism in the foreground of one’s mind. In conclusion, I not only highlight why this also sheds light on art and literature, religion and politics, history and current affairs, in such a geopolitically important area as the Caucasus as well as elsewhere the world over; I also point out parallels between the Orientalist stereotypes examined in this essay and key ideas from ascetic religious traditions.
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Stopel, Bartosz. "Aesthetic Appreciation and the Dependence Between Deep and Surface Interpretation." Journal of Literary Theory 14, no. 1 (March 1, 2020): 94–119. http://dx.doi.org/10.1515/jlt-2020-0006.
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AbstractThe article traces the relationship between what is called surface, aesthetic interpretation and deep, semantic, theory-driven interpretation of literature. The former is identified with how interpretation is typically understood in analytic philosophy of art, whereas the latter as belonging to continental literary theory, thus framing the discussion within the relevant debates that the two eminent philosophical schools engage in. Specifically, the article argues in favor of a number of claims. It discusses the notion of surface interpretation, understood as the informed practice involved in general attention to a literary work with an aim of attaining an aesthetically rewarding experience (appreciation). Surface interpretation locates a literary work in a specific art-historical context and at minimum acknowledges the author’s categorial intentions pertinent to genre, general aims and representational content of the work. The article also argues against the notion that appreciation, which is supposed to be the main aim of surface interpretation, is purely perceptual (Carroll, Lamarque) and that consequently aesthetic experience does not involve affective experiences. Grounding appreciation in affective experiences (Levinson) leads me to acknowledge an important continuity between fully formed aesthetic experience and more instinctive or »effortless« ways of attending to a work, such as when one »just enjoys« the emotions afforded by, say, a horror story rather than with full aesthetic attention to the work, where the affective component dominates, but which are less structured to be properly called aesthetic within the conceptual framework I offer here. As a result, I divide the pleasures of attending to an artwork into the instinctive, hedonic ones and the properly aesthetic ones, which both constitute two basic modes of reading. The aesthetic mode is not fully separate from the hedonic one, but on the contrary, by tapping directly into the hardwired human cognitive-affective architecture, it provides a general framework and parameters for the emergence of the higher-order aesthetic mode where more prominence is given to art-historical knowledge and more attention to the design and form/content interrelation. Importantly, aesthetic mode does not operate with the absence of the hedonic one, though they can simultaneously produce different evaluations (e. g. hedonically positive, aesthetically/artistically negative). The two modes could be said to have distinct model readers with corresponding levels of competence. The hedonic reader, as opposed to the aesthetic one, would be largely oblivious to art-historical contexts and would be more selective in terms of attention to the work, relying on direct affect-triggering textual cues. Interpretive effort would be reduced, too. I also discuss my model with reference to the psycho-historical framework for the study of art appreciation as developed by Bullot and Reber which attempts to explain how art responders acquire more complex types of attention to the work, or stances, from mere exposure to the work’s perceptual content to tracing causal history and integrating historical contexts into a more rounded approach to art appreciation. An important part of my argument is the indication that non-habitual pattern isolation responsible for identifying structures, interrelations between a work’s elements and forming predictions about its development in the process of reading is a crucial component of aesthetic experience. Next, I move on to discuss deep interpretation, which typically is seen as miles apart from aesthetic interpretation. It is sometimes assumed that deep, semantic interpretation disregards surface interpretation, including authorial intentions and art-historical contexts and emphasizes reader’s active, playful role in generating an unconstrained swirl of connotations. Such a practice is seen either as being a source of bliss (Barthes) or as a purely intellectual pursuit attempting at enhancing the understanding of the work (Sontag). I argue against all three views and integrate deep interpretation into the model sketched so far. Seeing deep interpretation as unconstrained and purposeless (Lamarque) is an uncharitable straw man. Such a vision would render semantic interpretation unintelligible and random, but this is not the case. By looking into some examples taken from Roland Barthes’ own work which is one of the foundations of modern theory-driven interpretation, I argue that despite his bombastic claims, he is unable to start his deep interpretation project without acknowledging categorial intentions and art-historical context of the work’s creation. Consequently, and comparing his views to contemporary debates on work, authorship, intentions and aesthetics, his work is an attack on a rather dated understanding of these concepts. Theory-driven interpretation can be flawed or stretched, if it does not pay its dues to surface interpretation. Next, I argue that both surface and deep interpretation operate according to the principles of value-maximization (Davies) which can override author’s intentions about the details of her work’s meaning. Using a specific theoretical framework in deep interpretation is an extension of the non-habitual patterns isolation principle and serves to enhance the experience of the work by trying to recognize more pattern that add up to the work’s complexity while remaining faithful to the work’s basic contents. Taking up the semantic reading stance already entails taking up the underlying aesthetic and, more distantly, hedonic stances. In the end, theory-driven interpretation forms the third reading mode which emerges with a correspondingly more competent model reader from the partly-constraining aesthetic mode.
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Brown, Christopher Boyd. "Art and the Artist in the Lutheran Reformation: Johannes Mathesius and Joachimsthal." Church History 86, no. 4 (December 2017): 1081–120. http://dx.doi.org/10.1017/s0009640717002062.
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Luther's student Johann Mathesius, longtime pastor in the Bohemian mining town of Joachimsthal, provides a lens for seeing early modern art and artists through Lutheran eyes, challenging modern interpretations of the dire consequences of the Reformation for the visual arts.1For Mathesius, pre-Reformation art provided not only evidence of old idolatry but also testimony to the preservation of Evangelical faith under the papacy. After the Reformation, Joachimsthal's Lutherans were active in commissioning new works of art to fill the first newly built Protestant church, including an altarpiece from Lucas Cranach's workshop. Mathesius's appreciation of this art includes not only its biblical and doctrinal content but also its aesthetic quality. In an extended sermon on the construction of the Tabernacle in Exodus 31, Mathesius draws on Luther's theology of the special inspiration of the “great men” of world history to develop a Lutheran theology of artistic inspiration, in which artists are endowed by the Holy Spirit with extraordinary skills and special creative gifts, intended to be used in service of the neighbor by adorning the divinely appointed estates of government, church, and household.
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Schwartz, David T. "Art History, Natural History and the Aesthetic Interpretation of Nature." Environmental Values 29, no. 5 (October 1, 2020): 537–56. http://dx.doi.org/10.3197/096327120x15868540131288.
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This paper examines Allen Carlson's influential view that knowledge from natural science offers the best (and perhaps only) framework for aesthetically appreciating nature for what it is in itself. Carlson argues that knowledge from the natural sciences can play a role analogous to the role of art-historical knowledge in our experience of art by supplying categories for properly 'calibrating' one's sensory experience and rendering more informed aesthetic judgments. Yet, while art history indeed functions this way, Carlson's formulation leaves out a second (and often more important) role played by art-historical knowledge over the last century - namely, providing the context needed for interpretations of meaning. This paper explores whether natural science can also inform our aesthetic experience of nature in this second sense. I argue that a robust sense of meaning from our aesthetic experience of nature is indeed made possible by coupling our aesthetic experience of animals with knowledge from the natural science of animal ethology. By extending the scope of Carlson's analogy to include interpretations of meaning, my argument shows that the cognitive, scientific model can accommodate a wider range of aesthetic engagement with nature than previously recognised.
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Muth, Claudia, Marius Hans Raab, and Claus-Christian Carbon. "Expecting the Unexpected: How Gallery Visitors Experience Semantic Instability in Art." Art and Perception 5, no. 2 (June 5, 2017): 121–42. http://dx.doi.org/10.1163/22134913-00002062.
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The perception of artworks rarely—if ever—results in the instantiation of a determinate meaning. Instead, when entering an art gallery, we often expect Semantic Instability (SeIns): the experience of perceptual and cognitive habits being challenged. By comparing the experience of an artistic movie in an exhibition with the experience in a laboratory via the Continuous Evaluation Procedure, we found that the movie was less semantically unstable and more pleasing to the eyes of gallery visitors than to those of participants in the laboratory. These findings suggest that a gallery context might induce the expectation of perceptual challenge, thus decreasing the intensity of SeIns and at the same time heightening the appreciation of SeIns. Exhibition visitors might even be on the lookout for challenging experiences.
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Rapoport, Alek. "Tradition and Innovation in the Fine Arts." Canadian-American Slavic Studies 45, no. 2 (2011): 183–206. http://dx.doi.org/10.1163/221023910x535593.
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AbstractSince childhood, AR was attracted by art. His first teacher, E. Sagaidachny, was a former member of the nonconformist groups “Youth Union” and “The Donkey Tail”. Later, in Leningrad, AR enrolled in the V. Serov School of Art. In spite of official Socialist Realism, some teachers (Shablovsky, Gromov, Sudakov) introduced their students to Russian avant-garde. AR educated himself, copying the paintings of Old Masters in the Hermitage Museum. During 1959-1963 AR studied Russian Suprematism and Constructivism in the Leningrad's Institute for eater, Music and Cinema under the supervision of N. Akimov. AR considered himself as a follower of Russian Constructivism with the roots in ancient Mediterranean and Byzantine art. After graduating, AR's life was full of different activities. He preferred teaching at the V. Serov School of Art, but was fired for “ideological conspiracy” as a founder of the new courses – Technical Aesthetics, Yu. Lotman's eory of Semiotics and Russian Constructivism. In the 1970s AR became an active member of a nonconformist artist group TEV (Fellowship of the Experimental Exhibitions) and the co-founder of the ALEF group (Union of Leningrad's Jewish Artists). This activity brought close attention of KGB and he was forced to emigrate in 1976. Living in the USA, AR criticized American contemporary art for its un-spirituality, commercialism and rejection of traditions – a necessary basis of existence of art. He belonged to two traditional cultures, Jewish and Russian, and his art is traditional. His art represents his own thoughts turned into his paintings, with a great appreciation to discoveries of the Old Masters. And the circle is not closed.
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Arouh, Melenia. "The Different Meanings of “Film Form”." Projections 14, no. 3 (December 1, 2020): 55–71. http://dx.doi.org/10.3167/proj.2020.140305.
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The appreciation of form is a common preoccupation in aesthetic analyses of films. The concept of form, however, has traditionally troubled philosophers of art, and although its meaning and significance have been debated throughout history, a common understanding is not always easy to discern. This article reviews certain ambiguities regarding “form” in film aesthetics through an examination of the uses of the word, especially in relation to content, medium, and style. Through this discussion, both the significance of the word is explained, but also the type of analysis it allows for.
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Tomiche, Anne. "Lyotard's Differend: Radical and Unresolved Dispute, from the Political to the Literary." Paragraph 40, no. 1 (March 2017): 28–42. http://dx.doi.org/10.3366/para.2017.0213.
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Lyotard's notion of the differend can be analysed as a philosophical theory of radical disputes, that is, disputes with no possible resolution other than the silencing of one of the parties. The concept is explicitly meant to shed light on ethical, historical and political debates, while literature and psychoanalysis are strikingly absent from this theory. However, the concept of the differend is crucial to Lyotard's own discussions of literature and art. Developing from a reading of some of his texts on literature and art and on psychoanalysis, this essay shows how the concept of the differend operates in Lyotard's understanding and appreciation of literature and art, in order to then ask how the differend can help us think issues of ‘modernity’, ‘modernism’ and ‘postmodernism’ in terms other than those of literary history, and can help us think experimental writings and artistic practices of the twentieth century in terms other than those of provocation or scandal.
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King, G. R. D. "Creswell's Appreciation of Arabian Architecture." Muqarnas 8 (1991): 94. http://dx.doi.org/10.2307/1523157.
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King, G. R. D. "CRESWELL'S APPRECIATION OF ARABIAN ARCHITECTURE." Muqarnas Online 8, no. 1 (1990): 94–102. http://dx.doi.org/10.1163/22118993-90000268.
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Samat@Darawi, Abdul Basit, Siti Rugayah Tibek, Razaleigh Muhamat@Kawangit, and Abdul Rahman Hamzah. "[History and Contribution of Barzanji and Marhaban Practices in The Main Councils of Society] Sejarah serta Sumbangan Amalan Barzanji dan Marhaban dalam Majlis-Majlis Utama Masyarakat." Jurnal Islam dan Masyarakat Kontemporari 9 (February 10, 2015): 121–32. http://dx.doi.org/10.37231/jimk.2015.9.0.88.
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The art of barzanji and marhaban is included in the sound art of Islamic heritage. It has long been practiced by the Muslim community in certain occasions. The art of barzanji and marhaban is a series of poems about the story of Rasulullah SAW which are presented with its own rhythm. This practice has good implications for the appreciation of the sirah of Rasulullah SAW and is able to foster unity among the community. However, recent developments have found that the practice of barzanji and marhaban is increasingly eroded in society. This article explains about the history and role of the art of barzanji and marhaban. Several suggestions were also put forward to strengthen the art of barzanji and marhaban so that it can continue to be practiced in society.
Keywords: barzanji, marhaban, sound art of Islamic.
Seni barzanji dan marhaban adalah termasuk dalam seni suara warisan Islam. Ianya telah lama diamalkan oleh masyarakat Islam dalam majlis-majlis tertentu. Seni barzanji dan marhaban adalah rangkaian puisi tentang kisah Rasulullah s.a.w yang disampaikan dengan iramanya yang tersendiri. Amalan ini memberikan implikasi yang baik kepada penghayatan sirah Rasulullah s.a.w serta mampu memupuk perpaduan di kalangan masyarakat. Namun, perkembangan terkini mendapati amalan barzanji dan marhaban semakin terhakis dalam masyarakat. Artikel ini menjelaskan tentang sejarah dan peranan seni barzanji dan marhaban. Beberapa cadangan turut dikemukakan bagi memperkasakan seni barzanji dan marhaban agar terus diamalkan dalam masyarakat.
Katakunci: barzanji, marhaban, seni suara, warisan Islam, barzanji dan marhaban
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Chapman, James. "Arthur Marwick (1936–2006): An Appreciation." Historical Journal of Film, Radio and Television 27, no. 2 (June 2007): 237–44. http://dx.doi.org/10.1080/01439680701363341.
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Furnée, Jan Hein, and Roey Sweet. "Peter Borsay: an appreciation." Urban History 48, no. 2 (April 6, 2021): 380–85. http://dx.doi.org/10.1017/s0963926821000146.
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Baumol, William J., and Thijs ten Raa. "Wassily Leontief: In appreciation." European Journal of the History of Economic Thought 16, no. 3 (August 25, 2009): 511–22. http://dx.doi.org/10.1080/09672560903101385.
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Henderson, Felicity. "Robert Hooke and the Visual World of the Early Royal Society." Perspectives on Science 27, no. 3 (June 2019): 395–434. http://dx.doi.org/10.1162/posc_a_00312.
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This article argues that despite individual Fellows’ interest in artistic practices, and similarities between a philosophical and a connoisseurial appreciation of art, the Royal Society as an institution may have been wary of image-making as a way of conveying knowledge because of the power of images to stir the passions and sway the intellect. Using Robert Hooke as a case study it explores some of the connections between philosophers and makers in Restoration London. It goes on to suggest that some epistemic images were in fact designed to elicit an emotional response in their viewers in order to force them to re-evaluate the subject-matter by presenting it in a new and surprising way.
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Albinus, Lars. "Når værk bliver til vold." K&K - Kultur og Klasse 36, no. 105 (August 22, 2008): 102–27. http://dx.doi.org/10.7146/kok.v36i105.22041.
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When Work is Violence:Drawing on examples as divergent as current Muslim responses to the Danish cartoons and German terrorism in the 70s, this article aims to show how a closed alliance between art, politics and religion carries the risk of inducing violence which, among other things, annuls the function of art as being inherently ambiguous.It is argued that the function of art in Islam is bound up with the inviolable authority of the prophet and is therefore basically unable to fulfil satiric purposes. Although satire and laughter were also confined to unofficial activities under the Roman Church in medieval times, it is claimed, along the lines of Bakhtin, that a ‘culture of laughter’ actually did survive in the European history of art and paved the way for the appreciation of the potential of satirical critique. Following Benjamin, it is further claimed that the post-auratic function of art joined up with the revolutionary hope for a new aesthetics of life contrary to the fragmentary world of urban capitalism. Finally, as its major case, the article discusses the sliding of aesthetic provocation into political activism in 70s Germany resulting in Urban terrorism. In this case, the function of art once again falls back into a totalitarian critique which merely acknowledges a singular picture of the world. In conclusion, it is pointed out that aesthetic expressions are only imbued with an anti-violent vitality due to a non-condemning, ambiguous openness.
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O'Connor, John E. "Jim Welsh: In Appreciation of a Pioneer." Film & History: An Interdisciplinary Journal of Film and Television Studies 34, no. 1 (2004): 12–15. http://dx.doi.org/10.1353/flm.2004.0024.
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Smith, Michael. "What History is good for: Service-learning and studying the past." Learning and Teaching 2, no. 3 (December 1, 2009): 50–73. http://dx.doi.org/10.3167/latiss.2009.020304.
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Many disciplines in the social sciences and humanities can offer profound insights into what it means to be human. History, however, encompasses the totality of human experience: economics, politics, philosophy, art, ethics, sociology, science - all of it becomes part of history eventually. Therefore, the opportunities for incorporating service-learning (carefully integrating community service with academic inquiry and reflecting on insights derived from such integration) into history courses abound. Many historians have taken advantage of this opportunity. Few historians have undertaken a scholarly investigation of the learning taking place in their service-learning courses, however. Indeed, despite the fact that the reflective process so central to service-learning lends itself remarkably well to the scholarship of teaching and learning (it generates very rich data on both the affective and content-based learning students are experiencing), there has been little published SoTL research from any discipline about service-learning. Drawing on qualitative evidence from an honours course comprised of 16 students at a private liberal arts college in the northeastern United States, I argue that not only does service-learning in history lead to more active citizenship, but that it also leads to deeper appreciation of an historical perspective as a key ingredient for being an engaged citizen.
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Sabău, Nicolae. "„Sok szíves üdvözlettel régi barátos…”. Colegamenti di amicizia di Coriolan Petranu con storici magiari." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 107–26. http://dx.doi.org/10.24193/subbhistart.2020.06.
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"„Sok szíves üdvözlettel régi barátos...” (“With kind regards, your old friend...”). Coriolan Petranu’s Friendly Connections to the Hungarian Historians. Coriolan Petranu is the founder of modern art history education and scientific research in Transylvania. He had received special education in this field of study that is relatively new in the region. He started his studies in 1911 at the University of Budapest, attending courses in law and art history. During the 1912-1913 academic year he joined the class of Professor Adolph Goldschmiedt (1863-1944) at the Friedrich-Wilhelm University in Berlin. The professor was an illustrious personality from the same generation as art historians Emil Mâle, Wilhelm Vögte, Bernard Berenson, Roger Fry, Aby Warburg, and Heinrich Wölfflin, specialists who had provided a decisive impetus to art historical research during the twentieth century. In the end of 1913, Coriolan Petranu favored Vienna, with its prestigious art historical school attached to the university from the capital of the Austro-Hungarian Empire. There he completed and perfected his education under the supervision of Professor Josef Strzygowski (1862-1941). The latter scholar was highly appreciated for his contributions to the field of universal art history by including the cultures of Asia Minor (Syria, Mesopotamia, Armenia, and Persia), revealing the influence that this area had on proto-Christian art, as well as by researching ancient art in Northern Europe. In March 1920 the young art historian successfully defended his doctoral dissertation entitled Inhaltsproblem und Kunstgeschichte (”Content and art history”). He thus earned his doctor in philosophy title that opened him access to higher education teaching and art history research. His debut was positively marked by his activity as museographer at the Fine Art Museum in Budapest (Szepműveszeti Muzeum) in 1917-1918. Coriolan Petranu has researched Romanian vernacular architecture (creating a topography of wooden churches in Transylvania) and his publications were appreciated, published in the era’s specialized periodicals and volumes or presented during international congresses (such as those held in Stockholm in 1933, Warsaw in 1933, Sofia in 1934, Basel in 1936 and Paris in 1937). The Transylvanian art historian under analysis has exchanged numerous letters with specialists in the field. The valuable lot of correspondence, comprising several thousands of letters that he has received from the United States of America, Great Britain, Spain, France, Switzerland, The Netherlands, Denmark, Sweden, Norway, Finland, Estonia, Latvia, Czechoslovakia, Austria, Hungary, Poland, the USSR, Serbia, Bulgaria, and Egypt represents a true history of the stage and development of art history as a field of study during the Interwar Period. The archive of the Art History Seminary of the University in Cluj preserves one section dedicated to Hungarian letters that he has send to Hungarian specialists, art historians, ethnographers, ethnologists or colleagues passionate about fine art (Prof. Gerevich Tibor, Prof. Takács Zoltán, Dr. Viski Károly, Count Dr. Teleki Domokos). His correspondence with Fritz Valjavec, editor of the “Südostdeutsche Forschungen” periodical printed in München, is also significant and revealing. The letters in question reveal C. Petranu’s significant contribution through his reviews of books published by Hungarian art historians and ethnographers. Beyond the theoretical debates during which Prof. Petranu has criticized the theories formulated by Prof. Gerevich’s school that envisaged the globalization of Hungarian art between the Middle Ages and the Early Modern Period and that also included in this general category the works of German masters and artists with other ethnic backgrounds, he has also displayed a friendly attitude and appreciation for the activity/works of his Hungarian colleagues (Viski Károly and Takács Zoltán). The previously unpublished Romanian-Hungarian and Hungarian-Romanian set of letters discussed here attest to this. Keywords: Transylvania, correspondence, vernacular architecture, reviews, photographs, Gerevich Tibor, Dr. Viski Károly "
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Patterson, Thomas C. "Social Archaeology in Latin America: An Appreciation." American Antiquity 59, no. 03 (July 1994): 531–37. http://dx.doi.org/10.1017/s0002731600065471.
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This paper examines the historical development and theoretical underpinnings of the connections established between archaeology and Marxist social thought in Latin America. This dialogue began before the Russian Revolution and persists to the present day in the form of Latin American social archaeology.
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Santos, Flávio Henrique Sousa, Mireli Luzia Santos Sousa, and Gilmar Antoniassi Junior. "MULHERES TRABALHADORAS DOMÉSTICAS." Psicologia e Saúde em Debate 7, no. 1 (July 6, 2021): 362–75. http://dx.doi.org/10.22289/2446-922x.v7n1a25.
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Introduction: Work is considered an activity to which people attach value and importance in their life, not only because it is related to their subsistence, but also due to their ability to promote social interaction in the daily life of relationships. Objective: To contextualize, from the state of the art, the scenario about women domestic workers. Materials and Methods: This is a qualitative, descriptive study of the state of the art in view of the scientific production raised in the literature with regard to the theme of women and domestic work. Results: Respectively, the writing was organized in three axes established when addressing women in the scope of labor relations, detailing the domestic profession and the views of health promotion and the quality of life at work. Considerations: The purpose here is to show that domestic work has undergone several transformations to get here, that there is still very little appreciation of this class, and respect for so many women who leave their homes in search of better lives and that in history of housework owes nothing that was not sweaty.
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Krummacher, Friedhelm. "Überlegungen zur Schütz-Rezeption." Schütz-Jahrbuch 12 (August 21, 2017): 73–82. http://dx.doi.org/10.13141/sjb.v1990748.
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Der Versuch, die Rezeption der Kompositionen von Heinrich Schütz als historisches Kontinuum darzustellen, wäre aller Wahrscheinlichkeit nach zum Scheitern verurteilt. Denn seine Position und Bedeutung in der Rezeptionsgeschichte kann sich keinesfalls mit dem zu Lebzeiten erreichten Ansehen seiner Person messen. Erst seit einiger Zeit beginnt sich die Wiederentdeckung seiner Werke, die im 19. Jahrhundert begann, einem größeren Publikum zu erschließen. Nichtsdestotrotz kann die Geschichte der Schütz-Studien als Gradmesser für eine historische Rezeption genutzt werden, die eher auf qualitatives Urteil als auf Massenrezeption gestützt scheint. (Übersetzung)
An attempt to discuss the reception of Schütz's music as a historical continuum would stand little chance of success. The appreciation Schütz attained in his own lifetime was by no means matched by a historical impact measurable in reception history. In addition, the gradual rediscovery of his art since the 19th c. has only recently reached a larger public. Nevertheless, the history of Schütz scholarship may be used as a yardstick for measuring a reception history based on quality of judgment rather than quantity of responses. (Quelle: RILM)
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Rotberg, Robert I. "Biography and Historiography: Mutual Evidentiary and Interdisciplinary Considerations." Journal of Interdisciplinary History 40, no. 3 (January 2010): 305–24. http://dx.doi.org/10.1162/jinh.2010.40.3.305.
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Biography is history, depends on history, and strengthens and enriches history. In turn, all history is biography. History could hardly exist without biographical insights—without the texture of human endeavor that emanates from a full appreciation of human motivation, the real or perceived constraints on human action, and exogenous influences on human behavior. Social forces are important, but they act on and through individuals. Structural and cultural variables are important, but individuals pull the levers of structure and act within or against cultural norms. The success of historical biography as a craft ultimately turns on the nature of its evidence and the interdisciplinary methodologies that it can bring to bear on its subject.
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Harrison, Madaline B., and Nicole Chiota-McCollum. "Education Research: An arts-based curriculum for neurology residents." Neurology 92, no. 8 (February 18, 2019): e879-e883. http://dx.doi.org/10.1212/wnl.0000000000006961.
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ObjectiveTo determine the feasibility and educational value of an arts-based curriculum for neurology residents, with the following specific learning objectives: to enhance communication and observational skills, increase awareness of point of view, and deepen appreciation of the narrative content of illness.MethodsNarrative medicine and visual thinking exercises, adopted from the study of literature and art history, were offered as monthly sessions in the neurology residents' conference schedule. Participants completed an institutional review board–approved anonymous evaluation using a 5-point Likert scale to rate course effectiveness and perform a retrospective pre- and post-self-assessment of communication and visual observation skills. They also provided free text feedback on the course.ResultsAll participants rated the course highly and found the exercises effective in enhancing awareness of language and observational skills. Eighty percent of participants rated their listening and observation skills as above average after participation, which improved from 63% and 45%, respectively, before the sessions. Comments on the course cited the importance of reflection, focused attention, awareness of multiple perspectives, and appreciation of colleagues.ConclusionsArts-based graduate medical education is feasible and effective in teaching residents to listen and observe more closely. Narrative medicine and visual thinking exercises highlight these skills and promote professional growth, providing an opportunity to reflect and find meaning in clinical work.
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Grenier, Yvon. "The Romantic Liberalism of Octavio Paz." Mexican Studies/Estudios Mexicanos 17, no. 1 (2001): 171–91. http://dx.doi.org/10.1525/msem.2001.17.1.171.
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My aim in this article is to contribute to a better appreciation of Octavio Paz's political thought, and to highlight how Paz's work is useful to improve our understanding of some of the fundamental dilemmas of contemporary Western societies. Ido this by examining Paz's unorthodox and syncretic use of two largely opposing intellectual traditions, liberalism and romanticism. I conclude with some remarks on how art can inspire fresh thinking about politics. En el presente artíículo me propongo contribuir a un major entendimiento del pensamiento políítico de Octavio Paz y demostrar cóómo su obra sirve para comprender algunos de los dilemmas fundamentals que enfrentan las sociedades occidentals contemporááneas.Miplanteamiento tiene como punto de partidaeluso no ortodoxo y sincréético que hace Paz de dos tradiciones intelectuales diametralmente opuestas, el liberalismo y el romanticismo. Concluyo con unos comentarios sobre el mundo de el arte y cóómo puede inspirarnos a renovar nuestra manera de pensar lo politico.
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Puguh, Dhanang Respati, Mahendra Pudji Utama, and Rabith Jihan Amaruli. "Peranan Perguruan Tinggi di Semarang dalam Pelestarian Wayang Orang Ngesti Pandowo." Jurnal Sejarah Citra Lekha 4, no. 2 (December 10, 2019): 137–52. http://dx.doi.org/10.14710/jscl.v4i2.25753.
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Ngesti Pandowo is a wayang orang group founded in Madiun, East Java on July 1, 1937. Since 1954, this community has been settled in Semarang and reached its heyday in the 1950-1970 and become the City’s icon. In the late 1970s, Ngesti Pandowo suffered a continuing setback. It raised the concern and attention of a number of groups including the government, universities in Semarang, and the business parties to maintain its sustainability. This article is focused on the discussion of the efforts of the universities in Semarang to preserve Ngesti Pandowo. This article used historical methods, oral history, and literature study. The results show that universities in Semarang had played an important role in preserving Ngesti Pandowo through various activities, namely: art appreciation, management development, player support, and technology utilization.
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Evans, W. Gareth. "The Welsh Intermediate and Technical Education Act, 1889: a centenary appreciation." History of Education 19, no. 3 (September 1990): 195–210. http://dx.doi.org/10.1080/0046760900190303.
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CARRIGER, MICHELLE LIU. "No ‘Thing to Wear’: A Brief History of Kimono and Inappropriation from Japonisme to Kimono Protests." Theatre Research International 43, no. 2 (July 2018): 165–84. http://dx.doi.org/10.1017/s0307883318000287.
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In June 2015, a small strange protest erupted in the Boston Museum of Fine Arts, around a sumptuous red kimono, provided to visitors to try on and emulate the 1876 painting La Japonaise, by Claude Monet. Protesters named themselves Decolonize Our Museums and took to the gallery and social media with strident messages condemning the Kimono Wednesdays try-on activity as racist, orientalist appropriation; soon after, counterprotesters faced off, defending the programme for sharing Japanese culture with the community. In this article, I consider the kimono protests as part of a history of kimono, internationally created yet indelibly marked as Japanese. In this context, the kimono protests provide an occasion to consider the ramifications of contemporary debates about cultural appropriation and appreciation. Through a performance-theory inflected analysis I propose a theatrical ethic of ‘inappropriation’ as a means of moving discourse and public performances of culture beyond the stultifying binaries of right/wrong or appreciation/appropriation.
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Cheung, Sidney C. H. "The sublime in scent: a comparative study of Japanese Kodo and Chinese incense tradition in the 21st century." Asian Education and Development Studies 10, no. 1 (June 30, 2020): 95–104. http://dx.doi.org/10.1108/aeds-02-2020-0035.
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PurposeThe sublime in scent refers to the use of language and description that excites thoughts and emotions beyond ordinary olfactory experience, and I would like to borrow this literary concept to explore the recent development of incense traditions in Japan and China from a sociocultural perspective. In order to understand how olfactory characters of incense have been verbally expressed, we can start by looking into the sublime in scent through the articulation of relevant subtle approaches since ancient times.Design/methodology/approachThis paper explains how the description of scent experienced by individuals has been associated with thoughts and history and why the sublime in scent is more complicated than the aroma people can tell. The data collected for this research is mostly based on observations by participating in various events and conversations with different people.FindingsIn Japan and China, the use of incense has a long history, and relevant scent cultures have been developed not only for offerings in religious practices, but also as a kind of scent appreciation together with a poetic presentation. Again, it is important and significant to discern several interactions of incense traditions in these two countries, since the transformations became obvious in the last two decades, while Japanese Kodo participated more in international exchange, and the Chinese people's view of intangible cultural heritage has become more important in their daily social practices.Originality/valueAs a way of showing how the study of scent can enhance ethnographic writing and the understanding of changes in the appreciation of incense, this paper hopes to contribute to the study of art and tradition.