Готові списки джерел за темами / Artistic visions

Добірка наукової літератури з теми "Artistic visions"

Автор: Grafiati
Опубліковано: 30 травня 2022
Оновлено: 31 травня 2022

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Статті в журналах з теми "Artistic visions"

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Broner-Bauer, Kaisa. "Architectural visions." Approaching Religion 11, no. 1 (March 20, 2021): 77–97. http://dx.doi.org/10.30664/ar.98060.

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In this article I examine the architecture and architectural thinking of Finnish Academician Reima Pietilä (1923–93) in relation to his design methodology. Pietilä was an architect with an original, creative, artistic personality, who set out early in his career to develop the form language, and theory of modern architecture, moving it towards an organic expressionism. Finnish nature mysticism was a source of inspiration for him, and ‘nature architecture’ one of his key concepts.
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2

Wohl, Hannah. "Creative visions: Presenting aesthetic trajectories in artistic careers." Poetics 76 (October 2019): 101358. http://dx.doi.org/10.1016/j.poetic.2019.03.003.

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3

Ismail, Dr Nawzad Shukur, and Assist Lect Abdullah Ibrahim Faqi Salih. "Sensory and Mental images in the poetry of Hakim Nadim AL-Daoudi." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 227, no. 1 (December 1, 2018): 275–300. http://dx.doi.org/10.36473/ujhss.v227i1.695.

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The theme of the sensory and mental image in their general sense is a starting point for poets to enrich their poetic experiences and draw their artistic paintings that reflect their intellectual visions, feelings and emotions, taking into account the reality of living and imagination. This research deals with the patterns of sensory and mental images of the Iraqi expatriate poet Hakim Nadim Al- Daoudi, and reflects his poetic experiences, which were filled with visions, ideas and feelings in a beautiful artistic style with profound connotation based on his cultural references and linguistic vocabulary, which we rarely find in other poets who write in a non- native language. This is what enriched his poetic texts in terms of his realistic vision of the problems of his society with his intellectual and political dimensions, which cast a shadow on the identification of the features of his sensory and mental image, and the fact that he employs them through what he sees, hears, smells, touches, and tastes, his poetic vision formed a spirtual, spiritual paintings that takes the recipient away to the poetic self- worlds to share his artistic experience. The research plan is based on the descriptive analytical approch divided in to two chapters, one of which deals with sensory images of the visual , physical, auditory, tactile and tactile types. In the second chapters we discussed the mental images that included the avator and the abstract images, concluded with the main findings of the research.
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4

McLennan, Matthew R. "Book Review: Julia Kristeva, The Severed Head: Capital Visions." Journal of French and Francophone Philosophy 21, no. 1 (May 31, 2013): 193–95. http://dx.doi.org/10.5195/jffp.2013.556.

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5

Grene, Nicholas. "Pierse, Mary (ed.), George Moore: Artistic Visions and Literary Worlds." ABEI Journal 9 (June 17, 2007): 203. http://dx.doi.org/10.37389/abei.v9i0.3705.

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6

McBrinn, Joseph. "Harry Clarke and Artistic Visions of the New Irish State." Journal of Modern Craft 12, no. 2 (May 4, 2019): 191–95. http://dx.doi.org/10.1080/17496772.2019.1620443.

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7

Camus, Albert, Jorge Amado, Alain-Philippe Durand, and Ralph Schoolcraft. "Formative Literary Visions and Prewar Politics." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 918–23. http://dx.doi.org/10.1632/pmla.2009.124.3.918.

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During the launching of the university of São paulo, The 1930s added another distinguished chapter to the storied history of Franco-Brazilian intellectual and artistic collaborations. Starting in 1934 several promising French scholars began teaching at this new academic institution. Among the most prestigious were the cultural anthropologist Claude Lévi-Strauss, the historian Fernand Braudel, the geographer Pierre Monbeig, the classicist Michel Berveiller, and the Portuguese-literatures specialist Pierre Hourcade (Riedinger 443).
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8

Hess, Karolina Maria, and Małgorzata Alicja Dulska. "Rose Cross, Saturn’s Menagerie and the Coal Mines of Silesia." Nova Religio 19, no. 4 (May 1, 2016): 57–79. http://dx.doi.org/10.1525/nr.2016.19.4.57.

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This article analyzes the artistic visions of Teofil Ociepka, an overground mine worker known as one of the Polish Naïve Art painters. The artist, who was strongly influenced by aspects of Western Esotericism, was the initiator and most prominent member of a Silesian occultist circle of painters called the Janowska Group. He believed that his artistic talent was given to him as an esoteric gift to use as a practice for self-development. Very colorful and uncommon visions of this and other worlds brought his artistic works popularity. His insight into the miners’ subterranean work, which can be understood as a kind of alchemical process, in combination with his extraterrestrial and celestial images produced a unique and inspiring collection of paintings. The article traces the esoteric inspirations in Ociepka’s painting in various periods of his career.
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Pekkala, Laura, and Riku Roihankorpi. "An Artistic Community and a Workplace." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 115–43. http://dx.doi.org/10.7146/nts.v30i1.106926.

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The article analyzes how money interacts with the practices and organizational activities of independent theatres in Finland in the 2010s. It discusses what kind of development the interaction entails or favors in the wider context of Finnish cultural policy. We share the results of Visio (2015-16), an empirical study and development project funded by the Ministry of Education and Culture and carried out with four professional independent theatres, which originated as group theatres, but are now institutionalized and operate with discretionary state subsidies. During the development project supported by Theatre Centre Finland, the study observed aspects of organizational development and learning as well as sustainable work in the said theatres. This was done via ethnographic and multiple case study methodologies. The study defined a theatre organization as a community for artistic work and a workplace for a diverse group of theatre professionals. The cases and the ethnographies were then reflected against current Finnish cultural policy.As descendants of the group theatre movement – arising from artistic ambition and opposition to commercialism – Finnish independent theatres have developed in different directions in their ideas of theatre, artistic visions, objectives, production models, and positioning in the field. Yet, there is a tendency to define independent theatres in opposition to theatres subsidized by law (the so-called VOS theatres), instead of laying stress on their specific artistic or operational visions or characteristics. This emphasis is present in public discussions, but also in the self-definitions of independent theatres. Money, and the economic affairs it underlines, strongly interact with the development, organizational learning, and working culture of Finnish independent theatres. Theoretically, we promote a Simmelian framework that stresses the socio-cultural dimension of money. Thus, we examine how the practices of the monetary economy are present in the practices and the development of independent theatres, and how this reflects their position within the current cultural policy and funding systems. Based on the above, the article suggests a more versatile approach to artistic independent theatres – one that emphasizes recognizing the heterogeneity of their operating models and artistic orientations, and their roles as diverse artistic communities aside from workplaces.
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10

Schwartz, Oscar. "Competing Visions for AI." Digital Culture & Society 4, no. 1 (March 1, 2018): 87–106. http://dx.doi.org/10.14361/dcs-2018-0107.

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Abstract In this paper, I will investigate how two competing visions of machine intelligence put forward by Alan Turing and J. C. R Licklider - one that emphasized automation and another that emphasized augmentation - have informed experiments in computational creativity, from early attempts at computer-generated art and poetry in the 1960s, up to recent experiments that utilise Machine Learning to generate paintings and music. I argue that while our technological capacities have changed, the foundational conflict between Turing’s vision and Licklider’s vision plays itself out in generations of programmers and artists who explore the computer’s creative potential. Moreover, I will demonstrate that this conflict does not only inform technical/artistic practice, but speaks to a deeper philosophical and ideological divide concerning the narrative of a post-human future. While Turing’s conception of human-equivalent AI informs a transhumanist imaginary of super-intelligent, conscious, anthropomorphic machines, Licklider’s vision of symbiosis underpins formulations of the cyborg as human-machine hybrid, aligning more closely with a critical post-human imaginary in which boundaries between the human and technological become mutable and up for re-negotiation. In this article, I will explore how one of the functions of computational creativity is to highlight, emphasise and sometimes thematise these conflicting post-human imaginaries.
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Дисертації з теми "Artistic visions"

1

Копинець, Валеріян Валеріянович. "Особливості оброблення відеоінформації для мультимедійних видань мистецького спрямування". Master's thesis, КПІ ім. Ігоря Сікорського, 2020. https://ela.kpi.ua/handle/123456789/39436.

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Пояснювальна записка до магістерської дисертації на тему «Особливості оброблення відеоінформації для мультимедійних видань мистецького спрямування», містить сторінок 72, рисунків 22, таблиць 24, літературних джерел 16. Виконано інтеграцію відеоекскурсії у форматі 360 на базі технології доповненої реальності. Досліджено основні особливості оброблення відеоінформації. Виготовлено електронний та фізичний примірник (сторінку) видання для демонстрації. Наведено техніко-економічне обґрунтування проекту. Розраховано термін окупності проекту та стартап-план.
Explanatory note to the master's dissertation on "Features of video information processing for multimedia publications in the field of art", contains 72 pages, drawings 22, tables 24, literature sources 16. Integrated video tour in 360 format based on augmented reality technology. The main features of video information processing are investigated. An electronic and physical copy (page) of the publication was made for demonstration. Feasibility study of the project is given. The payback period of the project and the startup plan are calculated.
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2

Bjurman, Johanna. "Communicating your artistic vision." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64809.

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Calderon, Eber. "Artistic Vision and Technical Minimalism. Opportunity or Paradox?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103114.

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The aim of this study was research how avoiding the use of modern music production tools like virtual instruments, samples, loops and amp emulations would affect my work as a songwriter and music producer in terms of creativity, artistic expression, efficiency and overall sound quality of the production. The project consisted of writing, producing and mixing four songs in different genres, using only a single, a Shure SM7b dynamic microphone and an Audient ID4 audio interface to record all of my sources. In the following step I compared the songs I created for this project to other songs I have created using  unlimited tool and looked for differences and similarities. The results obtained were for the most part positive. As an effect of minimizing the number of choices available in the creative process I was able to write and produce songs faster, while exploring my limitations as a musician, songwriter and producer.
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4

Lin, Jiun-Shian. "Applying sensory distortion devices in artistic production : practice-based studies of creating artefacts with perceptual devices which confuse artists' vision and kinesthesis." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3760.

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When I was an art school student, I was trained to pursue the likeness of subjects in all my artworks. This practice-based research explores alternative forms of self-expression in art practice. The exploration starts by questioning the relationship between perceptual devices, artists’ perceptions and artistic production. Most perceptual devices are designed to enhance artists’ sensory capabilities and facilitate the creation of art. Their success is often based on enabling artists to achieve a likeness of the subject drawn or making the creation of artefacts easier. My research focuses on investigating the consequences and artistic potential of applying sensory distortion devices that confuse, mislead and distort artists’ vision and kinesthesis, increasing the difficulty of making art, and exploring the productive potential of such devices to engender new creative forms. In this research three visual distortion devices and two kinaesthetic distortion devices are prototyped and used in experimental calligraphy, painting and drawing exercises. After analysing the artists’ experience of using these devices, the influence and artistic potential of applying them are examined. It is discovered that distorted vision and kinesthesis can greatly influence the making of art by disrupting habitual eye-hand coordination and control over producing artefacts. Besides which, the use of visual and kinaesthetic distortion devices can be a technique for new forms of artistic expression. It can also be an effective technique for creating serendipitous opportunities in the visual arts and a way of exploring and provoking reflection upon artistic methodologies. Consideration of the attributes of visual and kinaesthetic distortion devices and distorted perceptions during the process of prototyping can benefit the generation of ideas, methods of production and the contents of artworks. Some practical implications for creating art with visual and kinaesthetic distortion devices are also explored. They are discussed in relation to theories of human performance, such as flow theory, and attitudes toward the conflict between habitual and unfamiliar perceptual experience. Keeping an open and uncritical mind toward unfamiliarity, chaos and the accidents caused by distorted perceptions and reduced control of drawing instruments is suggested to working artists. Finally, this research contributes to art education by demonstrating a possible way of achieving self-exploration through art making.
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Tatum, Simon J. "Repurposing Tourism: Visions from an Itinerant Artist." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619483698972973.

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James, Andrew. "Antimodels, the audience, and the evolution of Kingsley Amis's artistic vision." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551556.

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This thesis argues that Kingsley Amis expressed his views on the role of the artist in society through the subtext of each novel. He did this by using artistic antimodels, invoking other writers and formative influences to show his own superiority, and examining the role of the audience in the creative process. Between 1954 and 1970 his ideas on art remain somewhat dogmatic, but after 1970 his opinions soften and in many cases change as he considers the role of the audience more seriously in -allowing that there may be reasons for bad artists to create. He also began to conceive of the relationship between the . artist and his or her audience as reciprocal. If bad artists are at fault for failing to please the audience, then the audience too is to blame for tolerating or failing to improve them. Most critics have only seen the artistic antimodels as sources of comic relief, but they serve the valuable purpose of conveying Amis's thoughts on art and creation. By inverting the characteristics of the antimodels we can not only form a picture of his artistic ideal but begin to see how that ideal changes from one novel to the next. there has been a great deal of criticism published on Amis already, but the original manuscripts, unpublished letters, and personal papers held in three Amis archives have been neglected by most scholars. While the original manuscript of Lucky Jim has been examined by several scholars, important alterations made to numerous others novels in draft have been overlooked. These include Girl, 20, Stanley and the Women, The Old Devils, and The Biographer s Moustache. Major cuts and changes in these and other later works are cited as evidence of Amis's awareness of his books as statements of artistic intent.
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McNutt, David Wayne. "Karl Barth's doctrine of creation and a reformed vision of artistic creativity." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283926.

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Safavi, Safoura. "The Inner Gaze In Artistic Practice." Thesis, Stockholms konstnärliga högskola, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-934.

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”A finger pointing at the moon is not the moon...” -Buddhist Quote ”...but it can point you in the right direction.” -Charles Tart, American psychologist In this Master’s Thesis I will be presenting the idea of an Inner Gaze as an inherent witnessing system used in artistic practice. I will be mirroring my own practice as a Musician/Artist/Sound-Designer in the teachings of Hypnosis and The Science of Consciousness. Further I will share and analyze the collected data gathered from interviews with artists from different artistic fields, in order to gain a better understanding of how they experience their creative and performing minds. Is there any coherence in how we experience creativity? How common are the sensations of altered states of consciousness among artists? Can other artists relate to the idea of an inner gaze? Is this something we long to further explore and develop and would such a concept be beneficial for the artist and its works?
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Go, Karen Miao. "Artistic expression, domestic desires : Vanessa Bell's vision of modern life & modern art." Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/252004.

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This PhD examines the life and work of a remarkable woman – a mother, lover, artist, friend, daughter and sister who did not follow the rules of any establishment and liver her life as she saw fit. Vanessa Bell was a woman who broke the rules but remained almost entirely transfixed by a world dominated by domesticity.  As this PhD will show, radical choices, innovative art, and intellectual stimulation can co-exist with the domestic world and in a person devoted to domesticity. This PhD questions what it means to be a feminist and an avant-garde artist in the early 20th century. It questions how art history has treated the roles available to women and to the space they occupied. For Bell, art was not a way to live vicariously in other worlds; it was always a reflection of her world and her reality interpreted through her kaleidoscopic vision. For a painter interested in modern artistic movements, limiting one’s scope to the home would have seemed a defeat of one’s ideals since it was not in the home that most avant-garde artists saw modern life taking place. Yet it was the home and domestic life from which Bell drew inspiration and where she saw modern life taking place. This PhD examines Vanessa Bell’s relationship to domesticity in four sections. The first discusses her work in the decorative arts and its influence on her work in the fine arts. The second deals with how marriage both limited and opened up a new world to her, a world in which she would learn to develop human relationships within her own standards. The third concerns the importance she placed on being a mother and the ways that maternity impacted upon her painting. But also important is how her roles as wife, sister, lover and friend also influenced her work. And the final section discusses how she manipulated and depicted domestic space in her art.
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Barry, Marie Porterfield. "Lesson 21: Vision and Abstraction by Female Artists." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/23.

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Книги з теми "Artistic visions"

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Hallam, Kerry. Kerry Hallam: Artistic visions. Philadelphia, Pa: Jenkintown Press, 2001.

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Musumba, Brazille. Artistic visions: Soil and water conservation. Nairobi, Kenya: KENGO, 1989.

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3

Higgins, Kathleen M., Shakti Maira, and Sonia Sikka, eds. Artistic Visions and the Promise of Beauty. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1.

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4

Klanten, Robert. Imagine architecture: Artistic visions of the urban realm. Berlin: Gestalten Verlag, 2014.

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5

Bembo, Palazzo, and Biennale di Venezia (55th : 2013 : Venice, Italy), eds. André Wagner: Visions of time. Berlin: Distanz, 2013.

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6

Derbin, Nolta David, Shapiro Ellen Ruth, and Massachusetts College of Art, eds. Inlands: Visions of Boston. Milano: Skira Editore, 2001.

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7

Bloncourt, Nelson. Visions of angels: 35 photographers share their images. New York: Smithmark Publishers, 1998.

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8

Norman, Dorothy. Intimate visions: The photographs of Dorothy Norman. San Francisco: Chronicle Books, 1993.

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9

Gallery, Hunter College Art, ed. Peripheral visions: Italian photography in context, 1950s-present. New York: The Bertha and Karl Leubsdorf Art Gallery at Hunter College New York, 2012.

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10

Visions du monde: Baudelaire et Cie. Paris: A.-G. Nizet, 1991.

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Частини книг з теми "Artistic visions"

1

Higgins, Kathleen M., Shakti Maira, and Sonia Sikka. "Introduction." In Artistic Visions and the Promise of Beauty, 1–11. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1_1.

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Mullis, Eric. "Thinking Through an Embodied Confucian Aesthetics of Persons." In Artistic Visions and the Promise of Beauty, 139–49. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1_10.

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Higgins, Kathleen M. "Beauty and the Sense of Life." In Artistic Visions and the Promise of Beauty, 151–65. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1_11.

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Sikka, Sonia. "Dwelling with Beauty." In Artistic Visions and the Promise of Beauty, 167–83. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1_12.

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Miri, Sujata. "Artistic Creativity: Individual and the Community (Remarks on Tagore’s notion of the ‘Surplus’ in Man)." In Artistic Visions and the Promise of Beauty, 187–94. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1_13.

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Saito, Yuriko. "Letting Objects Speak: Beauty in the Japanese Artistic Tradition." In Artistic Visions and the Promise of Beauty, 195–207. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1_14.

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Lochan, Yuriko. "Perceiving Beauty, Recognizing Self." In Artistic Visions and the Promise of Beauty, 209–15. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1_15.

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Tyabji, Laila. "Art, Craft & Beauty – A Subjective Caste System." In Artistic Visions and the Promise of Beauty, 219–23. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1_16.

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Davies, Stephen. "The Beautiful in Bali." In Artistic Visions and the Promise of Beauty, 225–36. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1_17.

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Patnaik, Priyadarshi. "The ‘Aesthetic in Everyday Life’: An Exploration Through the Buddhist Concept of Vikalpa." In Artistic Visions and the Promise of Beauty, 237–50. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1_18.

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Тези доповідей конференцій з теми "Artistic visions"

1

Aleandri, Gabriella, and Fernando Battista. "Arts-therapy as innovative educational strategy for embodied narrative, lifelong learning and inclusion." In Seventh International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/head21.2021.12959.

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Art, artistic expression and arts-therapy can be an opportunity to the pedagogy need to develop effective, innovative and avant-garde visions and strategies on issues considered crucial for cohesion and inclusion, in particular regarding migration issue. Dance-movement-therapy is central to this project which is configured as art-based research in the educational / intercultural field. It is a political-pedagogical project starting within the school context to open up to the territory. The research question therefore aims to verify whether art-therapy can create inclusive and intercultural environments, integrate with autobiographical methods through embodied narratives and stimulate self-awareness and lifelong learning. Main aims are: analyzing ways of inclusion, making significant and transformative changes to growth processes, modifying prejudices and stereotypes. The research, moving within the theoretical and methodological framework of the research-intervention, followed a mixed method preserving its qualitative nature, following the phenomenological and hermeneutic approach and, at the same time, using a questionnaire (Pettigrew, Meertens, 1995), which characterized the quantitative part. Among the main results, the discovery of feeling directed towards new perspectives from which to look at the world, more aware and proactive, emerged. Results have strengthened the choice of adopting a such innovative integrated educational strategy for inclusion and lifelong learning.
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Gooch, Bruce, Greg Coombe, and Peter Shirley. "Artistic Vision." In the second international symposium. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/508530.508545.

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E, Jane L. "Artistic Vision." In C&C '19: Creativity and Cognition. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3325480.3326555.

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E, Jane L. "Artistic Vision." In UIST '18: The 31st Annual ACM Symposium on User Interface Software and Technology. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3266037.3266128.

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5

Ortiz dos Santos, Daniela. "Le Corbusier and The Americas: Affinities, Appropriations and Anthropophagy." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.918.

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Abstract: The paper draws attention to Le Corbusier's first trip to the American continent, with a particular focus on his visions and expectations built before the corporeal dislocation to the New World in September 1929. This approach suggests not only an investigation of one single voyage, but of multiple ones, and above all intellectual ones. Voyages that cross biographies, discourses and practices – in a public and intimate scale – which are attentive to a history embodied in its social actors allowing a confrontation of materials that transcends the so called architectural field. It examines one critical moment of ruptures in Le Corbusier's production (1925-1930), and works across the architectural discussions at that time, placing Le Corbusier in a wider web of reciprocal influences and circulation of ideas in order to help to construct a sense of the fragmented, or even silenced, discourses within the artistic and architectural debates in the late twenties. Such an approach not only allows new interpretations but also the establishment of a new periodization on Le Corbusier's knowledge of- and interests in- the Americas, as well as the narratives produced. Resumen: El artículo llama la atención sobre el primer viaje de Le Corbusier al continente americano, con un foco particular en las visiones del arquitecto y sus expectativas construidas antes del ‘desplazamiento corpóreo’ al nuevo mundo en septiembre de 1929. Desde esta perspectiva, proponemos investigar no sólo un viaje, sino múltiples viajes, y sobre todo los ‘viajes mentales’. En otras palabras, examinamos viajes que cruzan biografías, discursos y prácticas, en una escala privada y también pública. Atentos a una historia encarnada en los actores sociales, nos permitimos una confrontación de documentos que extienden el campo de la arquitectura. Analizamos así un momento crítico y de rupturas en la producción de Le Corbusier (1925-1930), situándolo en una amplia red de sociabilidad y debates en los últimos años de la década de 1920, cuyas influencias, afinidades y circulación de ideas se entrelazan. Al trabajar con este abordaje, posibilitamos nuevas interpretaciones y también el establecimiento de una nueva periodización de Le Corbusier y su relación con las Américas. Keywords: Le Corbusier; Travel; The Americas; Brazil; Blaise Cendrars; Lucien Romier. Palabras clave: Le Corbusier; Viaje; Las Américas; Brasil; Blaise Cendrars; Lucien Romier. DOI: http://dx.doi.org/10.4995/LC2015.2015.918
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Frances Dias, Sarah, and Maria João Durão. "Architecture and Art: La Ronchamp’s symbiosis as a ‘total work of art’." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.612.

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Abstract: Le Corbusier developed his own unique poetics of architecture, perceived and understood as an art. In La Ronchamp, due to his complete creative freedom, he found a space to express his most poetic and artistic views. The research paper thus analysis the Chapel as a case study, in order to clarify Corbusier’s artistic and architectural vision, ideals and driving principles: drawing firstly from the architectural characteristics that define the space, secondly defining an integrated set of principles that conceptualize the architecture as an art, and lastly, an analysis of the particularities that compose the chapel as a ‘total work of art’, analyzing the union of the arts, both in concept, form and meaning, and in the overall context of Corbusier’s unqiue theory. Thus, the research paper aims to understand and uncover how the poetics and emotional condition lives through Ronchamp: the meaning it encases, the artistic values is sustains and the timeless ways it recreates. The overall study has both practical and theoretical applications and implications for architects and artists with an interest in the integration of art and architecture, as well as the conceptual connections between the arts; a vital issue in the contemporary world for the definition of a more meaningful and sustainable environment. Keywords: Art, Architecture, Le Corbusier, Principles, Poetry, Emotion. DOI: http://dx.doi.org/10.4995/LC2015.2015.612
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Panchenko, Svetlana. "Mental Map of Yekaterinburg in the Book 'The Drawn City' By A. Ryzhkov: Linguistic Analysis." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-42.

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The article contains a linguistic analysis of the book ‘The Drawn City’ by A. Ryzhkov; the book comprises reproductions of pictures and respective text in the context of a mental map of the city of Yekaterinburg. In approaching the mental map as spatial information in people’s minds, reflecting the image of the city, the goals of linguistic analysis are to show the vision of the metropolis and the linguistic ways of verbally expressing the thoughts and feelings of the landscape artist; to determine the value to society of the private perception of the city through artistic representation and textual expression. Stylistic analysis of the text reveals the dominant features regarding the lexical, morphological and syntactic levels, while the pragmatics of the text consider its social relevance. Peculiar traits of the author’s style of the artist and the writer, as perceived by readers, have been listed; important points of the mental map of the city have been defined accounting for the book’s content: architecture, dominant idea, eclectics. The perception of time in synchronicity and diachronicity in the narrative regarding Yekaterinburg is considered, the motif of transition from reality to imagery is shown. Examples are given of positive, negative and contradictory evaluations of architectural objects, verbally influencing readers through the creation of visual images. There are linguistic tricks listed which were used in the book by A. Ryzhkov uses language techniques that hold the attention of the recipient of the text: comparison, personification, the use of colloquial language, humour and wordplay, and dialogisation. Methods of the creation of an imagery-geographic map of urban space have been shown in the author’s iconic-symbolic form. A conclusion was made on the significance of the book of A. Ryzhkov having used a visual-verbal method for the creation of a sustainable and replicable image of the city in the human mind. The artist’s civic stance on city protection has been set forth.
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Bogacz-Wojtanowska, Ewa, and Sylwia Wrona. "BETWEEN EMPLOYABILITY AND ARTISTIC VISION. PROBLEMS OF MANAGING ARTISTIC UNIVERSITIES IN POLAND." In 11th annual International Conference of Education, Research and Innovation. IATED, 2018. http://dx.doi.org/10.21125/iceri.2018.1715.

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Balaminutti, Lara D., and Rachel Zuanon. "Sensorial Design applied to teaching-learning in Artistic Drawing." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.133.

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The present research focuses on the Sensorial Design approach applied to the teaching-learning of artistic drawing. The Sensorial Design is subsidized by the SEE BEYOND method [LIMA JR. G.C.; ZUANON, R. 2017-2019], which is based on cognitive-behavioral neuroscience and neuroeducation studies to develop and apply didactic-pedagogical and didactic-andragogics resources aimed at teaching and learning of Design by students with and without visual impairment. In this approach, the practice of drawing is understood as an intrinsic element to the mental mechanisms of human beings and acting in their sensorimotor, cognitive and behavioral evolution. This is because through the lines, textures, colors and other compositional elements present in the drawing practice, it is possible to elaborate or express affections and materialize emotions, sensations and thoughts, which are experienced in the mind and experienced in the body as a whole. From this understanding, the approach between the fields of artistic drawing and cognitive-behavioral neuroscience is natural. In the context of higher education, specifically in Visual Arts, the cooperation between the fields of drawing, neuroscience and neuroeducation is shown to be capable of equipping educators with pedagogical practices that contribute to the formation of contemporary artists, especially with regard to the achievement of a poetic-artistic and authorial project expression. The activities carried out from the practical approach of Sensorial Design seek to question the protagonism of vision by sensitizing and enhancing the other senses. In this process, hearing, tasting, smelling, and touching also gain prominence in the formation of mental images, unlike other teaching-learning methods in which this protagonism focuses only on vision. The Sensorial Design approach is developed in the context of higher education in Visual Arts and applied in the Artistic Drawing I and II disciplines, which are part of the Visual Arts undergraduate course’s curriculum at the University of Campinas, since 2019. Through of student’s somatosensory and sensorimotor stimulations, the classes address several thematic axes fundamental to the field of artistic drawing practice, which are at the base of most artistic drawing teaching programs in Brazil for example: line, contour, filling, figure, ground, movement and rhythm. From this global stimulation of the senses, students are encouraged to expand their perceptive limits and their creative processes while expanding their sensory repertoires. Furthermore, the Sensorial Design approach corroborates the rupture of pre-established visual compositional patterns and, consequently, the reach of an authorial poetic-artistic expressiveness. It is important to highlight that in the period prior to the COVID-19 pandemic, all activities carried out with students took place in the face-to-face education context, and the drawing practice happened mostly through analogical instruments and mediums. With the pandemic already unleashed, such activities were adapted for distance education, in order to preserve their original characteristics, especially with regard to ensuring the application of somatosensory and sensorimotor stimulation in the students. The experience acquired along this methodological adaptation process (from face-to-face to distance education) has indicated relevant contributions to increment this approach in the post-pandemic context, e.g. to increase the number of digital media resources applied in the Sensorial Design practice, which point out to the formulation of a hybrid learning-teaching method (physical-digital).
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Brunetti, Federico Alberto. "Drawing as dialogue." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8239.

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The training paths are essentially based on the acquisition of knowledge in which the transmission of knowledge is organized starting and through the acquisition, and capacity for further modulation, of textual or alphanumeric languages. An area of particular intellectual value is however normally recognized and delegated to the activities defined as creative or artistic. The very concept of "vision", typical of the current methodologies of strategic thinking, refers to the ability to communicate through visual interpretive hypotheses, the experience of reality. In Italy a new regulation called "School-Work Alternation" has been introduced in the training courses, for the development of those attitudes of so-called soft-skills in operational and relational responsibility, for a positive outlook in working contexts. The case study of this manuscrippt concernes the students of the Liceo Artistico who forge their attitudes to know how to deal the conceptual mediations between visible and invisible, between visual thinking and concept vision images. The Drawing accompanies the way they look at the world and elaborate a shareable image. These formative features have made their contributions in these experiences particularly interesting and original, not so much for non-profit creative collaborations that they have been able to develop with the Institutions that have welcomed them, but above all for the current image and innovative that they have been able to interpret and return.
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1

Удріс, Ірина Миколаївна, and Наталя Сергіївна Удріс-Бородавко. Design of the Franco-Belgian Exhibition Poster of the 1890-s in the Context of the Art Nouveau Style Formation. КНУКіМ, 2019. http://dx.doi.org/10.31812/123456789/5087.

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The purpose of the article is to determine the artistic and graphic peculiarities of the Franco-Belgian exhibition poster of the 1890s in the context of the formation of the Art Nouveau style. The research methodology of the work is based on the use of traditional art methods: historical and cultural, reconstructive and model, historical and attributive, which contributed to the revealing of artistic and graphic transformations in the field of Franco-Belgian spectacular poster. The scientific novelty of the article lies in the author’s artistic interpretation of the stylistic manner of the creators of the spectacular poster in “style floreale” as one of the leading directions of the development of the artistic style of that period. The distinctive features of this type of the artistic work are outlined on the basis of the review of the stylistic and image transformations of exhibition posters of the famous artists – J. Chéret, A. Toulouse-Lautrec, E. Grasset, A. Mucha, A. Privat-Livemont and others. Attention is focused on the identification of the presentation features of the advertised exhibition events as an important cultural events of that time. Means of artistic visualization of information are studied taking into consideration the specific nature of the poster. Conclusions. In the general cultural and historical context of that time, the poster has become a significant component of the formation of national trends in the artistic style of the day, in particular - the Franco-Belgian Art Nouveau style. The exhibition poster, reflecting the stylistic landmarks of the time, contributed to the formation of the artistic vision as a manifestation of the cultural and artistic landmarks of the studied period.
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Bilbao, Tatiana, Luis Camnitzer, Cecilia Ciancio, Christopher Cozier, Amanda De la Garza, Gustavo Dudamel, Analía Hanono, et al. Cómo sanar un mundo herido: el poder del arte como motor de transformación social en la era pospandémica. Inter-American Development Bank, January 2022. http://dx.doi.org/10.18235/0003844.

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Esta publicación reúne ensayos de reconocidos líderes culturales, artistas, economistas, urbanistas, arquitectos y tecnólogos de la región, que abordan temas tales como el rol de las instituciones culturales en reimaginar comunidades; los artistas y su capacidad de reacción en tiempos de crisis; el futuro de nuestras ciudades y sus adelantos tecnológicos ante los avances del trabajo y el aprendizaje remoto, el aislamiento y las nuevas plataformas de comunicación y movilidad. Todos ellos participaron de la cumbre virtual Cómo sanar un mundo herido realizada por el Banco Interamericano de Desarrollo en abril de 2021. Es parte de los esfuerzos realizados por el BID en su compromiso por facilitar vías innovadoras de control y recuperación ante la pandemia del coronavirus. En línea con la Visión 2025, para impulsar la recuperación en América Latina y el Caribe, esta publicación reflexiona sobre cómo el arte y la cultura pueden proporcionar un espacio para sanar, reencontrarse, colaborar y proponer soluciones a los desafíos del desarrollo.
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