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Tang, Ge. „Contesting the English Sartorial Style in Trollope’s The West Indies and the Spanish Main : Self-Fashioning in the Caribbean“. Victorian Review 49, Nr. 1 (März 2023): 109–24. http://dx.doi.org/10.1353/vcr.2023.a925221.
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Abstract: The article examines Anthony Trollope’s affective responses to dress in the Caribbean, with a view to revealing how they shaped his clothing practices while travelling and informed his resistance to transplanted English sartorial codes. Drawing upon Jane Bennett’s conceptualization of distributive agency, I approach Trollope’s clothed body, his attire, and the tropical environment as interdependent vital forces that affected his relationship to clothing’s materiality and its symbolic significance. I argue that his dress exerted its agentic force through its materiality—the colour, the fit, and the texture—in the tropical climate and its surrounding environment. The tropical heat and humidity afflicted Trollope when he was dressed in dark, tight English attire, causing him physical discomfort and emotional anxiety that he dramatized and diffused through humour. These feelings motivated him to ponder clothing’s materiality and the need to adapt it to the environment. I shall argue that the tropical weather, in causing digestive discomfort and even physical breakdown, threatened Trollope’s sense of masculinity. He therefore resorted to alternative forms of clothing to fashion and refashion his masculinity. His masculine self-fashioning, however, was met with resistance from the capricious tropical climate. Adopting an environmentally-inflected cultural materialist approach to clothing, this article illuminates the challenges posed by what Jane Bennett might term clothing’s “agentic” power to travellers in the colonies, contributing to the recent increase in materialist studies of clothing.
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Jafarian, Hoda, Claude M. H. Demers, Pierre Blanchet und Veronic Laundry. „Effects of interior wood finishes on the lighting ambiance and materiality of architectural spaces“. Indoor and Built Environment 27, Nr. 6 (09.02.2017): 786–804. http://dx.doi.org/10.1177/1420326x17690911.
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Wood is a material often used by architects to enhance the overall ambience of a space, but few researches have been reported to discuss its actual impact on visual impression and luminous effects. This research studies the influence of wood materiality in relation to creating specific lighting ambiances in architecture. In particular, it focuses on the impact of decorative wood indoor panels on the creation of daylighting diversity in interior space and the potential to improve daylighting quality and energy efficiency. The research uses scaled models for their accuracy in rendering complex daylighting ambiances. The photo-luminance meter enables the comparison between different settings of interior spaces created by a selection of wood type materiality: ratio (percentage), colour (Oak, Cape Cod Grey and Dark Walnut coatings) and gloss concerning illuminance patterns obtained from Ecotect software. The CIE L*a*b* colour space is used to classify luminous ambiances. Results indicate that bright colour Oak favours a deeper daylighting penetration and increases the colour temperature of the space by about 300% when applied on the floor. Cape Cod Grey coating provided a neutral colour balance even under sunlighting. High gloss Dark Walnut located on the ceiling produces the highest luminance values, enlarging the window-lighting pattern. The research underlines the role of wood materiality in achieving luminous diversity and creating visually comfortable interior ambiances.
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Sekki, Sanna, Hannele Kauppinen-Räisänen, Eliisa Kylkilahti und Minna Autio. „Packaging journey from retail to home: how the meaning of sustainability for colour transforms“. International Journal of Retail & Distribution Management 51, Nr. 13 (26.06.2023): 47–63. http://dx.doi.org/10.1108/ijrdm-12-2021-0579.
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Purpose Research has largely disregarded consumer–packaging interaction in contexts other than retail. Focusing on the powerful cue of colour and consumers’ pleas for sustainability and drawing on the customer journey and moments of consumption, this study investigates how packaging colour meanings are redefined from retail to home and how the meaning of sustainability for colour transforms.Design/methodology/approach A qualitative methodology was employed with 27 informants, who were interviewed in pairs or in small groups of three.Findings First, colour meanings emerge outside the retail context, confirming the idea of the packaging journey. Colours are dynamic, as meanings are redefined throughout the voyage. In retail, colour conveys brand, product, environmental and origin-related meanings, while at home it conveys product, food- and health-related meanings. At the end of the journey, colour communicates disposal, environmental, health and origin-related meanings. Second, the meaning of sustainability for colour transforms during the voyage from being conveyed by a colour hue to being perceived as a material and, therefore, as a waste and recycling concern.Originality/value The study adds insight into the role of colour in the packaging life cycle, wherein colour transforms from a visual packaging cue to an issue of materiality. The recyclability of colours is a prevailing sustainability issue that deserves attention within the packaging industry. The study argues that although the consumer–packaging interaction in the retail context is essential, managers should recognise that the interaction continues with colours from in-store purchase decisions to consumers’ homes (use and recycling).
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Knutson, Sara Ann. „The Materiality of Myth“. Temenos - Nordic Journal of Comparative Religion 55, Nr. 1 (29.06.2019): 29–53. http://dx.doi.org/10.33356/temenos.83424.
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The vivid presence of material objects in Scandinavian cosmology, as preserved in the Old Norse myths, carries underexplored traces of belief systems and the material experience of Iron Age Scandinavia (400–1000 CE). This paper proposes an archaeological reading of Norse mythology to help explain how ancient Scandinavians understood the presence and role of deities, magic, and the supernatural in everyday life. The Norse myths retain records of material objects that reinforced Scandinavian oral traditions and gave their stories power, memory, and influence. From Thor’s hammer and Freyja’s feathered cloak to Sigyn’s bowl and Ran’s net, such materials and the stories they colour are informed by everyday objects of Iron Age life – spun with the magic, belief, and narrative traditions that made them icons. The mythic objects promoted a belief system that expected and embraced the imperfections of objects, much like deities. These imperfections in the divine Norse objects and the ways in which the gods interact with their materials are part and parcel of the Scandinavian religious mentality and collective social reality. This work ultimately questions the relationship between materiality and myth, and seeks to nuance our current understandings of the ancient Scandinavian worldview based on the available textual evidence.
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Duckworth, Chloë N. „Imitation, Artificiality and Creation: the Colour and Perception of the Earliest Glass in New Kingdom Egypt“. Cambridge Archaeological Journal 22, Nr. 3 (25.09.2012): 309–27. http://dx.doi.org/10.1017/s095977431200042x.
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The introduction and use of glass in Late Bronze Age Egypt (18th to 19th Dynasties) is discussed from a materiality-based approach. It is suggested that the artificiality of this new material was deliberately proclaimed, highlighting the ability of those behind its production to access the processes of creation and transformation. Colour is central to the arguments presented, and it is suggested that glass was valued for its ability to fully assume particular colours, rather than displaying these on the surface only in the manner of painted, glazed or gilded artefacts.
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Exhibition, Group. „Colour Constructs / Constructions en couleurs“. ti< 7, Nr. 1 (31.03.2018): 13–19. http://dx.doi.org/10.26522/ti.v7i1.1733.
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Colour Constructs / Constructions en couleursRodman Hall (30 Nov. 2017-4 March 2018)In fall 2017, Rodman Hall invites visitors to experience the exhibition Material Girls, which brings together Canadian and international female artists from across artistic disciplines and cultural backgrounds. Giving particular attention to the colourfulness and jubilance of this exhibition, in Colour Constructs, students in Visual Arts, Studies in Arts and Culture, and French Studies explore the materiality of colours in their own diverse ways. Student works are complemented by graffiti art by Niagara-based artist Mat Vizbulis, a classroom guest during the semester.A l’automne 2017, Rodman Hall invite ses visiteurs à l’exposition Material Girls, qui rassemble des femmes artistes canadiennes et internationales de diverses disciplines et cultures. Prêtant une attention particulière aux couleurs jubilantes de cette exposition, des étudiants d’Arts visuels, d’Etudes en arts et culture et d’Etudes en français explorent dans Constructions en couleurs la matérialité des couleurs. Leurs travaux sont accompagnés d’art graffiti de l’artiste Mat Vizbulis, basé dans la région du Niagara et un intervenant en cours pendant le semestre.Curators / Commissaires d’exposition: Catherine Parayre and Shawn Serfas
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Yumibe, Joshua. „The Rainbow’s Gravity: Colour, Materiality and British Modernity by Kirsty Sinclair Dootson (review)“. JCMS: Journal of Cinema and Media Studies 63, Nr. 4 (Juni 2024): 197–201. http://dx.doi.org/10.1353/cj.2024.a934557.
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Angus, Siobhan. „Kirsty Sinclair Dootson, The Rainbow’s Gravity: Colour, Materiality and British Modernity“. Journal of Visual Culture 22, Nr. 2 (August 2023): 264–67. http://dx.doi.org/10.1177/14704129231195744.
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Khoo, Anabel. „Shimmers Below the Surface: Emergent Strategy and Movement Building through 2-QTPOC Media“. UnderCurrents: Journal of Critical Environmental Studies 19 (13.10.2015): 6–14. http://dx.doi.org/10.25071/2292-4736/40243.
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Two-Spirit, Queer and Trans People of Colour (2-QTPOC) media offer paradigms for visions and practices of collective liberation and decolonization. Because 2-QTPOC media can reveal the metaphysical and affective among political imaginings and realities, this work attempts to track the haunting attachments, the emergent political, and the queerness inherent to the worlding that media making enacts, as a form of movement building and transformative healing. This work highlights the cultural work of Mangos with Chili, a two-spirit, queer and trans people of colour (2-QTPOC) multi-genre media performance collective, currently based in the San Francisco Bay Area, to explore the complexities among materiality, representation and embodiment by asking: How can attending to 2-QTPOC media reveal potentialities of the political? What shimmers at the boundaries of intelligibility and memory?
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Soncul, Yigit. „A Media Pharmacology of Face Masks“. Media Theory 6, Nr. 2 (19.12.2022): 111–34. http://dx.doi.org/10.70064/mt.v6i2.845.
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During WWII a particular type of face mask was designed for and distributed to children, referred to as ‘Mickey Mouse’ respirators due to their distinctive form and colour. Some of these masks contained asbestos in their filters. Asbestos is a toxic substance that is now banned in over 50 countries. Here we have a case in which a material used for protection from toxicity proves itself to be toxic. In other words, asbestos-filter gas masks function as both remedy and poison – a pharmakon. As such, these masks embody the double logic of the materiality of the media condition, which is advanced in this article through a discussion of the materiality of masks from what I call a media-pharmacological perspective. The article takes asbestos and plastic as key substances that mediate the relationship between the body and its environment in the form of masks. This translates into a discussion of harm and protection within this material register. The substances here provide a link between the material use and politics of masking with its aesthetics.
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Aizura, Aren Z., Marquis Bey, Toby Beauchamp, Treva Ellison, Jules Gill-Peterson und Eliza Steinbock. „Thinking with Trans Now“. Social Text 38, Nr. 4 (01.12.2020): 125–47. http://dx.doi.org/10.1215/01642472-8680478.
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This roundtable considers trans theory’s status as a site of thinking racialization, empire, political economy, and materiality in the current historical, institutional, and political moment. We ask, what does it mean to think trans in a time of crisis?, and what is the place of critique in a crisis?, acknowledging that global crises are not insulated from trans, and trans is not insulated from the world. This roundtable looks to materialist formations to think trans now, including a new materialism premised on thinking about trans embodiment outside of trans as subject position, the materialism of objects and commodities, and a historical materialism shaped by queer of color critique.
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Robertson, Leslie A. „Making sense: Reflections on an event-based memoir in an existential mode“. Multimodality & Society 1, Nr. 3 (September 2021): 322–49. http://dx.doi.org/10.1177/26349795211042761.
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I began this contemplation of skull and mind after a concussion in 2017 meant that I had to stop reading and engaging in the variety of daily, cognitive activities that comprise academic work. Making Sense documents the subjective sensorium of this injury through a multimedia memoir and autoethnographic analysis that is attuned to ‘existential modalities’. I contemplate an emerging, perceptual repertoire alongside other knowledge practices that recognize the more surreal dimensions of a life-interrupted. Materiality and colour and painting (and text) are considered as evocative modes for apprehending embodied experience and textures of memory and imagination. As an experiment with methodologies of perception, Making Sense includes an abridged, event-based memoir (in stone, text and paintings). An animated pptx version is linked.
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Grittner, Alison L. „“Carefully Curated/For Heart and Soul”: Sensing Place Identity in Sex Workplaces“. Sexes 4, Nr. 4 (26.09.2023): 473–92. http://dx.doi.org/10.3390/sexes4040031.
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In the face of ongoing interpersonal and structural violence towards sex workers in Canada, this research inquiry explores nine women and gender-diverse sex workers’ experiences of place identity within their workplaces. Employing multisensory and arts-based ethnographic fieldwork, the co-researchers storied their embodied place-based experiences of identity. The research findings illuminate place-identity processes within sex workplaces, suggesting that the context, materiality, and multisensory atmospheres of the co-researchers’ work environments were entwined with internal and external self-concepts. The co-researchers created personalized multisensory atmospheres in their workplaces through the use of colour, visual art, and music. Having workplaces that positively supported place identity fostered workplace comfort, control, and empowerment. Ultimately, this research suggests that place-identity processes in sex workplaces have the possibility to resist and shift sex work stigma.
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Prendergast, Frank. „The Meaning of Dark, Light and Shadows: Inferences in Art, Materiality and Cultural Practices“. Culture and Cosmos 26, Nr. 01 (Oktober 2022): 3–32. http://dx.doi.org/10.46472/cc.0126.0201.
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Our visual awareness relies on light acting on the eye to perceive materiality and colour. Medieval thought wrestled to articulate and comprehend its nature. The notebooks of Leonardo Da Vinci, for example, included his descriptions to define light and make comparisons so as to differentiate between light and shadow. His focus was on the illumination of surfaces from the perspective of a painter, seeing shadows as ‘the diminution of light by the intervention of an opaque body’ and ‘the counterpart of luminous rays’. In his mind, a shadow ‘stood between light and darkness’, with darkness being ‘the absence of light’. The anthropological record provides another gateway to such enquiry, holding oral and textual evidence on the meaning of light and cast shadows in the belief systems of some cultures. In one such example, recorded in the late nineteenth century, an observed reflection of the self in water was regarded as the person’s spirit and, significantly, the shadow cast by the body was imagined as the person’s soul. And how might such phenomena have been comprehended and used in the prehistoric past? Without ethnographic evidence the answer is unknowable and any conclusions are potentially conjecture. Researchers strive to overcome such hurdles using a suite of scientific tools and reasoning, and by drawing on the diversity of architecture and art. This paper follows a similar methodological trajectory to explore the qualitative nature of these phenomena using case studies spanning five millennia.
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Robertson, Kirsty, und Heather Davis. „Plastic dislocations: questions of labour and environment in Plastic Heart“. Sculpture Journal 33, Nr. 4 (Dezember 2024): 561–82. http://dx.doi.org/10.3828/sj.2024.33.4.07.
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In the 1960s, as plastics gained traction as the ubiquitous material of consumer objects, artists began to experiment with the properties of the newly available polymers. Plastics such as latex, fibreglass, acrylic and polyethylene offered access to aesthetic experimentation with colour, reflection, transparency and flexibility. Yet the use of these materials was never without critical reflection, an orientation that strengthened with the passing of time and the increased knowledge of plastics pollution. Though the connections are usually invisible, plastic artworks never stand alone, but in fact drag into the gallery the histories of their manufacture, the extraction of their base materials, their broken relationships with land and water, and their future propensity to break down into smaller pieces and proliferate endlessly. We use the example of the exhibition Plastic Heart: Surface All the Way Through, curated by the Synthetic Collective, to examine how plastics bring the complications of their materiality into the gallery. We argue that exhibition production should attend to both its fossil-fuel consumption and its relations to place. Plastic Heart provides an excellent case study of how plastics and plastics pollution can be dealt with critically within the space of a travelling exhibition.
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Parrish, Sarah. „Skin Crafts: Affect, Violence, and Materiality in Global Contemporary Art Skin Crafts: Affect, Violence, and Materiality in Global Contemporary Art Julia Skelly, London: Bloomsbury, 2022, 224 pages, 8 colour and 24 b&w illustrations, $50.35 paperback, ISBN 9781350122970“. Journal of Modern Craft 16, Nr. 2-3 (02.09.2023): 223–25. http://dx.doi.org/10.1080/17496772.2023.2264628.
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Chertovskikh, M. G., und D. V. Chertovskikh. „The Poetics of Sound in H. P. Lovecraft’s Literature on the Example of the Story The Outsider“. Concept: philosophy, religion, culture 7, Nr. 1 (22.03.2023): 135–48. http://dx.doi.org/10.24833/2541-8831-2023-1-25-135-148.
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The reality in the works of H. P. Lovecraft is described as strange, inhumanistic, and alien to the mankind but it is not mystical. On the contrary, the creations and events described by the writer are presented as material facts of the world. In modern philosophy following Graham Harman this view of the world is called weird-realism or weird-materialism. This paper explores one of the media used in building Lovecraft’s ontology and proposes a philosophical and cultural analysis of the new concept of The Sound Out of Space in Lovecraft studies to describe the audial medium of the weirdontology and weird-epistemology of H. P. Lovecraft. The name of the concept should refer to the headline of the famous work of the writer The Colour Out of Space (1927). The concept in the text is presented through the poetics of sound, which is the whole set of ways of representing the audial field. The article consists of the introduction with a brief historical overview, the methodological study of sound as an otherworldly medium, sound mapping of the story The Outsider (1921), the analysis of the narrative meaning of sound, discussion of the results gathered and the conclusion. The research hypothesis assumes that different media of the Lovecraftian weird-materialism have different properties and implement different modes of access to the truth of weird-reality, and their understanding can add something new to the knowledge about the strange ontology of the writer. The authors develop a phenomenological typology of sound adapting the methodology of Michel Chion and embedding it into the context of the poetics of the Lovecraftian universe. The resulting three groups of sounds represented by six types of sounds are used to describe the concept and are applied to the story The Outsider. The results show a remarkable distribution of certain types of referenced sounds within the plot composition of the story. This makes it possible to supplement the ideas about the features of the world of the story and the internal state of the protagonist, as well as to interpret the denouement of the plot more fully in the context of Lovecraft's epistemology. The poetics of Lovecraft's sound is closely connected with other means of representing the strangeness of reality, its weird-materiality. At the same time, sound as a unique medium offers specific opportunities for creating artistic images, an atmosphere, and displaying the writer's philosophical intention. This strategy of sound research of a literary text can be applied to other literary works.
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Sadar, John Stanislav. „Quasi-Materials and the Making of Interior Atmospheres“. Interiority 1, Nr. 1 (27.02.2018): 49–63. http://dx.doi.org/10.7454/in.v1i1.8.
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In The Architecture of the Well-Tempered Environment, Reyner Banham presents a parable in which, having come across an amount of wood, a nomadic tribe must decide how to use it to keep warm overnight: build a structure or build a fire (and burn the wood as fuel). The first of these uses the materials directly to create an amenable interior condition using the tangible materiality of geometric construction. The second, however, generates heat from combustion, thereby creating an intangible, graduated, thermal interiority, which one can draw deeper into, by moving closer to the fire, or recede from, by moving away.
Interior architecture has largely been concerned with achieving shelter and creating an interior atmosphere through the dependability and predictability of physical materials. Less often has interior architecture considered the interiority achieved through the temporal contingency of atmospheric quasi-materials (taking a cue from Tonino Griffero’s quasithings), phenomena such as light, sound, temperature, and humidity. While these often strike one as outside of the realm of designers, their effects profoundly colour our experiences of our environments: the smells of street food, the heat of the metro air exhaust, the veil of fog rolling in. A selection of student projects probing quasi-materials in interior architecture reveals their nature and potential for making interior environments. More akin to building a fire than fitting out a shell, these projects question existing tenets of interior architecture, while they enable types of interiority that are fluid, graduated and temporal.
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Matthews, Linda. „Virtually unseen“. idea journal 17, Nr. 01 (21.10.2020): 149–69. http://dx.doi.org/10.37113/ij.v17i01.330.
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With the advent of distributed digital networks, spatial representation has transformed from what was once a singular and idealised view of inhabited space to multiple uncurated spatial fragments, now captured by a vast range of portable devices such as webcams and mobile phones. The designer of the future ‘envisioned’ urban and interior space will need to respond to complex, multi-scaled environments through the application of both quantitative and qualitative modes of visualisation and engagement. This visual essay describes the interiors of three separate reclaimed public heritage precincts of varying structural scale, materiality and program. Despite their geographical and historical specificity, sites such as Zaha Hadid’s MAXXI Museum in Rome, The Museum of Contemporary Art of Rome, and Carriageworks, exist as part of an increasingly growing global network of reclaimed post-industrial cultural developments that have been reconceived at new programmatic scales to respond to the emerging and ever-changing demands of social occupation. Produced with the aid of ImageJ technology, a software typically used in biological and medical imaging procedures, both form and spatial depth in captured interior footage from these three projects are completely transformed into new spatial representations recomposed as variations in colour and brightness. In a radical departure from the precise formal delineation of linear perspective, the new ‘atmospheric’ perspective seen in this image series not only unveils unseen traces of former modes and histories of the occupation of these interior spaces, but the reassembly of digital image content proposes a profoundly different type of engagement with new experiential and spatial conditions released by the fluidity of the digital array.
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Wiseman, Boris. „The Materiality of Color“. Senses and Society 8, Nr. 2 (Juli 2013): 223–31. http://dx.doi.org/10.2752/174589313x13589681980812.
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Pessoa Jr., Osvaldo Frota. „How to measure a quale“. Sofia 8, Nr. 1 (05.09.2019): 187–98. http://dx.doi.org/10.47456/sofia.v8i1.23853.
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According to the colored-brain thesis (or qualitative physicalism), sense data or qualia are real physical-chemical qualities, located inside the brain, possibly at a specific locus. Our hypothesis is that the seats of phenomenal consciousness have a structure and a materiality. According to the proposed view, a chromatic quale emerges when a certain pixel of the visual sensorium (the hypothetical subjective visual “screen”, or Cartesian theater, with its specific materiality ω) is fed with a certain pattern Σ of spikes; a change in this pattern quickly changes the color that is subjectively generated. How could one manage to measure chromatic qualia? In principle, with nanoscopical techniques, one could capture all the patterns that fall on the sensorium, and transmit the information to other media. But this does not capture the qualia. However, if the patterns are made to fall on a tissue of the same kind, typically inside another person’s brain, this other person will have roughly the same subjective experience as the first person. The model is used to explore two different situations involving qualia inversion. The paper also explores Cartesian materialism, and the claim that phenomenal time and space are identical to a region of physical time and space.
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Cousins, Eleri. „INSCRIPTIONS AND MATERIALITY - (A.) Petrovic, (I.) Petrovic, (E.) Thomas (edd.) The Materiality of Text – Placement, Perception, and Presence of Inscribed Texts in Classical Antiquity. (Brill Studies in Greek and Roman Epigraphy 11.) Pp. xviii + 416, b/w & colour ills, maps. Leiden and Boston: Brill, 2019. Cased, €118, US$142. ISBN: 978-90-04-37550-5.“ Classical Review 70, Nr. 1 (11.10.2019): 11–14. http://dx.doi.org/10.1017/s0009840x19001720.
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Moser, Claudia. „Putting the sacred into space - CSABA SZABÓ, SANCTUARIES IN ROMAN DACIA: MATERIALITY AND RELIGIOUS EXPERIENCE (Archaeopress Roman Archaeology 49, 2018). Pp. vii + 241, figs. 78 including 54 in colour. ISBN 978-1-78969-081-1. £40.“ Journal of Roman Archaeology 33 (2020): 817–24. http://dx.doi.org/10.1017/s1047759420000549.
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Jaleel, Rana M., und Evren Savcı. „Transnational Queer Materialism“. South Atlantic Quarterly 123, Nr. 1 (01.01.2024): 1–31. http://dx.doi.org/10.1215/00382876-10920741.
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The introduction to this special issue takes up the narrations and values produced by the travels of words like queer of color, race, and racial capitalism to both comobilize and retheorize queer of color critique and the content and contours of global racial capitalism. With and beyond the story of US empire and the transatlantic slave trade—from peripheral European engagements with Africa to the circulation of caste in Africa via Indian Ocean worlds—in this special issue the authors examine some of the histories and present modes of capitalist accumulation that are relevant to telling global stories of race and capitalism. A queer/trans lens keeps the authors’ attention trained as well on the arrangements and estrangements of the sex/gender systems that power such narratives of race and capitalism. So positioned, the authors enter ongoing debates on the geopolitics of queer studies, the import of queer materialism, and theorizations of racial capitalism by asking (1) What is the “racial” of racial capitalism?, and (2) What is the “of color” in queer/trans of color critique? The questions form a method for thinking global racial capitalism and queer/trans of color study together—what the authors call transnational queer materialism.
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Chitrabongs, Chittawadi. „Curartistry: Curating Everyday Artistry in Bangkok“. Nakhara : Journal of Environmental Design and Planning 21, Nr. 1 (10.06.2022): 208. http://dx.doi.org/10.54028/nj202221208.
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How can architecture be taught internationally, beyond the neocolonialist tendency of European-based international exchange programs? Curartistry, a method of curating everyday artistry in Bangkok, is used to achieve bilateral exchanges in art and architectural education between teachers and students of different nationalities. We offer interpretations of late-nineteenth-century and post-war ideas of “everyday life,” based especially on Charles Baudelaire’s “The Painter of Modern Life,” Henry Lefebvre’s “Critique of Everyday Life,” Maurice Blanchot and Susan Hanson’s “Everyday Speech,” and Walter Benjamin’s “On Some Motifs in Baudelaire.” Their ideas grew out of their experiences in Western European metropolises, and continue to reflect similar conditions in twenty-first-century Bangkok. In addition to these literary works, Henry W. Lawrence’s City Trees: A Historical Geography from the Renaissance through the Nineteenth Century has been useful in the development of our workshop entitled, “Curartistry: Trees in Bangkok.”
Curartistry is a practice in which particular elements of a city are researched and recorded in drawing and photography. We invite students to visit overlooked sites, landscapes, and trees in Bangkok, and then to write and rewrite until a particular object or installation emerges from redrafting their experiences. These records lead to the proposal of projects, whether artistically, architecturally or otherwise crafted. Once a proposal takes on the form of a project, its existence as a project, rather than as a finished artwork or artefact, is what lends the project criteria for judging it. Outcomes from these projects typically take the form of an elementary installation or exhibition, presented by individual students to guest critics.
In this article, we discuss the processes of work, and how everyday artistry in Bangkok is curated in relation to the selected ideas of “everyday life” that transcend time and place, as well as the construction of our method of work. Curartistry is a key way in which we are addressing fundamental issues of city life such as social inequality, nature, ecological crises, labour, and materiality. The final outcomes often address a number of issues, such as the intense relationship between nature and city, dramatic effects in light and colour, transplantation, or tree names in relation to Thai beliefs in fortune. It is hoped that this attempt to systematically document the subjective experiences of urban life will be read as a contribution to global architectural education.
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Pawlowicz, Matthew. „A Material Culture: Consumption and materiality on the coast of precolonial East Africa, by Stephanie Wynne-Jones , 2016. Oxford: Oxford University Press; ISBN 978-0-19-875931-7 hardback $120; 232 pp., 60 b/w figs, 11 colour plates, 2 tables“. Cambridge Archaeological Journal 27, Nr. 4 (20.06.2017): 724–26. http://dx.doi.org/10.1017/s0959774317000397.
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Volioti, Katerina. „THE MATERIALITY OF GREEK VASES - (M.) Langner, (S.) Schmidt (edd.) Corpus Vasorum Antiquorum. Deutschland. Die Materialität griechischer Vasen. Mikrohistorische Perspektiven in der Vasenforschung. (Deutschland, Band 9.) Pp. 127, figs, b/w & colour ills, maps. Munich: Bayerische Akademie der Wissenschaften in Kommission bei C.H. Beck, 2020. Cased, €59. ISBN: 978-3-7696-3780-9.“ Classical Review 71, Nr. 2 (28.06.2021): 536–39. http://dx.doi.org/10.1017/s0009840x21001335.
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송영민 und Yon-Sun Park. „Study on materiality in space and manifestation of surface color“. Journal of Korea Society of Color Studies 27, Nr. 3 (August 2013): 53–62. http://dx.doi.org/10.17289/jkscs.27.3.201308.53.
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Tuma, Kathryn A. „Ce´´zanne and Lucretius at the Red Rock“. Representations 78, Nr. 1 (2002): 56–85. http://dx.doi.org/10.1525/rep.2002.78.1.56.
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ARGUING AGAINST CRITICAL MODELS of Céézanne's pictorial tech nique that posit a delimitable ''unit'' of manufacture as the basis for the composition of his pictures, and challenging certain idéées reççues of Greenbergian modernism that continue to frame our view of Céézanne's art, ''Céézanne and Lucretius at the Red Rock'' offers a new perspective from which to think about meaning and form in Céézanne's painting. The essay takes as its starting point evidence that during the last decade of his life Céézanne was reading Lucretius, the Roman poet whose De rerum natura espouses the ancient philosophy of atomistic materialism. From this connection ''Céézanne and Lucretius at the Red Rock'' does not propose Céézanne as a painter of an atomistic worldview - an argument that would yield for the formal analysis of Céézanne's pictorial technique little more than yet another version of what is frequently characterized as Céézanne's ''constructive stroke.'' Instead, this essay turns on a Lucretius who was a poet profoundly attuned to the complex ways metaphorical figuration functioned in his materialist imagination of the world. On the basis of a scrupulous analysis of one late landscape by Céézanne, ''The Red Rock'' of circa 1895, this essay advances ways that such a materialism - one, in other words, acutely self-aware of its own construction on the basis of metaphor - can be seen as deeply resonant with formal and thematic concerns of Céézanne's art. Using Lucretian materialism as its heuristic in this manner, ''Céézanne and Lucretius at the Red Rock'' also sets forth new proposals about Céézanne's revolutionary use of color, contributes to the long-standing critical effort to articulate more precisely the elusive meaning of one of Céézanne's key theoretical terms, ''realization,'' and concludes with a meditation on the deeper issues involved in the melancholic preoccupations of so many of Céézanne's last canvases.
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Davis, Michael. „MIND AND MATTER IN THE PICTURE OF DORIAN GRAY“. Victorian Literature and Culture 41, Nr. 3 (September 2013): 547–60. http://dx.doi.org/10.1017/s1060150313000090.
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In chapter 8 of Dorian Gray, Dorian reflects on the terrifying discovery, which he has made the previous night, that the painting has been somehow altered to express his own moral state. He speculates thus on a possible explanation for the change in the picture: Was there some subtle affinity between the chemical atoms, that shaped themselves into form and colour on the canvas, and the soul that was within him? Could it be that what that soul thought, they realized? – that what it dreamed, they made true? (Wilde 93) At the end of the chapter, he thinks along similar lines: Might there not be some curious scientific reason for it all? If thought could exercise its influence upon a living organism, might not thought exercise an influence upon dead and inorganic things? Nay, without thought or conscious desire, might not things external to ourselves vibrate in unison with our moods and passions, atom calling to atom in secret love or strange affinity? (103) Wilde's references to “atoms” encapsulate something of the complexity and paradox which characterise the novel's representations of the mind and its connection with the body. Atoms make up the painting and Dorian's own body, and this reminder of the materiality of both reminds us, in turn, of the possibility that Dorian, and all human selves, may occupy an insignificant yet inescapable place in the wider processes of the physical world. Most pervasively in the novel, and in the fin de siècle more generally, anxieties about one such material process – that of evolution, and especially of degeneration – haunt representations of the self. In Dorian's thoughts about “atoms” lies the still more extreme possibility that the very distinction between organic and inorganic may be blurred, a vertiginous sense that human evolutionary kinship extends beyond even the simplest organisms to matter itself, and that the category of the human is thus under greater threat than ever in the light of scientific theories of the material world. At the same time, the questions that Dorian asks himself envisage not the reduction of the mind to matter but the near-opposite of this: the possibility that “thought” may somehow “influence” the matter of the painting. In a fantastical version of the Hegelian idealism which forms an important part of Wilde's philosophical position, the mind may prove to be the ultimate reality, independent of and dominant over matter, as the state of Dorian's mind is mysteriously given sensuous form in the transformations which the painting undergoes. The atoms of the painting, like the human mind, take on an ambiguous relationship to the material world. The atoms are not fixed but fluid; like the mind itself, they are material and yet seem to act in ways contrary to physical laws of cause and effect, always in process and resistant to external comprehension.
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Dupey García, Élodie. „The materiality of color in the body ornamentation of Aztec gods“. Res: Anthropology and aesthetics 65-66 (März 2015): 72–88. http://dx.doi.org/10.1086/691027.
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Ünsal Gülmez, Nilay, Dürnev Atılgan Yagan, Murat Şahin, Efsun Ekenyazıcı Güney und Hande Tulum. „Envisioning the atmospheric effect through (im)materiality“. SHS Web of Conferences 64 (2019): 02007. http://dx.doi.org/10.1051/shsconf/20196402007.
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In an attempt to bridge the gap between architectural/interior design practice and education, ‘atmosphere’ as a prolific contemporary architectural debate in practice and theory is covered by the experiment of ‘Staging Poe’ carried out as a first year Design Studio through the study of Edgar Allen Poe’s selected poems. Poe’s 1846 text of ‘The Philosophy of Composition’, unfolding his analytical method of writing and emphasis on “effect” in poetry, provides a ground for experimenting with facets of materiality and structuring the studio. Aiming to cultivate intuitive design experiments of students into informed processes in hybridizing conceptual/textual and material/sensual aspects, studio is structured in two phases. In the first phase, “materialization”, idiosyncratic interpretations of students from words to materials with a focus on tectonic experiments and haptic experiences are sought in between materializing and dematerializing processes. In the second phase, the “atmospheric”, emphasis on dematerialization of the perception of materials through tools, such as light, color and sound is exercised to transform the object into a performance stage. Outcomes of the studio on aspects pertaining to material and materialities in creation of the immaterial that is the atmosphere is followed and evaluated through responses of students’ weekly reports.
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Dupey García, Élodie. „THE MATERIALITY OF COLOR IN PRE-COLUMBIAN CODICES: INSIGHTS FROM CULTURAL HISTORY“. Ancient Mesoamerica 28, Nr. 1 (2017): 21–40. http://dx.doi.org/10.1017/s0956536116000493.
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AbstractThis article explores the materiality of the colors of some Nahua codices from pre-Columbian Mexico, comparing data obtained from two bodies of evidence: scientific investigation—through macroscopic inspection and physicochemical studies—and historical accounts. In doing so, this article shows that the Colonial period literature contributes to the understanding of the creation process of the codices and their chromatic palettes, in particular regarding some coloring materials, the identification of which still remains a challenge for scientists. The comparison carried out in this article also elucidates certain aspects of the historical texts on Mesoamerican colors, which were previously poorly understood or misinterpreted.
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Michałowska, Marianna. „Materialność Ziemi w radiografii Moniki Niwelińskiej“. Przegląd Kulturoznawczy 61, Nr. 3 (16.12.2024): 472. https://doi.org/10.4467/20843860pk.24.029.20872.
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The starting point for the considerations presented in the article are Monika Niwelińska’s radiographs from the “Trinity Site” series. The artist left photographic plates in the area where a ground-based test of atomic weapons was carried out in 1945. The irradiated earth affects the photosensitive material, changing its color and texture. In this way, the materiality of the soil and the radioactive activity induced by human experiments literally leave their mark on the artistic work. The artist’s works allow for a new interpretation of the groundbreaking text by Rosalind E. Krauss Notes on the Index, which changed thinking about the artistic representation of twentieth-century art. Read in the context of contemporary theories of materiality (including Karen Barad), it indicates the connections between image, trace and energy.
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Nurasik, Nurasik, und Santi Rahma Dewi. „PROFESIONALISME DAN ETIKA PROFESI SEBAGAI DASAR PERTIMBANGAN TINGKAT MATERIALITAS AKUNTAN PUBLIK“. INVENTORY: JURNAL AKUNTANSI 2, Nr. 2 (10.10.2018): 376. http://dx.doi.org/10.25273/inventory.v2i2.3294.
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<span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em>This study aims to find out how the influence of auditor professionalism and professional ethics</em><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em> can help auditors making decisions about the level of materiality, so that it is expected to improve</em><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em> the quality of the auditor's performance making decisions regarding the fairness of a financial</em><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em> report presented by the client, so that the level of public trust in services given by the auditor will</em><br /><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em>increase. This study used quantitative methods. Researcher will select the respondent then spread</em><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em> the questionnaire in order to get the data needed so that the goal can be achieved. This</em><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em> questionnaire was distributed to auditors who work in public accountants in the city of Surabaya.</em><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em> Questionnaires that have been collected are tabulated and obtained using SPSS. It is expected that</em><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em> this research can provide an understanding to auditors to constantly improve their competence</em><br /><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em>adequately and uphold professional ethics in accordance with the existing professional code of</em><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em> ethics, because professionalism is a very important determinant and gives consideration to</em><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em> materiality achieve audit tests that are received independently and objectively for the benefit of its</em><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em> stakeholders. The results of this study will also provide knowledge and understanding to the public</em><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em> or business people to be more selective in choosing the auditor to examine their financial</em><br /><span style="font-family: CIDFont+F7; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><em>statements.</em><br /><span style="font-family: CIDFont+F3; font-size: 9pt; color: #000000; font-style: normal; font-variant: normal;"><strong><em>Keywords: Professionalism, Professional Ethics, Materiality, Auditors.</em></strong></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br style="font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px;" /></span>
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Ceccarelli, Paola. „THE MATERIALITY OF LETTER-WRITING - (A.) SARRI Material Aspects of Letter Writing in the Graeco-Roman World 500 bc – ad 300. (Materiale Textkulturen 12.) Pp. viii + 388, figs, b/w & colour ills. Berlin and Boston: De Gruyter, 2018. Cased, £65.99, €79.95, US$91.99. ISBN: 978-3-11-042694-6.“ Classical Review 69, Nr. 1 (28.11.2018): 286–87. http://dx.doi.org/10.1017/s0009840x18002536.
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Frigård, Johanna. „Värin lumous Villilintujen parissa -elokuvassa“. Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 35, Nr. 1-2 (22.04.2022): 9–28. http://dx.doi.org/10.23994/lk.116475.
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Elokuva Villintujen parissa (1927) oli Aho & Soldan -elokuvayhtiön ensimmäinen pitkä elokuva. Se oli varhainen ja melko yksinäinen luontoelokuvan edustaja, vaikka luonnonmaisemat olivat vastakin yhtiön elokuvissa tärkeitä. Villilintujen parissa -elokuva keskittyi luonnonvaraisten eläinten kuvaamiseen, ja se otti avoimesti kantaa luonnonsuojelun puolesta.Ajan tavan mukaan elokuva on värjätty. Elokuvan värit ovat ”itsenäisiä” siinä mielessä, että ne eivät liity kuvattujen kohteiden väreihin, vaan mustavalkoinen filmi on lopuksi kylvetetty väriliuoksessa siten, että kuvaruudut värjäytyvät yhdellä värillä kokonaisuudessaan. Eri väriset jaksot rytmittävät elokuvan kulkua. Paikoin värit saavat representatiivisia tehtäviä, mutta toteutustekniikastaan johtuen ne on myös helppo nähdä esittävästä sisällöstä irrallisina. Tällöin värin emotionaaliset ja affektiiviset toimintatavat korostuvat.Elokuvan tekijät, Heikki Aho ja Björn Soldan, oletettavasti tunsivat oman aikansa vitalistisia ja energeettisiä ajattelutapoja, joten nykyisen vitaalisen materialismin edustajan Jane Bennettin ajatukset eivät tunnu vierailta elokuvan yhteydessä. Bennettin kirjassaan The Enchantment of Modern Life (2001) esittelemä lumouksen käsite nostaa huomion keskiöön arkisen luonnon kauneuden edessä koetun ihmetyksen ja sen aiheuttaman luonnon ja ihmisen välisten rajojen hälvenemisen kokemuksen. Luonnon suojelun kannalta lumoavuus on tärkeää, sillä sen tuottama energialataus antaa voimia tarttua toimeen. Villilintujen parissa -elokuvassa lumoavuus liittyy lähikuvien ja eläinten inhimillistämisen taipumukseen kuroa umpeen katsojan ja luonnon kohteiden välistä etäisyyttä, mutta etenkin väreillä on luonnon ihailtavuuden tunteen nostattajana keskeinen rooli. Elokuvan tarinan ja värien käytön huipentuma on kuululla lintukosteikolla Äyräpäänjärvellä koettu joutsenten ylilento, johon latautuu tunteikkaita kulttuurisia, esteettisiä ja nationalistisia merkityksiä. Niiden vaikuttavuus ja koskettavuus synnytetään kuitenkin ensisijaisesti affektiivisen värien käytön avulla.Elokuva ei pyri vain tarjoamaan tietoa kuvaamistaan eläimistä ja luonnon ympäristöistä, vaan sen tavoitteena on moniin aisteihin vetoavan ja kehollisesti vaikuttavan luontokokemuksen välittäminen. Elokuva ei pitäytynyt opetuselokuvan rajoissa, vaan tekijöiden tavoitteena vaikuttaa olleen myös elokuvan taiteellisten ulottuvuuksien koettelu.Avainsanat: Aho & Soldan, luontoelokuva, värien affektiivisuus, vitaalinen materialismi, lumousThe Enchantment of Colour in the Film Villilintujen parissaVillilintujen parissa (“Among the Wild Birds”, Finland 1927) is the first feature-length film by a company called Aho & Soldan. The film is a rather lonely representative of early Finnish natural history film. It concentrates on birds and makes a clear stand for the protection of nature.It was common to add colouring to films at that time, and Villilintujen parissa is no exception. The colours are autonomous, that is, they are produced by dyeing the black and white film with a monochrome tone. The colours in the film may have representational functions, but they retain their independent role due to the dyeing technique. In this way, the emotional and affective functions of colour are highlighted.The makers of the film, Heikki Aho and Björn Soldan, probably knew the vitalistic theories of their time, so the thoughts of Jane Bennett, a contemporary representative of vitalistic materialism, do not seem out of place in this context. Bennett introduces the concept of enchantment by which she refers to the feelings of wonder in nature. The result can be a disappearance of borders between humans and non-human creatures. The affective boost of energy that enchantment gives is required in transforming the moral call for the protection of nature into action. The close-ups of animals and anthropomorphic narrative features produce enchantment in the film, but especially the effects of the colours strive for admiration toward nature. The narrative climax, an overflight of swans, is situated at the Lake Äyräpäänjärvi, famous for its birdlife. The scene carries various cultural, aesthetic, and ideological meanings which are accentuated by the emotional and sensual effects of the colours.The film conveys knowledge of natural environments and aims at a multi-sensuous experience of nature. Villilintujen parissa is a natural history film that also explores the artistic possibilities of film.Keywords: Aho & Soldan, natural history film, affective colour, vitalistic materialism, enchantment
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Lee, Nayoung, Sohyoung Park und Huyncheol Choi. „A Direction of Use of Clay as an Multi-Sensory Arts Educational Medium to Improve Children's Self-Understanding: Focused on R. Steiner's Color Education“. Korean Society of Culture and Convergence 45, Nr. 12 (31.12.2023): 1329–42. http://dx.doi.org/10.33645/cnc.2023.12.45.12.1329.
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The purpose of this study is to propose and outline a multisensory-integrated clay-based art education program aimed at enhancing self-concept abilities in children at the pre-schematic stage(ages 4-7). The study involves an analysis of Rudolf Steiner's educational color theory for holistic education, the Waldorf education curriculum applying his theory, and prior theories and literature on the theory of multi-sensory practical education in Waldorf. The research resulted in the clay is effective in self-awareness and understanding of children and can be used as a multisensory medium in color education. The educational program, focusing on the color, materiality, and texture of clay, is found to be effective for children to recognize themselves as part of nature and to improve their understanding of the human foundation, namely, themselves.
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Pugliano, Valentina. „Ulisse Aldrovandi’s Color Sensibility: Natural History, Language and the Lay Color Practices of Renaissance Virtuosi“. Early Science and Medicine 20, Nr. 4-6 (07.12.2015): 358–96. http://dx.doi.org/10.1163/15733823-02046p04.
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Famed for his collection of drawings of naturalia and his thoughts on the relationship between painting and natural knowledge, it now appears that the Bolognese naturalist Ulisse Aldrovandi (1522–1605) also pondered specifically color and pigments, compiling not only lists and diagrams of color terms but also a full-length unpublished manuscript entitled De coloribus or Trattato dei colori. Introducing these writings for the first time, this article portrays a scholar not so much interested in the materiality of pigment production, as in the cultural history of hues. It argues that these writings constituted an effort to build a language of color, in the sense both of a standard nomenclature of hues and of a lexicon, a dictionary of their denotations and connotations as documented in the literature of ancients and moderns. This language would serve the naturalist in his artistic patronage and his natural historical studies, where color was considered one of the most reliable signs for the correct identification of specimens, and a guarantee of accuracy in their illustration. Far from being an exception, Aldrovandi’s ‘color sensibility’ spoke of that of his university-educated nature-loving peers.
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Wilcox, Hui Niu. „Performance of Possibilities: A Critical Analysis of Audience Responses to Pipaashaa by Ananya Dance Theatre“. Congress on Research in Dance Conference Proceedings 40, S1 (2008): 225–36. http://dx.doi.org/10.1017/s2049125500000728.
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This paper critically analyzes audience responses to Ananya Dance Theatre's work Pipaashaa: Extreme Thirst. Ananya Dance Theater intervenes in colorblind racial politics through casting only women and girls of color. Different responses by audiences of different social locations constitute critical discourses about race and social justice—catalysts for personal and social transformation. An examination of the discourse around Pipaashaa demonstrates that materiality of both performing and viewing bodies are important factors in creating meaningful art that envisions and inspires change.
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Smylitopoulos, Christina. „Joseph Monteyne, From Still Life to the Screen : Print Culture, Display, and the Materiality of the Image in Eighteenth-Century London, New Haven and London : Yale University Press for the Paul Mellon Centre for Studies in British Art, 2013, 292 pp., 55 colour/101 black-&-white illustrations, $ 85, ISBN 978-0-3001-9635-1“. RACAR : Revue d'art canadienne 41, Nr. 1 (2016): 98. http://dx.doi.org/10.7202/1037561ar.
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Valk, Julie. „The smell of Shōwa: Time, materiality and regimes of value in Japan’s second-hand kimono industry“. Journal of Material Culture 25, Nr. 2 (09.01.2020): 240–56. http://dx.doi.org/10.1177/1359183519894010.
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This article maps the way second-hand kimono pass between different regimes of value as they move out of people’s homes and into second-hand shops. Joining recent calls for a greater anthropological focus on the processes of divestment and disposal, the author highlights how kimono move from the inalienable space of the domestic sphere and into the alienable domain of retail, and considers how their materiality – worn fabrics, dated aesthetics and musty smell – is an active agent in the transformation of value. When initially purchased, the symbolic and economic values of kimono are congruent. But with the passage of time and the deterioration of materials and fraying of kinship bonds, the value of kimono as treasured family possessions is diminished. Yet the very materiality that caused their loss of economic and symbolic value, their undesirable smells, colours and designs can cause them to enter a new regime of value as vintage fashion supported by fashion magazines. By rethinking Arjun Appadurai’s regimes of value with a greater focus on material properties and qualities, this article aims to link cycles of divestment and consumption practices with the generation, loss and re-creation of value.
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Miletic, Bogdana. „Margaret Cavendish’s vitalist materialism: Theory of perception and the problem of the metaphysical status of color“. Theoria, Beograd 67, Nr. 1 (2024): 65–88. http://dx.doi.org/10.2298/theo2401065m.
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In this paper I analyze aspects of Margaret Cavendish?s metaphysics relevant to her account of perception, and, specifically, visual perception. Regarding her theory of sensory perception, I intend to show that Cavendish considers self-motion and selfknowledge, as essential characteristics of matter, to be individually necessary and only jointly sufficient conditions of veridical perception. In the section dedicated to the problem of the metaphysical status of color, my aim is to show that her objection based on color constancy is a serious criticism of the, at the time, dominant mechanist view of the nature of color. Furthermore, her realism concerning color has greater explanatory power compared to mechanists? view when it comes to explaining this phenomenon.
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Bădulescu, Dana Janeta, und Cristina Gavriluță. „Notes on the Materiality and Spirituality of Books and their Being in the World“. Linguaculture 11, Nr. 2 (10.12.2020): 163–74. http://dx.doi.org/10.47743/lincu-2020-2-0181.
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As an object, the book has a material condition. On the surface, it is a collection of printed leaves held between two covers. The graphics, colours and design are aspects partaking of its aesthetic dimension. However, beyond this materiality, with all its aesthetic qualities, the book has an intrinsic capacity of undergoing changes in its status. Gabriel Liiceanu, a Romanian philosopher, argues that the book is an imploring object. It begs to be opened, read, and thus brought to life. Therefore, the book is an object with a special fate, which necessarily depends on the whims and moods of the Reader who, by merely opening and reading it, changes its ontological status, breathes life onto it and saves it from an improper state of being, as Liiceanu argues. The book’s status as an object is exceptional in this situation. As an object, the book is a treasure trove. The big drama of any book is that of being sentenced to a life in prison between its covers, while its big fortune is to become a spiritual and cultural presence in the mind and soul of the Reader.
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Wei, Lai. „Color Symbolism and American Dream in Luhrmanns The Great Gatsby“. Communications in Humanities Research 1, Nr. 1 (21.12.2021): 10–14. http://dx.doi.org/10.54254/chr.iceipi.2021153.
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Luhrmanns movie version of The Great Gatsby has caused many discussions and debates in the area of literary analysis. This paper would argue that Luhrmann manages to gain commercial success in the film. While the director recreates the scenes that demonstrated color symbolism, the color symbolism suggests different meanings from the book; and that is because the director changes certain important plot in the book, which exaggerates Gatsbys pure love to Daisy at the expense of undermining the complexity of Gatsbys character and his American Dream that based on materialism. With the help of secondary sources, this paper will expand on analyzing how color symbolism, which includes the green light and the main characters clothes, illustrate different themes between the book and the movie.
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Wei, Lai. „Color Symbolism and American Dream in Luhrmanns The Great Gatsby“. Communications in Humanities Research 1, Nr. 1 (21.12.2021): 10–14. http://dx.doi.org/10.54254/2753-7064/1/iceipi_153.
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Luhrmanns movie version of The Great Gatsby has caused many discussions and debates in the area of literary analysis. This paper would argue that Luhrmann manages to gain commercial success in the film. While the director recreates the scenes that demonstrated color symbolism, the color symbolism suggests different meanings from the book; and that is because the director changes certain important plot in the book, which exaggerates Gatsbys pure love to Daisy at the expense of undermining the complexity of Gatsbys character and his American Dream that based on materialism. With the help of secondary sources, this paper will expand on analyzing how color symbolism, which includes the green light and the main characters clothes, illustrate different themes between the book and the movie.
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Phipps, Elena. „Woven Brilliance: Approaching Color in Andean Textile Traditions“. Textile Museum Journal 47, Nr. 1 (2020): 29–53. http://dx.doi.org/10.1353/tmj.2020.a932813.
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Abstract: Andean weavers understood the art of making brilliant and shiny textiles that were awe-inspiring in their manifest splendor as they shimmered in the sunlight (fig. 1). They understood how to acquire and maximize the material properties of certain fibers, metals, and feathers and apply them to the surface of textiles, especially during the pre-Columbian era. However, alternative ways in which Andean dyers, spinners, and weavers have worked to produce these characteristic color effects in the clothing especially of the sixteenth–nineteenth centuries, in concert with or possibly in response to colonial Spanish rule, were also achieved through ingenious yet simple methods of their art. They created the subtle but magnificent impact of what can be termed “woven brilliance.” The concept of these color effects may be traced from Aymara and Quechua terms in colonial dictionaries of the sixteenth century, such as llipi (defined as resplendent cloth), along with chimi, lloque , and huateca isi or tornesol-each resulting in color effects created primarily through spinning or weaving. These are some of the ways that the dyers, spinners, and weavers of the Andes creatively engaged in the production of highly charged special textiles whose agency was generated through the subtlety of their materiality and process. This paper examines close up and in detail the physicality of brilliance in the Andean textile traditions.
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Dospěl Williams, Elizabeth. „Gems in Cloth and Stone: Medium, Materiality, and the Late Antique Jeweled Aesthetic“. Textile Museum Journal 45, Nr. 1 (2018): 22–39. http://dx.doi.org/10.1353/tmj.2018.a932727.
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Abstract: In The Jeweled Style: Poetry and Poetics in Late Antiquity , Michael Roberts argues that color, opulence, repetition, and variety epitomized the period’s aesthetics, a phenomenon he terms the “jeweled style.” Although Roberts did not consider textiles in his analyses, this article argues that fabrics participated in the same trends, perhaps even serving as intermediaries in the transfer of motifs between actual gemstones and architectural decoration. The first part of the article shows how Roberts’s definition of the jeweled style fits in larger art historical discussions about late antique aesthetics and visuality. The bulk of the article presents examples of tapestry-woven textiles from the fourth through eighth centuries that depict gems and jewelry in woven form. Many tunics, for example, depict gemstones along their collars; furnishing textiles, too, frequently include representations of gems and jewelry, most notably at the edges of fabrics or as part of woven renderings of architectural structures like columns and arcades. On the most basic level, these woven gemstones reflect the broad popularity of the jeweled aesthetic among a wide social spectrum and in a variety of contexts, especially in fabric furnishings. More particularly, the popularity of jeweled motifs in textiles points to a sophisticated appreciation for artistic bravura, as weavers pushed against the limits of the textile medium to transform yarns into precious stones. Lastly, the article argues that a focus on textiles with jeweled designs points to the interrelatedness of ornamental motifs in late antique jewelry, textiles, and architectural décor, an observation which in turn highlights compelling aesthetic connections between the adorned human body and the built environment.
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Bush, Olga. „Color and Geometry in the Alhambra“. Manazir Journal 3 (07.03.2022): 13–29. http://dx.doi.org/10.36950/manazir.2021.3.2.
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The dissemination of Owen Jones’ studies of the Alhambra and his color theory has been increasingly well understood as a cornerstone of the later Alhambresque style. And yet, curiously, Jones offers at once an accurate appreciation of the Alhambra and a basis for a striking divergence from Nasrid design in Alhambresque interiors. This article examines that discrepancy. It begins with a review of the aesthetics of the Alhambra in view of the eleventh-century optics of Ibn al Haytham, supported by conservation work that has confirmed Jones’ vibrant colors. The aesthetic key to the Alhambra is not color alone, however, but a principle of visual harmony integrating color and geometry. The Nasrid builders applied color in conjunction with principles of proportionate geometric relationships and measurable visual properties—height, distance, size, depth—in the architectural and decorative design. They also manipulated color through their consideration of the materiality of the polychromed surfaces, whose reflective and refractive potentials allowed for differing optical effects. By balancing attention between color, as transmitted through the innovative technique of chromolithography, and the drawings of plans and elevations, this article strengthens the understanding of Jones’ grasp of the visual harmony of the Alhambra. Second, it demonstrates the ways in which Jones’ plates of various ornament were often privileged over, or simply divorced from, his architectural drawings in Alhambresque interiors: e.g., the Salón árabe (1847-1851) in the Royal Palace of Aranjuez (Spain), the Salotto Turco in the Villa Mimbelli (1865-1870) in Livorno (Italy), and the Moorish Bath (1850-1854) at Schloss Albrechtsberg in Dresden (Germany). In conclusion, this article proposes that, in contrast to the Alhambra, a loss of visual harmony is a significant characteristic of the Alhambresque, or, otherwise stated, that the Alhambresque interiors feature a disproportionate emphasis on color, consistent with the ideological burden of Orientalism.
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Herle, Anita. „A Munduruku Headdress“. Museum Worlds 12, Nr. 1 (01.07.2024): 91–105. https://doi.org/10.3167/armw.2024.120108.
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Abstract Objects in museum collections can be productively explored as repositories of environmental knowledge situated within particular cultural practices and ontologies. Research on a distinctive Munduruku headdress with its crown of golden feathers produced by tapirage—a remarkable Indigenous practice of changing the color of feathers on living parrots—opened up new ways of thinking about the intertwined relations between natural history specimens and artifacts, and between nature and culture. A comparative investigation of the headdress's materiality, construction, history, and use highlights its transformative potential, while providing insights into museum practice, international networks of exchange, and the fragmented and dispersed nature of “museum evidence.” The knowledge and power imbedded in museum collections can be reactivated through multidisciplinary research and collaboration with Indigenous knowledge holders.