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Academic literature on the topic 'Gilles Views on art'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Gilles Views on art"

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Stuhr, John J. "Radical Empiricism: William James and Gilles Deleuze." Contemporary Pragmatism 18, no. 4 (November 29, 2021): 370–92. http://dx.doi.org/10.1163/18758185-bja10026.

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Abstract Both William James and Gilles Deleuze labeled their philosophies "radical empiricism." In this context, this essay explores the similarities and differences between James's radical empiricism (particularly as it is present early inches Principles of Psychology) and Deleuze's "transcendental empiricism" (particularly as set forth in The Logic of Sense). These accounts then inform a view of philosophy understood as a creative art. This art demands flexible habits--what James termed "genius"--in a changing world. Accordingly, radically empirical accounts of creativity and genius are sketched.
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Konstantinov, Mihael. "Juri Lotman, Gilles Deleuze and their approaches to cinema: Points of intersection." Sign Systems Studies 48, no. 2-4 (December 31, 2020): 392–414. http://dx.doi.org/10.12697/sss.2020.48.2-4.10.

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Engaging with the methods of studying contemporary digital audiovisual art is a dominant topic in contemporary theories of art. Against this background, the article offers a view onto some aspects of Juri Lotman’s and Gilles Deleuze’s studies on the cinema. As a rule, contemporary studies of digital audiovisual art take place in the context of interdisciplinary studies. One of the methodological principles of such studies consists in adopting a structural and semiotic approach. As of today, this methodological approach to studying audio-visual art is most developed in semiotics of the cinema, which is why in this article visual semiotics in general is viewed through semiotics of the cinema (proceeding from the approach of Juri Lotman). Also, the philosophical understanding of the nature of the cinema offered by Gilles Deleuze has proven fundamental for the study of contemporary audio-visual art. The two authors were contemporaries, but represented different scholarly paradigms: while Juri Lotman was an adherent of structuralism, Gilles Deleuze was a poststructuralist who criticized the structuralist approach. Yet despite this principal difference, both scholars still arrived at similar conclusions as concerns several questions regarding the understanding of the cinema and its very nature. In the present paper I focus on the features of these authors’ approach to spatial and temporal relations in the cinema, audiovisual relations in film as a heterogeneous form of the work of art, virtuality and mythologism in the viewer’s perception of cinema. The differences and similarities in academic approaches to cinema, developed by Lotman and Deleuze, indicate a common direction in the development of the cinema and visual arts theory, which seems relevant for the study of contemporary audio-visual arts.
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Duffy, Simon. "The Difference Between Science and Philosophy: the Spinoza-Boyle Controversy Revisited." Paragraph 29, no. 2 (July 2006): 115–38. http://dx.doi.org/10.3366/prg.2006.0012.

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This article examines the seventeenth-century debate between the Dutch philosopher Benedict de Spinoza and the British scientist Robert Boyle, with a view to explicating what the twentieth-century French philosopher Gilles Deleuze considers to be the difference between science and philosophy. The two main themes that are usually drawn from the correspondence of Boyle and Spinoza, and used to polarize the exchange, are the different views on scientific methodology and on the nature of matter that are attributed to each correspondent. Commentators have tended to focus on one or the other of these themes in order to champion either Boyle or Spinoza in their assessment of the exchange. This paper draws upon the resources made available by Gilles Deleuze and Felix Guattari in their major work What is Philosophy?, in order to offer a more balanced account of the exchange, which in its turn contributes to our understanding of Deleuze and Guattari's conception of the difference between science and philosophy.
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Vatovec, Matej T. "Nota Bene. Anti-representation enters the theatre." Maska 28, no. 157 (October 1, 2013): 128–40. http://dx.doi.org/10.1386/maska.28.157-158.128_1.

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This article deals with the problem of artistic representation in theatre. It explores the practice of the Italian actor and director Carmelo Bene, which virtually coincides with the theoretical (or philosophical) thought of Gilles Deleuze and his philosophy of difference. The author tries to show the move from classical theatre representation towards the critical staging that overturns the theatre practice, actualizing at once the 'philosophy of difference" in art. In the author's theoretical view, this shift represents the essence of artistic activity - the so-called "de-equalisation" or denunciation of common sense'.
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Yebra Pertusa, José María. "Retro-Victorianism and the simulacrum of art in Will Self's Dorian: An imitation." Revista Alicantina de Estudios Ingleses, no. 23 (December 15, 2010): 231. http://dx.doi.org/10.14198/raei.2010.23.13.

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This essay aims at exploring Will Self’s novel Dorian: An Imitation (2002) as a postmodernist revision of Oscar Wilde’s celebrated The Picture of Dorian Gray (1891). Exceptional for ones, immoral and shameful for others, Dorian: An Imitation fosters an intertextual relation with the late-Victorian hypotext whereby both texts are transformed out of a refractory process. Like its predecessor, Self’s novel is primarily interested in aesthetic issues. In this light, my main concern consists in analysing the artistic discourses that Dorian: An Imitation reflects and deflects in the era of simulation. Likewise, I examine how the novel delves into the problematic relationship between “reality” and “fiction”, original and simulacra. At the turn of the millennium, when virtual reality/ies are generated by computers, literature has a challenge which, in my view, Self’s novel deals with. Thus, from the theories of simulation proposed by Jean Baudrillard and, to a lesser extent, Gilles Deleuze, my essay confronts Dorian as a valuable text: it adapts the discourse of new technologies to literary language; it goes into the postmodernist ontological crisis; and, finally, it opens up the debate of aesthetic interaction between the canon and new literatures.
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Rubin, Joshua D. "Assembling emergence: making art and selling gas in Bulawayo." Africa 89, no. 3 (July 16, 2019): 479–98. http://dx.doi.org/10.1017/s0001972019000482.

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AbstractThis article is an ethnographic investigation of the labours of making art and selling liquid petroleum gas (LPG) in Bulawayo, Zimbabwe. It locates these activities within a shared social world, centred on one of Bulawayo's major art galleries, and it demonstrates that artists and LPG dealers use similar strategies to respond to the political conditions of life in the city. This article frames these conditions as unpredictable, insofar as they change frequently and crystallize in unexpected forms, and it argues that both groups are attempting to act within these conditions and shape them into emergent assemblages. In adopting this term ‘assemblage’, which has been elaborated theoretically by Gilles Deleuze, Félix Guattari and their many interlocutors, this article emphasizes both the mutability and the unpredictability of these formations. The artists who work in the gallery, for their part, make their art by assembling their chosen media. The processes by which they choose their media constitute assemblages as well, in that artists have to adapt their artistic visions to the materials that Zimbabwe's market can provide. Street dealers in gas also produce emergent assemblages against the backdrop of unpredictability. If they want to make natural gas available to consumers, dealers must shepherd their medium through an always emergent process of distribution. They participate in transnational networks of trade, but they also theorize innovative strategies of procurement, develop circuits of trust and loyalty, and conjure up visions of a predatory state. Like artists, they use their work to construct dynamic representations of the world around them. Artists may produce images, and dealers circulate gas, but this article shows that conceptualizing these practices in terms of ‘assemblages’ calls their commonalities into view. In doing so, it also demonstrates that these practices complicate easy distinctions between aesthetics, economics and politics.
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Khamari, Zied. "Politicizing flight in Edward Albee’s seascape." Linguistics and Culture Review 5, no. 1 (February 24, 2021): 10–19. http://dx.doi.org/10.21744/lingcure.v5n1.150.

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In recent years, scholars and critics have become increasingly interested in the view that art is a means to escape from the existent reality and the difficulties of modern civilization. Many writers emphasized in their literary works the need to be emancipated from the restrictions of modern society and underlined the idea that flight is the ultimate way to avoid the complexities of contemporary life. Edward Albee, for example, addressed the issue of flight in his drama, particularly the sociopolitical and artistic scopes of escape. In his Seascape, Albee presents a multifaceted perception of flight juxtaposing the social with the literary and the political with the artistic. In the postmodern political thought too, there is a similar tendency that valorizes the struggle for the liberation of the individual from all forms of repression and domination exerted by sociopolitical forces. Gilles Deleuze & Félix Guattari (2005), for instance, criticize the constraints and rules that power authorities use to control the individual and call instead for freeing humans from all authoritarian policies. This paper, then, seeks to examine Albee’s staging of flight from the Deleuzo-Guattarian perspective in an attempt to elucidate his complex yet refined dramatization of escape in his play Seascape.
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Neupokoiev, Ruslan. "Existential Features of Variety Numbers With a Puppet." Culturology Ideas, no. 14 (2'2018) (2018): 205–15. http://dx.doi.org/10.37627/2311-9489-14-2018-2.205-215.

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The dramatic principles of the variety art puppet are fundamentally different from the principles of classical drama, the application of the principles leads to the creation of not concert numbers, but etudes, or small performances. At the empirical level, there is an understanding of the difference between the number and the etude, but the lack of a clear differentiation between them and the lack the principles by which the existence of the number becomes possible creates serious problems for practical work. Principles of classical drama, formulated in the era of the Enlightenment on the basis of the Aristotle’s unity of place, time and action, continue to dominate in the view of dramaturgy to this day. Search of the principles difference from classical ones leads us to turn to a non-classical picture of the world in general and to the philosophy of postmodernism in particular. So we apply the postmodern method of deconstruction to the subject of the research. Speaking about the binary opposition “etude and number”, let us pay attention to the broader opposition: “performance and concert”. It correlates directly with the concepts proposed by Gilles Deleuze and Felix Guattari, described in the work “Rhizome”: “tree” and “rhizome”. The linear narrative as a performance corresponds to the “tree” concept, the nonlinear narrative as a concert number corresponds to the rhizome. Linear narrative is created according to the classical principles of decalcomania, but nonlinear narrative is created according to the rhizomatic principles of cartography. “Tree” is centred on the root – ideas, “rhizome” is not centred. Rhizome is the sum of the relationship of its points. The idea in the rhizome is secondary and may arise as a result of the relationship between points of rhizome. Analysis and deconstruction demonstrate that the concert and the numbers from which it is composed, in contrast to the performance and the etude, are rhizomatic systems, and therefore require radically other principles of drama. Application to rysomatic systems of the cartography method proposed by Gilles Deleuze, when instead of proving meaning, meaning is born in the process of the research, may become the main method of non-classical drama. The subject of the study in the concert number is the behaviour of the function, which may be a metaphor of the phenomenon of life, embodied in a certain form in the non-inherent for this function of the proposed circumstances. The form-function and the proposed circumstances become points of the rhizome, and their interaction creates rise to the meaning of the concert number. Principles of rhizomatic drama, built on the cartography method, can be applied not only in the concert number with the puppet, but also throughout the art of the postmodern era.
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Koutsourakis, Angelos. "Militant Ethics." Cultural Politics 16, no. 3 (November 1, 2020): 281–302. http://dx.doi.org/10.1215/17432197-8593494.

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The publication of Rainer Werner Fassbinder’s play Der Müll, die Stadt und der Tod (Garbage, the City, and Death; 1976) constitutes one of the major scandals in German cultural history. The play was accused of being anti-Semitic, because one of its key characters, a real estate speculator, was merely called the Rich Jew. Furthermore, some (negative) dramatis personae in the play openly express anti-Semitic views. When asked to respond, Fassbinder retorted that philo-Semites (in the West Germany of the time) are in fact anti-Semites, because they refuse to see how the victims of oppression can at times assume the roles and positions assigned to them by pernicious social structures. Fassbinder’s vilification on the part of the right-wing press prevented the play’s staging; subsequently, in 1984 and 1985–86 two Frankfurt productions were banned due to the reaction on the part of the local Jewish community. A similar controversy sparked off by the film adaptation of the play Shadow of Angels by Daniel Schmid. During the film’s screening at the Cannes Film Festival the Israeli delegation walked out, while there was also rumor of censorship in France. Gilles Deleuze wrote an article for Le Monde titled “The Rich Jew” defending the film and the director. Deleuze’s article triggered a furious reaction from Shoah (1985) director, Claude Lanzmann, who responded in Le Monde and attacked the cultural snobbery and “endemic terrorism” of the left-wing cinephile community. Lanzmann saw the film as wholly anti-Semitic and suggested that it identifies the Jew—all Jews—with money. While the author acknowledges the complexity of the subject, he revisits the debate and the film to unpack its ethical/aesthetic intricacy and propose a pathway that can potentially enable us to think of ways that political incorrectness can function as a means of exposing the persistence of historical and ethical questions that are ostentatiously resolved. He does this by drawing on Alain Badiou’s idea of militant ethics and Jacques Rancière’s redefinition of critical art as one that produces dissensus.
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Lepikult, Mirjam. "Michel Foucault' filosoofiline nägemine kujutava kunsti näite põhjal." Baltic Journal of Art History 11 (November 30, 2016): 89. http://dx.doi.org/10.12697/bjah.2016.11.05.

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In examining Michel Foucault’s philosophical vision I have used Gilles Deleuze’s definition: “A seer is someone who sees something not seen.” Being situated on the border between the discursive and the non-discursive, images offer an opportunity to get out of the discursivity; this rupture enables one to see and say something new. The images carry in themselves “an uncertainty essential for creativity”. This property relates images to Foucault’s philosophical vision, aimed at destroying the evidence characteristic of a historical formation in the sphere of what is seen and what is said.In addition, one can notice three different directions in Foucault’s understanding of art, which correspond to different periods in his thinking. In his first work Folie et déraison. Histoire de la folie à l’âge classique (1961) there is a vertical view. Influenced by Martin Heidegger’s ontological conception of art, Foucalt sees images as “growing out of the Earth”, as a specific truth which he valued highly during this period.”Archéologie du savoir (1969) reveals a different vision of art. In this work, Foucault stressed that, at least in one of its dimensions, art is a discursive practice “at the most superficial (discursive) level”. In this “superficial” phase, his account of art may be compared to George Dickie’s institutional theory of art. I call the gaze moving along the surface the horizontal.However, as early as the 1970s, Foucault’s understanding of art becomes spherical: art lacks an ontological dimension; instead, images emerge in a historical fabric, within a network of power, as a result of complex interaction between various forces. Foucault participates in this “fight” mainly at the discursive level, but he does not suffocate images with text; instead, he revitalizes them, making them visible again in a novel way.Eventually the question arises whether the direction of the view has an effect on the interpretation of art.Firstly, there is the problem of value. In a broader wider perspective, the vertical is inherently tied to this. It touches on hierarchy, on looking up from below and the awe this invokes. A connotation is assigned to divine structures and the symbolic significance of such things. Growing from the artist’s hand via forces unknown, self-made artworks thus evoke a different kind of reverence than those produced merely on a flat surface. Foucault’s earlier works in his vertical period reference visual art notably more than his later works. Pictures made in the vertical seem to offer him more inspiration. It is only during this period that pictures speak to him, later it would be reversed – he would speak of the image.Admittedly he never finished his horizontal interpretation, producing only a barebones sketch. Such an approach does not demand viewing or listening to the art itself, but rather offers a possible way to hold a discussion on it. Maybe Foucault just did not have the time to write on the horizontal or maybe it simply did not engage him enough.The horizontal approach, specifically the version put forth by Dickie is a consumer-centric vision. Art would mean a market that is based purely on supply and demand. With this approach, artworks tend to contract the one time use and disposability of commodities.Secondly, there is the issue of visual art’s material or virtual nature. Words like verticality and Earth remind us that art has been material (until now) and thus literally originates from the ground. One can easily argue that works come from the Earth and emerge with the help of the artist, as Heidegger claimed. If we say that artworks have been material until now, we draw attention to the evolution of art as a configuration of shining pixels on a computer screen. The screen may be material but how and in what way is the light emitted from the tiny points of light material? However one approaches it, the virtual image is material in a different way than traditional works of art. Might it be that Foucault’s spherical view is a good fit for analyzing such virtual art?
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Dissertations / Theses on the topic "Gilles Views on art"

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Morrow, Stephen M. "The Art Education of Recklessness: Thinking Scholarship through the Essay." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492288407200045.

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Ramey, Joshua Alan. "Gilles Deleuze and the powers of art." Click here for download, 2006. http://proquest.umi.com/pqdweb?did=1176539841&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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Salucci, Marco. "Gilles Deleuze, une inéfinition esthétique." Paris 8, 2014. http://www.theses.fr/2014PA084150.

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La notion de ressemblance, l’inconscient œdipien, l’ordre de la grammaire, sont respectivement trois manières finalisées à définir la sensibilité, le désir, l’écriture. Cependant, la philosophie de Deleuze fait dysfonctionner la ressemblance, délirer le désir, met sous tension la grammaire. Dans cette thèse, nous proposons une approche opératoire de la pensée de Deleuze afin de montrer par quels mouvements et par quels concepts, la définition atteint ses limites et la pensée retrouve le véritable étonnement philosophique. Lorsque désir et objet, Dire et Faire, corps et sensation, se retrouvent dans une zone indéfinie, la philosophie ne concerne plus la pensée, elle fait sensation. Cette thèse décompose et explicite les mouvements et les milieux où les concepts deleuziens se forment en partant de la destitution d’un objet clair, pensé et défini. Les vitesses qui parcourent sa philosophie seront mises en contrepoint avec des œuvres d’art qui permettront d’activer une sensation au delà de tout objet défini et en-deçà de tout sujet constitué. Nous verrons comment les trajets indéfinis de leur destitution parcourent une surface dans laquelle la notion de création rencontre, chez Deleuze, la vie
The concepts of similarity, unconscious Oedipal tendencies, and grammatical order are, respectively, three basic ways of framing sensibility, desire, and writing. Deleuze’s philosophy, however, dismisses this understanding; he renders similarities dysfunctional, while enflaming desire and energizing grammar. In this thesis, we propose an operative approach to Deleuze’s thought, in order to show how it has reclaimed the power of shocking philosophical insight. When desire and its object, or the declaration and its accomplishment, as well as the body and its capacities of sensation, are left in an indefinite area, philosophy is no longer confined to realm of thought; it creates a sensation. This thesis deconstructs and makes explicit those areas where Deleuzian concepts take on this matter of the removal of the certain object. The quick thinking that runs through his philosophy will be placed in counterpoint to those works of art that activate a sharp feeling beyond all defined objects and subject matter. We will see how such undefined paths give rise to a surface where the notion of creation is, according to Deleuze, life itself
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Marzec, Megan E. "Wastelands, Revolutions, Failures." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429889399.

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Law, Sum-po Jamsen. "Nietzsche, Deleuze and video art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2222693X.

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Baranzoni, Sara <1981&gt. "Pensiero e creazione. Il theatrum philosophicum di Gilles Deleuze." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/3950/.

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Partendo dalla constatazione di un sempre maggiore utilizzo di terminologie, concetti e citazioni deleuziane all’interno delle pratiche sceniche contemporanee e nelle riflessioni ad esse legate, e prendendo atto dell’assenza di studi specifici che affrontino l’argomento nella sua complessità, il lavoro si propone di penetrare nelle opere e nelle teorie del filosofo Gilles Deleuze con uno sguardo attento al verificarne i punti di contatto bidirezionali con le arti sceniche, al fine di individuare – all’interno di un pensiero che solo raramente si è occupato direttamente di teatro, ma che del teatro ha la potenza – quel materiale che può servire da stimolo per la creazione e l’analisi della scena contemporaneo.
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Dewsbury, John-David Charles. "Theatre, an empty space : a thought performance after Gilles Deleuze." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/7a9b6429-d582-4369-85d4-5c38606bf867.

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Johnson, Alyssa Marie. "Views From The House." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429835120.

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Landaeta, Mardones Patricio. "Gilles Deleuze y Jacques Rancière. Arte, montaje y acontecimiento." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/119527.

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The critique of images is seen as a set-up’s critique for the emergency ofcritical thinking in the era of the proliferation of information and communication systems, imposed due to their apparent objectivity. This article discusses in seven paragraphs the link among montage, image and event according to the thoughts ofGilles Deleuze and Jacques Rancière.
La crítica de las imágenes se entiende como la crítica del montaje para la emergencia de un pensamiento crítico en la era de la proliferación de los sistemas de comunicación e información, que se imponen en su aparente objetividad. El presente artículo aborda en siete parágrafos el vínculo de montaje, imagen y acontecimiento de acuerdo al pensamiento de Gilles Deleuze y Jacques Rancière.
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Brito, Vanessa. "Les arts dans la philosophie de Gilles Deleuze." Paris 8, 2007. http://www.theses.fr/2007PA082850.

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Ce qui se présente toujours à l'étonnement de qui se saisit de l'œuvre de Deleuze, c'est l'abondance de ses références artistiques et la profusion des rencontres entre art et philosophie. En identifiant un programme à résonances éthiques et politiques que Deleuze accorde à la littérature, à la peinture ou au cinéma, ce travail se propose d'éclairer comment s'organisent les rencontres entre le visible et le lisible. Il cherche notamment à préciser quel est le rôle et le statut des arts dans la philosophie de Deleuze. En analysant la notion d'une "philosophie pratique", la conception deleuzienne du sublime, le thème de la "voyance" et de la "fabulation", et l'allégorisme de Deleuze, cette étude révèle enfin comment se construit un plan d'immanence entre les inventions de l'art et les puissances de la vie
What is always astonishing for the reader of Deleuze is the abundance of his artistic references and the multiplication of encounters between art and philosophy. By identifying a program with ethical and political resonances at work, for Deleuze, in literature, painting and cinema, this thesis sets out to clarify how these encounters between the readable and the visible are organized. What is ultimately at stake in the enquiry is the exact status and role of the arts in Deleuze's philosophy. By examining the themes of "voyance" and "fabulation", Deleuze's conception of the sublime, his use of allegory and the notion of a "practical philosophy", the enquiry finally reveals the construction of plane of immanence between the inventions of art and the powers of life
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Books on the topic "Gilles Views on art"

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Yale Center for British Art., ed. Gilded scenes and shining prospects: Panoramic views of British towns, 1575-1900. New Haven, Conn: Yale Center for British Art, 1985.

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Bailly, Jean-Christophe. Gilles Aillaud. Marseille: A. Dimanche, 2005.

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interviewer, Linder-Gaillard Inge, ed. Collection Gilles Balmet. Lyon]: Fage éditions, 2013.

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1928-2005, Aillaud Gilles, ed. Gilles Aillaud. Marseille: André Dimanche Editeur, 2001.

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Gilles, Peter. Peter Gilles, theatrum anatomicum. Köln: Salon Verlag, 1997.

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Mahé, Gilles. Gilles Mahé: Monographie. Paris: J.M. Place, 2004.

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Pierre. Pierre et Gilles. Paris: Contrejour, 1991.

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Pierre. Pierre et Gilles. Tokyo: Yobisha, 1991.

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Gilles, ed. Pierre et Gilles. Köln: Benedikt Taschen, 1993.

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Coellier, Sylvie. Gilles Barbier: Mmmh, oooh : pistons' lovers. Marseille: MAC, galeries contemporaines, 2001.

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Book chapters on the topic "Gilles Views on art"

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Emerling, Jae. "Gilles Deleuze and Félix Guattari." In Theory for Art History, 124–32. Second edition. | London; New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780203113899-17.

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Golshan, Khosrow. "Data Structures and Views." In The Art of Timing Closure, 1–63. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49636-4_1.

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Gillen, Eckhart. "The Grandchildren of Grosz and Kirchner: Realism and Violence in Postwar Berlin Art." In Views of Berlin, 112–29. Boston, MA: Birkhäuser Boston, 1989. http://dx.doi.org/10.1007/978-1-4899-6715-2_10.

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Polonsky, Vyacheslav. "Supplement Lenin's Views of Art and Culture." In Artists in Uniform, 217–52. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003161509-28.

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Garcia, José Gustavo Sampaio. "The Social Construction of Identities and Knowledge in Art Education in Brazil." In Global Views of Adolescence, 83–100. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-52889-8_7.

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Avendano, Andrea. "El Museo de la Nada: An Art Practice of Walking and Drawing Outside the Classroom." In Global Views of Adolescence, 185–95. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-52889-8_14.

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Ziolkowski, Eric. "Patristic and Medieval Views of 2 Kings 2.23—24." In Evil Children in Religion, Literature, and Art, 36–55. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230599758_3.

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Carlopio, James. "Concept Generation: The Art (and Science) of Generating Different Views." In Strategy by Design, 97–120. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105263_4.

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Ciocca, Pierluigi. "Introduction Between ‘a Science’ and ‘an Art’: Central Banks and the Political Economy of Money." In Money and the Economy: Central Bankers’ Views, 1–44. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-07927-8_1.

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Svart Kristiansen, Mette, and Mercedes Pérez Vidal. "Epilogue from the Views of an Archaeologist and an Art Historian." In Acta Scandinavica, 269–92. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.as-eb.5.123993.

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Conference papers on the topic "Gilles Views on art"

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Fleischmann, Monika, Wolfgang Strauss, and Christian-A. Bohn. "Liquid views." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281432.

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Loseby, Jessica. "Views from the ground floor ..." In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1185979.

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Haryatmoko. "The Analogy of Game and Imagination in Art: Paul Ricoeur and Gilles Deleuze’s Philosophical Analyses." In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.067.

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Spencer, D., H. Rand, K. Huffman, P. Pearlstein, B. Riley, Will Stapp, and Vivian Rainer. "Computer art - an oxymoron? Views from the mainstream." In ACM SIGGRAPH 89 Panel Proceedings. New York, New York, USA: ACM Press, 1989. http://dx.doi.org/10.1145/77276.77288.

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Hall, Lynne, Gill Hagan-Green, and Samiullah Paracha. "Alternative Views of Cyber Security: Innovation, Art and Collaborative Practice." In 35th International BCS Human-Computer Interaction Conference. BCS Learning & Development, 2022. http://dx.doi.org/10.14236/ewic/hci2022.48.

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Roberts, Jonathan C. "State of the Art: Coordinated & Multiple Views in Exploratory Visualization." In Fifth International Conference on Coordinated and Multiple Views in Exploratory Visualization (CMV 2007). IEEE, 2007. http://dx.doi.org/10.1109/cmv.2007.20.

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Hou, Li, and Jianjun Kang. "Study on Literary Space in the Landscape of “Eight Views”." In 7th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.348.

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Martseva, Anna, and Diana Sivakova. "The Philosophical Bases of the Pedagogical Views of V. F. Odoyevsky." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.1.

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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.

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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.
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"Waterscape and Mountain Views are All Painting Materials —On Mr. Ding Congwei’s Watercolor Painting Art." In 2018 1st International Conference on Education, Art, Management and Social Sciences. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/eamss.2018.078.

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Reports on the topic "Gilles Views on art"

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Webb, Philip, and Sarah Fletcher. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing. SAE International, November 2020. http://dx.doi.org/10.4271/epr2020024.

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This SAE EDGE™ Research Report builds a comprehensive picture of the current state-of-the-art of human-robot applications, identifying key issues to unlock the technology’s potential. It brings together views of recognized thought leaders to understand and deconstruct the myths and realities of human- robot collaboration, and how it could eventually have the impact envisaged by many. Current thinking suggests that the emerging technology of human-robot collaboration provides an ideal solution, combining the flexibility and skill of human operators with the precision, repeatability, and reliability of robots. Yet, the topic tends to generate intense reactions ranging from a “brave new future” for aircraft manufacturing and assembly, to workers living in fear of a robot invasion and lost jobs. It is widely acknowledged that the application of robotics and automation in aerospace manufacturing is significantly lower than might be expected. Reasons include product variability, size, design philosophy, and relatively low volumes. Also, the occasional reticence due to a history of past false starts plays a role too. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing goes deep into the core questions that really matter so the necessary step changes can move the industry forward.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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