Thematische Bibliographien / Artistic convergence / Bücher
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Bücher zum Thema „Artistic convergence“

Autor: Grafiati
Veröffentlicht am 7. September 2021
Zuletzt aktualisiert am 29. Juli 2025

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1

Convegno internazionale "Tozzi in Europa" (2016 Université de Liège). Federigo Tozzi in Europa: Influssi culturali e convergenze artistiche. Carocci editore, 2017.

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2

1958-, Tạ Văn Anh, and Hội nhié̂p ảnh Thành phó̂ Hò̂ Chí Minh., eds. Nhié̂p ảnh-gặp gở =: Photography-convergent. Hội nhié̂p ảnh Thành phó̂ Hò̂ Chí Minh, 2001.

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3

author, Hermann Sara, Horm Maya author, and Marline Jennifer author, eds. Performar: Espacio de convergencia. Centro Cultural de España, 2009.

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4

A, Clark Vicky, Poddar Sandhini, and Richard E. Peeler Art Center., eds. Figures of thinking: Convergences in contemporary cultures. Pamela Auchincloss/Arts Management, 2005.

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5

A, Clark Vicky, and Poddar Sandhini, eds. Figures of thinking: Convergences in contemporary cultures. Pamela Auchincloss/Arts Management, 2005.

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6

Kelly, Michael J., Arthur Rose, and Adi Efal-Lautenschläger, eds. Journal of Badiou Studies 5. punctum books, 2017. https://doi.org/10.21983/p3.0173.1.00.

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The fifth volume of the Journal of Badiou Studies, “Architheater,” energized by the publication of Badiou’s Rhapsodie pour le théâtre (2014), knits together distinguished approaches to artistic production engaging with the work of Alain Badiou: ‘Engaging’ here means articulated positions that include, imply, or criticize the Badiouiesque corpus. The issue does not therefore seek to implement Badiou’s philosophical insights in interpretations of art or of aesthetics, but rather to take Badiou’s philosophy as a center of convergence-nexus of a plethora of philosophical positions that include art
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7

Uchechukwu, Nwosu, and National Gallery of Modern Art (Nigeria), eds. Convergences: A photography exhibition by Don Barber, Uchechukwu James-Iroha, Abraham Oghobase, Efe OSyayande. National Gallery of Modern Art, 2006.

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8

Bird, Michael F., and Joel Willitts. Paul and the gospels: Christologies, conflicts, and convergences. T & T Clark, 2011.

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9

Gabrillo, James. Pop Convergence. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197665114.001.0001.

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Abstract Pop Convergence explores the contemporary pop music and related multimedia cultures of Manila, the center for commercial entertainment industries in the Philippines. At the turn of the twenty-first century, the country was recovering from decades of political mayhem and economic turbulence against a backdrop of swelling class divide and the maturation of mass media. Distinct from the somberness of nationalist anthems, Western music covers, and protest songs of previous years, the creative industries of new-millennium Manila generated a multimedia movement emphasizing kitsch, parody, a
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10

Miradas convergentes/ Convergent Glanzes. Editorial Rm Rio Panuko, 2003.

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11

Dyson, Kenneth. European States and the Euro: Europeanization, Variation, and Convergence. Oxford University Press, USA, 2002.

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12

Dyson, Kenneth. European States and the Euro: Europeanization, Variation, and Convergence. Oxford University Press, Incorporated, 2002.

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13

Dyson, Kenneth. European States and the Euro: Europeanization, Variation, and Convergence. Oxford University Press, 2002.

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14

Battey, Bret, and Rajmil Fischman. Convergence of Time and Space. Edited by Yael Kaduri. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.002.

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This chapter considers the historical lineage and conceptual origins of visual music, addressing the turn to abstraction and absolute film in visual arts, particularly in the first half of the twentieth century, and the turn to mimesis and spatialization in music, particularly through the acousmatic tradition after World War II. The chapter proposes a convergence between visual artists and musicians that prompted the former to embrace time through a shift away from mimesis toward abstraction, and the latter to adopt greater focus on space in shifting from abstraction toward mimesis. Together,
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15

Golburt, Luba. Alexander Pushkin as a Romantic. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.27.

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This chapter maintains that Pushkin’s artistic project illuminates a paradoxical convergence of nationalism and internationalism at the core of both European and Russian Romanticism: the period’s concurrent commitment, on the national as well as individual scale, to creative solipsismandto circuits of intellectual exchange opened up by the Enlightenment across Europe; its introspection and extroversion; its vitalizing yet ambivalent comparatism. Pushkin’s formal and stylistic versatility appears to revel in, but also critically interrogate, the creative possibilities inherent in a country fash
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16

Figures of thinking: Convergences in contemporary cultures. Pamela Auchincloss/Arts Management, 2006.

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17

Varella, Marco A. C., Jaroslava Varella Valentova, and Ana María Fernández. Evolution of Artistic and Aesthetic Propensities through Female Competitive Ornamentation. Edited by Maryanne L. Fisher. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199376377.013.46.

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This chapter highlights and discusses the role of women’s competitive ornamentation as one of the relevant, and so far overlooked, ancestral selective pressures in the evolution of artistic propensities. The authors critically discuss how and why sex differences and sexual selection processes acting on women have been disregarded for more than a decade. The authors review available convergent evidence about sex differences in aesthetics and artistic propensities showing that, overall, women outnumber men. Then the authors propose and show evidence that higher women’s inclination toward artisti
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18

Figures of Thinking: Convergences in Contemporary Culture. Pamela Auchincloss Arts Management, 2005.

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19

Lewis, Cara L. Dynamic Form. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749179.001.0001.

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This book traces how intermedial experiments shape modernist texts from 1900 to 1950. Considering literature alongside painting, sculpture, photography, and film, the book examines how these arts inflect narrative movement, contribute to plot events, and configure poetry and memoir. As forms and formal theories cross from one artistic realm to another and back again, modernism shows its obsession with form—and even at times becomes a formalism itself—but as the book states, that form is far more dynamic than we have given it credit for. Form fulfills such various functions that we cannot chara
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20

Constelaciones de la mirada: Convergencia de textos dispersos. Universidad Autónoma Metropolitana, 2014.

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21

Antuña, Jesús. Comunidad, territorio, futuro. Teseo, 2021. http://dx.doi.org/10.55778/ts878813257.

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<p>A mediados de 2020, Jesús Antuña, Verónica Giordano y Eduardo Molinariorganizaron el ciclo Comunidad, Territorio, Futuro. Este libro compila buena parte delas intervenciones que tuvieron lugar en ese marco. A partir de unos encuentrosiniciales, en plena vigencia del Aislamiento Social Preventivo y Obligatorioimplementado por el gobierno nacional para contener la emergencia por COVID19,tomó forma la idea de organizar un ciclo de encuentros entre artistas y científicossociales que coincidieran en un aspecto crucial: la práctica de la investigación situadaen la convergencia de arte, polí
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22

Mildenberg, Ariane, and Patricia Novillo-Corvalán, eds. Virginia Woolf, Europe, and Peace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979350.001.0001.

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Virginia Woolf, Europe, and Peace: Transnational Circulations enlarges our understanding of Virginia Woolf’s pacifist ideology and aesthetic response to the World Wars by re-examining her writings and cultural contexts transnationally and comparatively through the complex interplay between modernism, politics, and aesthetics. The “transnational” paradigm that undergirds this collection revolves around the idea of transnational cultural communities of writers, artists, and musicians worldwide who were intellectually involved in the war effort through the forging of pacifist cultural networks th
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23

Henderson, Andrea. Algebraic Art. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198809982.001.0001.

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Algebraic Art explores the invention of a peculiarly Victorian account of the nature and value of aesthetic form, and it traces that account to a surprising source: mathematics. The nineteenth century was a moment of extraordinary mathematical innovation, witnessing the development of non-Euclidean geometry, the revaluation of symbolic algebra, and the importation of mathematical language into philosophy. All these innovations sprang from a reconception of mathematics as a formal rather than a referential practice—as a means for describing relationships rather than quantities. For Victorian ma
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24

D'Errico, Mike. Push. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190943301.001.0001.

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This book shows how changes in music software design in the first decades of the twenty-first century shaped the production techniques and performance practices of artists across media, from hip-hop and electronic dance music to video games and mobile apps. Emerging alongside developments in digital music distribution such as peer-to-peer file sharing and the MP3 format, digital audio workstations (DAWs) such as FL Studio and Ableton’s Live encouraged rapid music-creation workflows through flashy, user-friendly interfaces. Meanwhile, software such as Avid’s Pro Tools attempted to protect its s
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25

Gaztambide, María C. El Techo de la Ballena. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400707.001.0001.

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In El Techo de la Ballena, María C. Gaztambi depresents an account of the visual arts production of the Caracas-based collective El Techo de la Ballena (active 1961−69). In spite of evident convergences with other global art tendencies, these radicalized artists from Venezuela anchored their multidisciplinary interventions in a fundamental retrograde stance which, in the author’s view, represented a deliberate inversion of an internationallyaligned modernity hinging on the need for constant evolution and progress in the visual arts. El Techo’s against-the-grain position became the basis for a
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26

Gregg, Ronald, and Amy Villarejo, eds. The Oxford Handbook of Queer Cinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190877996.001.0001.

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Queer media is not one thing but an ensemble of at least four moving variables: history, gender and sexuality, geography, and medium. Although many scholars would pinpoint the early 1990s as marking the emergence of a cinematic movement in the United States (dubbed by B. Ruby Rich the “new queer cinema”), films and television programs that clearly spoke to LGBTQ themes and viewers existed at many different historical moments and in many different forms: cross-dressing, same-sex attraction, comedic drag performance; at some points, for example, in 1950s television, these were not undercurrents
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