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Journal articles on the topic 'Classic artwork'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Schirripa Spagnolo, Giuseppe, Lorenzo Cozzella, Maurizio Caciotta, Roberto Colasanti, and Gianluca Ferrari. "Painting authentication by means of a biometric-like approach." ACTA IMEKO 4, no. 3 (2015): 65. http://dx.doi.org/10.21014/acta_imeko.v4i3.260.

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<p>Artwork counterfeiting is a wide problem in the art market, both for private subject and museums. For this reason, it is important introducing innovative authentication solutions, based on state-of-the-art technologies. In particular, in this paper, the proposed solution is based on a mobile architecture, starting from the consideration that nowadays mobile phones include quality photo and video cameras, access to wireless networks and the internet, GPS assistance and other innovative systems. The proposed solution uses smartphones as simple, robust and efficient sensor for artworks a

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Sanicheva, Elizaveta V. "“A King, Riding” by Klaas de Vries as an Artwork of the 20th Century." Observatory of Culture, no. 5 (October 28, 2014): 57–65. http://dx.doi.org/10.25281/2072-3156-2014-0-5-57-65.

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Considers the scenic oratorium “A King, Riding” by contemporary Dutch composer Klaas de Vries. It was composed after his own libretto based on the “Waves” novel by Virginia Woolf, which is a classic example of the stream of consciousness literature. The libretto and the opera work are studied as a part of rich and powerful mixture of different contemporary styles, manners, techniques and retrospections, such as impressionism, expressionism, neoclassicism. Its performance of 1996 in Brussels directed by Christoph Marthaler is also analysed.

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Sapitri, Ria. "PERANCANGAN TYPEFACE ALFABET MEMANFAATKAN AKSARA INCUNG SEBAGAI SUMBER IDE GAGASAN." Jurnal Teknologi Dan Sistem Informasi Bisnis 2, no. 1 (2020): 57–68. http://dx.doi.org/10.47233/jteksis.v2i1.92.

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Typeface is a "appearance" that forms the characteristics of a collection of letters so that it distinguishes it from other types of letters. Typeface artwork is considered capable of providing new inspiration to introduce one of Kerinci's local wisdoms, the incung script. Visually, incung script has the beauty of a form of writing style that is slanted, curved and broken beheaded. The basic shape of each incung alphabet is formed by sharp lines so that it seems stiff and classic. Based on the description above, the author's interest arises to introduce or familiarize the incung script back to

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Trowell, Ian. "Counter-realities and conflicted place: Gee Vaucher’s The Feeding of the Five Thousand in the punk art tradition." Punk & Post-Punk 9, no. 3 (2020): 397–424. http://dx.doi.org/10.1386/punk_00036_1.

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This article celebrates and critically examines Gee Vaucher’s artwork for the Crass album The Feeding of the Five Thousand (1978), drawing upon the enduring fascination that the work retains. Vaucher’s work is complex, disconcerting and mesmeric, and my intention is to pin down the facets of the work that achieve these qualities. The work sits in a tradition of collage and montage taken up in British punk and post-punk scenes, and I examine a selection of classic punk artworks in comparison to Dada artworks that represent the origins of radical montage art. Whilst acknowledging the established

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Loughmiller-Cardinal, Jennifer A., and Dmitri Zagorevski. "MAYA FLASKS: THE “HOME” OF TOBACCO AND GODLY SUBSTANCES." Ancient Mesoamerica 27, no. 1 (2016): 1–11. http://dx.doi.org/10.1017/s0956536116000079.

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AbstractAmong the specialized types of Late Classic Maya vessels (a.d. 550–900) are small bottle-shaped containers known as “flasks.” Current interpretations of their uses, for example as poison bottles or medicine bottles, are speculative. In some cases, such interpretations rely on analogical comparisons with other Native American containers based on their formal similarities of shape or construction. This paper presents research on basic construction methods of flasks, a set of correlations between the various social mediation roles in which such flasks are depicted in Classic-period artwor

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Haikal, Yusuf. "The Actualization of Characters and References in The Classic Arabic Literature Criticism." Jurnal CMES 14, no. 1 (2021): 24. http://dx.doi.org/10.20961/cmes.15.1.48323.

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<p>This study aims to give an overview, review and actualize referral sources in the literary criticism of classical Arabic along with the figures from the source of the referral, which is expected to help and enrich the knowledge and insight for learners criticism in Arabic literature. The method used is descriptive qualitative and the study of literature. Through this method the data and studies taken from various sources of literature are then described and presented in the form of words based on the focus of the book which became the main reference. From the discussion, it could be c

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Mohammad, Mahizan Hijaz, and Aznan Omar. "Colonial Architecture on Local History Through Glass Sculpture." Idealogy Journal of Arts and Social Science 6, no. 1 (2021): 17–26. http://dx.doi.org/10.24191/idealogy.v6i1.250.

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The aim of this paper is to study the aspect of colonial building that relates to local history. The history of tin mining is to be acknowledged and understand as important to the local. Local history has been part of important aspect in a developing community. It signifies engagement of the link between the present and the past. It helps the community to learn about the events that has happened and in the Malaysian context, the history of the British colonial is the most relevant for it is visibility due to the architectural ruin that is on location. The method applied is Critical Self reflec

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Pogorelova, Inga Viktorovna. "Bach, Bukowski, genesis." Litera, no. 4 (April 2021): 198–204. http://dx.doi.org/10.25136/2409-8698.2021.4.32719.

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The object of this research is the references to the German composer of the XVIII century &ndash; Johann Sebastian Bach in poetry of the classic of modern American literature Charles Bukowski. Special attention is given to the poetic-semiotic and ontological aspects of Bach&rsquo;s motif in the poetic works of C. Bukowski. The author meticulously examines the nature of mentioned references, categorizing them as the three narrative-ontological types or hypostases, in which the German composer appears in the poetry of C. Bukowski, namely: Bach-ideal, Bach-background, and Bach-father figu

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Wagner, Christiane. "Artworks and the Paradoxes of Media-Transmitted Reality." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 71. http://dx.doi.org/10.25038/am.v0i20.324.

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This article analyzes selected classic art that influences contemporary images. The basis of this study is an analysis of the transformation of long-established and internationally-recognized artwork through digital technology and social media. This investigation also highlights the symbolic meaning behind the representation and reproduction of media images concerning the political impact of global visual culture.Visual culture consists of images of reality that are constantly being reconfigured. Thus, the visual arts develop consensually, based on democratic ideals and freedom of expression.

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Koziołkiewicz, Elżbieta. "Okładki polskich wydań utworów Jane Austen po 1989 roku." Przegląd Humanistyczny 63, no. 2 (465) (2019): 91–104. http://dx.doi.org/10.5604/01.3001.0013.5510.

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The graphic designs proposed by Polish publishers cannot be compared neither in number, nor in diversity to those presented by Margaret C. Sullivan in Jane Austen Cover to Cover: 200 Years of Classic Book Covers. Nevertheless, they are a valuable and still undiscussed source of knowledge on the Polish reception of Austen’s novels. Further information on this subject is provided in the first part of the paper by a compilation of book series in which some or all of the texts by Austen have appeared since the 1990s. The analysis of the book covers takes into consideration the relation between the

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Pruteanu, Silvea, Ion Sandu, and Viorica Vasilache. "Modern Procedures Used in Cleaning Old, Illegibly and Blackened Icons." Present Environment and Sustainable Development 9, no. 1 (2015): 219–36. http://dx.doi.org/10.1515/pesd-2015-0016.

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Abstract In order to restore the original aesthetic aspect, to improve the state of the age patina and of the gold halo, similar processes are required. The cleaning process is one of the most important aspects for an artwork and is considering a series of deteriorations and degradations, like dirt deposits (clogged or unclogged) opalescent varnish, colors blackening, burns, blisters, gaps (missing ground, painting layer or varnish). This step in the restoration process includes physical and mechanical proceedings like dusting (with a vacuum), brushing (with a brush), scraping (with a scalpel)

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Zeitlin, Judith Francis. "The Politics of Classic-Period Ritual Interaction." Ancient Mesoamerica 4, no. 1 (1993): 121–40. http://dx.doi.org/10.1017/s0956536100000821.

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AbstractThe Classic period along the Oaxaca Coast was a time of population growth and increased sociopolitical complexity, as marked by the prominence of hierarchical settlement systems, large regional centers, and the proliferation of monumental artworks. An iconographic examination of standing stone sculpture from six archaeological sites between the Rio Verde and the Río de los Perros indicates that these later Classic societies were concerned with the same religious themes that prevailed at that time throughout the Peripheral Coastal Lowlands: the Underworld death and rebirth of the celest

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Donohue, A. A., and Richard Brilliant. "My Laocoön: Alternative Claims in the Interpretation of Artworks." Classical World 95, no. 4 (2002): 453. http://dx.doi.org/10.2307/4352692.

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MacDonald, Carolyn. "Take-Away Art: Ekphrasis and Appropriation in Martial's Apophoreta 170–82." Classical Antiquity 36, no. 2 (2017): 288–316. http://dx.doi.org/10.1525/ca.2017.36.2.288.

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This paper examines the cultural antagonisms of Martial's Apophoreta 170–82, a unique series of epigrammatic gift-tags for artworks to be given away during the Saturnalia. In these poems, I argue, Martial thematizes and enacts Rome's transformative appropriation of cultural capital from Greece and elsewhere. First, he adopts the Hellenistic trope of the ekphrastic gallery tour in order to evoke the “museum spaces” of the Flavian city, where artworks became testaments to the power and culture of Rome (Section 1). While evoking these masterpiece collections, however, the epigrams in fact describ

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Studzinski, Raymond. "Tutoring the Religious Imagination: Art and Theology as Pedagogues." Horizons 14, no. 1 (1987): 24–38. http://dx.doi.org/10.1017/s036096690003704x.

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AbstractThis essay presents a psychological approach to understanding the creative functioning of imagination in art and religion. This approach drawn from psychoanalytic object relations theory further illuminates how the classics of art and theology engage the imagination and how distortions of the products of the creative imagination occur. Discussion of a particular innovative theme found in an artwork and related theological reflection in early Christianity exemplifies how both art and theology guide the religious imagination. Finally, various influences on the formation of personal God-i

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Manning, Sean. "The History of the Idea of Glued Linen Armour." Mouseion 17, no. 3 (2021): 491–514. http://dx.doi.org/10.3138/mous.17.3.003.

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Many people have heard that ancient warriors wore armour of many layers of linen cloth glued together. Critics emphasize the lack of archaeological or written evidence for this construction; supporters emphasize that their reconstructions resemble armour in ancient art and pass practical tests. Both present the theory as one that first appeared in the 1970s. This article make two contributions to the debate. It shows how sixteenth-century scholars used a peculiar medieval chronicle to understand the linen armour in ancient texts, and how paraphrases and mistranslations of their theory ultimate

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Baglioni, Michele, Giovanna Poggi, David Chelazzi, and Piero Baglioni. "Advanced Materials in Cultural Heritage Conservation." Molecules 26, no. 13 (2021): 3967. http://dx.doi.org/10.3390/molecules26133967.

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Cultural Heritage is a crucial socioeconomic resource; yet, recurring degradation processes endanger its preservation. Serendipitous approaches in restoration practice need to be replaced by systematically addressing conservation issues through the development of advanced materials for the preservation of the artifacts. In the last few decades, materials and colloid science have provided valid solutions to counteract degradation, and we report here the main highlights in the formulation and application of materials and methodologies for the cleaning, protection and consolidation of works of ar

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Harrison, David. "Costume Worldwide: A Historical Sourcebook Featuring the Classic Artworks of Friedrich Hottenroth & Auguste Racinet2008370Consultant Editor Melissa Leventon. Costume Worldwide: A Historical Sourcebook Featuring the Classic Artworks of Friedrich Hottenroth & Auguste Racinet. London: Thames & Hudson 2008. 352 pp., ISBN: 978 0 500 28701 9 £19.95 Flexibound with flaps." Reference Reviews 22, no. 8 (2008): 45–46. http://dx.doi.org/10.1108/09504120810914673.

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Afonasina, Anna. "Sources of the image of Aphrodite in Empedocles." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 14, no. 1 (2020): 293–308. http://dx.doi.org/10.25205/1995-4328-2019-14-1-293-308.

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Empedocles uses two forces to describe the world process, the emergence and destruction of space - Love and Strife, which work in turn, and in due time, replace each other. It is obvious that love is responsible for unification and creation, and hostility for division and destruction. At first glance it seems quite natural that it is the power of unification that Empedocles calls Aphrodite. However, when you look closely at the fragments of the poem, the image of Aphrodite is not so unambiguous: she acts as a god-craftsman, that is, not just watches from afar as the roots of things are connect

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Cobb, Matthew Adam, and Fiona Mitchell. "EROS AT JUNNAR: RECONSIDERING A PIECE OF MEDITERRANEAN ART." Greece and Rome 66, no. 2 (2019): 203–26. http://dx.doi.org/10.1017/s0017383519000044.

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In 1969 on a riverside near the Lenyardi caves (about 5 kilometres from present-day Junnar, in the Indian state of Maharashtra), Dr Satish Deshmukh discovered an alabaster object in the form of half an egg (longitudinally cut) with a young male child lying inside it (with small traces of red paint on the right side of the object). This high-quality oval object (figures 1 and 2) measures about 5 cm × 3.4 cm and is usually interpreted as an item that was originally manufactured in the Mediterranean world before being brought to India, rather than a piece of artwork produced in India itself. One

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Lazzeretti, Cecilia. "A Landscape Never Goes Out of Style. Diachronic Lexical Variation in Exhibition Press Announcements." HERMES - Journal of Language and Communication in Business 27, no. 52 (2017): 107. http://dx.doi.org/10.7146/hjlcb.v27i52.25138.

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The paper focuses on diachronic lexical variation in a professional textual genre which has gained growing importance over time in the fi eld of museum public relations and art discourse: exhibition press announcements (EPAs). The aim of the analysis is to investigate the language of EPAs from a diachronic perspective in order to identify word frequencies showing large increases or decreases, or stability in word frequencies. Baker’s (2011) method to distinguish variation over time across multiple corpora was applied and particular attention was placed on the presence of “lockwords”, i.e. word

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Jiang, Chengzhi, and Chunshen Zhu. "Bilingual and intersemiotic representation of distance(s) in Chinese landscape painting: from yi (‘meaning’) to yi (‘freedom’)." Semiotica 2018, no. 225 (2018): 293–311. http://dx.doi.org/10.1515/sem-2016-0226.

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AbstractThis paper studies cross-modal distance representation in traditional Chinese landscape painting in a contemporary museum context with special reference to the classic three axes of distance, i.e. level, deep, and high “distance.” It observes how an artwork’s “meaning” can be perceived through the bilingual presentation of the “distances” to bring about the realization of a “meditative distance,” or the artist’s aesthetic aspiration for a spiritual “freedom.” Informed by the theory of three meta-functions in Systemic Functional Linguistics and Arnheim’s discussion about distance cues,

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Thormäählen, Wiebke. "Playing with Art: Musical Arrangements as Educational Tools in van Swieten's Vienna." Journal of Musicology 27, no. 3 (2010): 342–76. http://dx.doi.org/10.1525/jm.2010.27.3.342.

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Art played a significant part in the educational ideal promoted by German intellectuals in the late eighteenth century. Gottfried van Swieten, President of the Court Commission for Education in Vienna and librettist for The Creation, was instrumental in developing and promoting the role of art in the moral education of the individual. His encouragement of active engagement with art sheds new light on the common practice of arranging musical "classics"——in particular large-scale vocal works——for smaller instrumental forces around 1800. Van Swieten's writings suggest that such arrangements may b

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Lycouris, Sophia, Eleni Ira Panourgia, Katerina Talianni, and Jack Walker. "Editorial." Airea: Arts and Interdisciplinary Research, no. 2 (October 7, 2020): 1–4. http://dx.doi.org/10.2218/airea.5038.

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Over the past two decades, collaboration has emerged as a keyword and an important methodological and ethical concern in various disciplines, which has nurtured interdisciplinary approaches that often encompass innovative processes of knowledge production. In sonic practice, trends such as participatory art, the workshop turn, and ideas of Do-It-With-Others contributed to the emergence of creative processes that manifest within the sphere of inter-human relations through participation and collaboration. Such processes can operate beyond the institutional space, or classic studio and gallery se

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Newby, Zahra. "R. Brilliant: My Laocoön. Alternative Claims in the Interpretation of Artworks. Pp. xvi + 146, ills. Berkeley and London: The University of California Press, 2000. Cased, £28.50. ISBN: 0-520-21682-2." Classical Review 51, no. 2 (2001): 451–52. http://dx.doi.org/10.1093/cr/51.2.451-a.

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Demakopoulou, K., and S. Aulsebrook. "THE GOLD AND SILVER VESSELS AND OTHER PRECIOUS FINDS FROM THE THOLOS TOMB AT KOKLA IN THE ARGOLID." Annual of the British School at Athens 113 (November 2018): 119–42. http://dx.doi.org/10.1017/s0068245418000084.

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The Late Helladic IIB–IIIA1 tholos in the Kokla necropolis is a particularly important and intriguing tomb that can provide us with interesting insights into the wider social landscape of the Argolid just prior to the emergence of the Mycenaean palaces. Architecturally, the tomb itself is a unique mix of features derived from tholoi and chamber tombs; its entrance is adorned with what must be one of the earliest-surviving Mycenaean frescoes. This tholos tomb had not been looted, a rare phenomenon for such tombs, and the precious finds, that is to say the gold, silver and ivory objects, are pre

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Treister, Mikhail Yu. "Silver Phalerae with a Depiction of Bellerophon and the Chimaira from a Sarmatian Burial in Volodarka (Western Kazakhkstan). A Reappraisal of the Question of the So-Called Graeco-Bactrian Style in Hellenistic Toreutics." Ancient Civilizations from Scythia to Siberia 18, no. 1 (2012): 51–109. http://dx.doi.org/10.1163/157005712x638654.

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Abstract This article aims to publish unique specimens of Hellenistic toreutics – a pair of silver phalerae decorated with gilding and forming part of an horses’ harness, which was found during excavation of the Volodarka-I Burial-ground on the west bank of the River Ural in western Kazakhstan in 1981. A detailed analysis is provided of the subject depicted on the phalerae – fighting between Bellerophon seated on the winged horse Pegasos and the monster Chimaira, of the iconography of the figures, of the details and decorative elements of the depictions and the techniques used. The phalerae fr

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Ainsworth, Jane. "PERSPECTIVES ON CLASSICAL ARTWORKS - (C.) Vout Classical Art. A Life History from Antiquity to the Present. Pp. xiv + 359, b/w & colour ills. Princeton and Oxford: Princeton University Press, 2018. Cased, £30, US$39.50. ISBN: 978-0-691-17703-8." Classical Review 69, no. 2 (2019): 589–91. http://dx.doi.org/10.1017/s0009840x19001008.

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Kohut, Volodymyr. "Video art of Lviv, late XX - early XXI century, historical context: creating an art form." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 317–33. http://dx.doi.org/10.37131/2524-0943-2019-39-22.

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Background. For the last 25 years videoart in Ukraine had passed a maturation from the elementary experimental video practices of the end of the 80's to the full-identical art form. Like most of the USSR innovative art trends, videoart in Ukraine paved it's way through the formal endorsement's resistance and had been creating owing to the enthusiasm and persistence of individual artists and single artistic formations. Ukrainian videoart had developed according to all the fine art growth's features of socialistic period; however was established and concepted for the first time in Lviv as a phen

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Edwards, Catharine. "R. Brilliant, My Laocoön: Alternative Claims in the Interpretation of Artworks. Berkeley/London: University of California Press, 2000. Pp. xvi + 146, 29 illus. ISBN 0-520-21682-2. £28.50/US$45.00. - A. Payne, A. Kuttner and R. Smick (eds), Antiquity and its Interpreters. Cambridge: Cambridge University Press, 2000. Pp. xv + 324, 77 illus. ISBN 0-521-59400-6. £60.00/US$90.00." Journal of Roman Studies 92 (November 2002): 219–20. http://dx.doi.org/10.2307/3184888.

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Sun, Bo. "The parameters of co-creation: a performing look at “The Six Romances for the Words by A. S. Pushkin” by G. Sviridov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 76–88. http://dx.doi.org/10.34064/khnum1-50.06.

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Formulation of the problem. The development of the concept of “co-creation” is proposed as the necessary condition for the interaction of subjects in the system: the composer – the poet – the performer-singer. The spiritual duality of the poet and the composer becomes a meeting place with its performer. The triple reflection I=I=I is captured in the structure of the artwork. Its result is the content of the category “the author’s concept”; this is an important parameter of the artist’s “entry” into the composer’s text, which is relevant for the analysis of a vocal composition. The theme of the

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Sugesti, Ikariya, and Susilawati Susilawati. "THE ROLE OF RASTIKA’S GLASS PAINTING AS A UNIQUE ARTWORK IN SUPPORTING TOURISM IN CIREBON." UMRAN - International Journal of Islamic and Civilizational Studies (EISSN: 2289-8204) 3, no. 3-1 (2016). http://dx.doi.org/10.11113/umran2016.3n3-1.148.

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The Cirebon glass painting is a traditional artwork which showed how several cultures such as Chinese, Islam, and Hindu combined as one. Rastika is a glass painting pioneer from Cirebon has shown how the object variation, background development, and calligraphy in his artwork. His glass painting serves the beauty of itself and he has reformed traditional themes in glass paintings. This is an art involving design, style, theme, and the pattern, that always growth, renewal, and friction, so that it produces a new and prim painting technique. A combination of rocks and clouds and that of a dragon

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Hasan, Ali, and Jennifer Kayle. "Unplanned Coordination: Ensemble Improvisation as Collective Action." Journal of Social Ontology, August 30, 2021. http://dx.doi.org/10.1515/jso-2020-0004.

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Abstract The characteristic features of ensemble dance improvisation (EDI) make it an interesting case for theories of intentional collective action. These features include the high degree of freedom enjoyed by each individual, and the lack of fixed hierarchical roles, rigid decision procedures, or detailed plans. We present a “reductive” approach to collective action, apply it to EDI, and show how the theory enriches our perspective on this practice. We show, with the help of our theory of collective action, that EDI (as typically practiced) constitutes a significant collective achievement, o

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Turner, Andrew D. "THE OLMEC SPOON RECONSIDERED: MATERIAL MEANINGS OF JADE, NACREOUS SHELLS, AND PEARLS IN ANCIENT MESOAMERICA." Ancient Mesoamerica, November 20, 2020, 1–17. http://dx.doi.org/10.1017/s0956536120000358.

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Abstract Previous studies have interpreted greenstone objects referred to as Olmec “spoon” pendants based on hypothetical utilitarian functions that they might have served. This study argues that the unique form of these pendants is actually based on the shell of the wing oyster (Pteria), a nacreous pearl-forming bivalve found on either coast of Mesoamerica. The study of these skeuomorphic recreations of shells sheds light on conceptual relationships between jade and iridescent shell, as well as the ideological motivations behind such material substitutions. Although wing oyster pendants were

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Zhang, Jie, Yingjing Duan, and Xiaoqing Gu. "Research on Emotion Analysis of Chinese Literati Painting Images Based on Deep Learning." Frontiers in Psychology 12 (July 28, 2021). http://dx.doi.org/10.3389/fpsyg.2021.723325.

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Starting from a pure-image perspective, using machine learning in emotion analysis methods to study artwork is a new cross-cutting approach in the field of literati painting and is an effective supplement to research conducted from the perspectives of aesthetics, philosophy, and history. This study constructed a literati painting emotion dataset. Five classic deep learning models were used to test the dataset and select the most suitable model, which was then improved upon for literati painting emotion analysis based on accuracy and model characteristics. The final training accuracy rate of th

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Vilić, Nataša. "Pop-art and criticism of reception of vacuity (the society) in the works of Andy Warhol." СОЦИОЛОШКИ ДИСКУРС 5, no. 9 (2017). http://dx.doi.org/10.7251/socen1509071v.

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With the advent of pop art and artistic creativity of Andy Warhol arechanged the classic works of reception of art and art in general. AndyWarhol in his artistic action is insisting on the immediate actions andthe naked form - those are so-called the works of “pure” form, whichcreate a confusing gap; whose “content” is necessary to construct, thatis, to invent. That in the opinion of Andy Warhol can only audiencesand critics - with that he actually makes room for interpretation of hisartistic work. Andy Warhol was aware of the existing “gaps of entity”.He wants the freedom which he enjoys in h

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López, Jesús Ramé. "La estética modal como herramienta de análisis cinematográfico." AVANCA | CINEMA, May 5, 2020. http://dx.doi.org/10.37390/ac.v0i0.12.

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Modal aesthetics emerges from Nicolai Hartmann’s ontology, whose modal distribution has three fundamental categories: the Repertorial, the Dispossitional and the Landscape which diverse dynamic equilibriums articulate both the artwork and the aesthetic experience. In this way, movies and our responses to them would appear as manifestations of diverse “modes of relation”, which organize the cinematographic work along with the sensitivities coupling with it, while integrating them both within the technological-historical development.As a result of the different modal equilibriums available, film

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Kearsley, John Henry, and Elizabeth Lobb. "Workshops in Healing for Senior Medical Students: A 5 Year Experience." International Journal of Whole Person Care 1, no. 1 (2014). http://dx.doi.org/10.26443/ijwpc.v1i1.13.

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Objectives: To provide a 5-year (2008-2012) overview and appraisal of a novel course for senior undergraduate medical students (Workshops in Healing) at the University of New South Wales, Sydney, Australia within the context of a traditional 6-year curriculum. In these innovative workshops, 8-12 self-selected students per year participate over 6 hours in two sessions, several days apart. The sessions use artwork and other evocative images, poetry, music, statues and classic/contemporary literature to illustrate points of discussion relating to suffering, healing and the doctor-patient relation

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Paterson, Amy. "Bumble-Ardy by M. Sendak." Deakin Review of Children's Literature 1, no. 3 (2012). http://dx.doi.org/10.20361/g2gw2q.

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Sendak, Maurice. Bumble-Ardy. New York: HarperCollins Publishers, 2011. Print. Maurice Sendak’s devotion to chaos, revelry, and the inherent wildness of children is present once again in Bumble-Ardy, the story of a little pig intent on celebrating his ninth birthday. Having had his first eight birthdays summarily passed over by an immediate family who “frowned on fun,” Bumble-Ardy is overjoyed when he is adopted by his “devine” Aunt Adeline. Like the doting relative she is, Adeline throws Ardy a sweet and thoughtful (though low-key) birthday party; however, Ardy, unsatisfied with his aunt’s ef

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Aitken, Leslie. "Little Blue Chair by C. Fagan." Deakin Review of Children's Literature 7, no. 3 (2018). http://dx.doi.org/10.20361/g2gq3c.

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Fagan, Cary. Little Blue Chair, illustrated by Madeline Kloepper. Tundra Books-Random House Canada, 2017.Cary Fagan has created many delightful picture books, among them, Ten Old Men and a Mouse, illustrated by Gary Clement (2007); Mr. Zinger’s Hat, illustrated by Dušan Petričić (2012); and A Cage Went in Search of a Bird, illustrated by Banafsheh Erfanian (2017). In each of these works, the illustrator has brilliantly conveyed the sense of the text.The storyline of Little Blue Chair would appear to have much potential for robust illustration. Fagan creates the classic circular journey. A litt

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Stephensen, Jan Løhmann. "Store forventninger." Passage - Tidsskrift for litteratur og kritik 27, no. 68 (2012). http://dx.doi.org/10.7146/pas.v27i68.7912.

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Jan Løhmann Stephensen: "Store forventninger - Ord, billeder og fortællinger i litteratur, film og antilitteratur"AbstractJan Løhmann Stephensen: “Great Expectations: Word, Image, and Narrative in Literature, Film, and Anti-Literature”Focusing on Deborah Chiel’s novelization of Glaser & Cuarón’s adaptation of Charles Dickens’ classic novel Great Expectations, this article studies how the “translation” back and forth between the different media of literature and film is negotiated within the very grammar of these works. To this end, the way media-specific differences as well as historical s

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Thomas, Brittany. "Ravenna on the grand tour: a view of late antiquity in the eighteenth century." Classical Receptions Journal, October 2, 2020. http://dx.doi.org/10.1093/crj/claa011.

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Abstract Ravenna, the former grand capital of the late Roman and early Byzantine Empires and a popular modern UNESCO World Heritage site, is a city rarely included in major historical surveys of Italy during the Grand Tour. An exploration of period sources may reveal why: it was, for many centuries between the Middle Ages and the nineteenth century, a rundown parish town that was incredibly difficult to reach by conventional transportation. This article collates and deconstructs a number of Grand Tour sources in order to gain an understanding of Ravenna in the eighteenth century, and, further,

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Gibson, Prue. "Body of Art and Love." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.474.

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The phenomenological experience of art is one of embodied awareness. Now more than ever, as contemporary art becomes more interactive and immersive, our perceptions of embodiment are useful tools to gauge the efficacy of visual art as a stimulus for knowledge, new experience and expression. Art has a mimetic and interactive relationship with the world. As Schopenhauer said, “The world is my representation” (3). So which takes effect first: the lungful of excited breath or the synapses, is it the miasmic smell of dust on whirring video projectors or the emotion? When we see great art (in this i

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Sloggett, Robyn. "Slipping and Sliding." M/C Journal 8, no. 3 (2005). http://dx.doi.org/10.5204/mcj.2375.

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   On the back cover of The Art Forger’s Handbook, Eric Hebborn proclaims  No drawing can lie of itself, it is only the opinion of the expert which can deceive. (Hebborn)   Well certainly, but like many forgers Hebborn was dedicated to ensuring the experts have ample material with which to work.   The debate about authenticity rolls into the debate about originality rolls into the debate about excellence, slipping between the verifiable and the subjective, shadowed by the expert assessing, categorising, and delivering verdicts. Yet th

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Stewart, Jonathan. "If I Had Possession over Judgment Day: Augmenting Robert Johnson." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.715.

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augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audi

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Hill, Wes. "Revealing Revelation: Hans Haacke’s “All Connected”." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1669.

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In the 1960s, especially in the West, art that was revelatory and art that was revealing operated at opposite ends of the aesthetic spectrum. On the side of the revelatory we can think of encounters synonymous with modernism, in which an expressionist painting was revelatory of the Freudian unconscious, or a Barnett Newman the revelatory intensity of the sublime. By contrast, the impulse to reveal in 1960s art was rooted in post-Duchampian practice, implicating artists as different as Lynda Benglis and Richard Hamilton, who mined the potential of an art that was without essence. If revelatory

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Gildersleeve, Jessica. "“Weird Melancholy” and the Modern Television Outback: Rage, Shame, and Violence in Wake in Fright and Mystery Road." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1500.

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In the middle of the nineteenth century, Marcus Clarke famously described the Australian outback as displaying a “Weird Melancholy” (qtd. in Gelder 116). The strange sights, sounds, and experiences of Australia’s rural locations made them ripe for the development of the European genre of the Gothic in a new location, a mutation which has continued over the past two centuries. But what does it mean for Australia’s Gothic landscapes to be associated with the affective qualities of the melancholy? And more particularly, how and why does this Gothic effect (and affect) appear in the most accessibl

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Kangas, Sonja. "From Haptic Interfaces to Man-Machine Symbiosis." M/C Journal 2, no. 6 (1999). http://dx.doi.org/10.5204/mcj.1787.

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Until the 1980s research into computer technology was developing outside of a context of media culture. Until the 1970s the computer was seen as a highly effective calculator and a tool for the use in government, military and economic life. Its popular image from the 1940s to 1950s was that of a calculator. At that time the computer was a large machine which only white lab-coated engineers could understand. The computer was studied as a technical instrument, not from the viewpoint of the user. The peculiar communication between the user -- engineers at this point -- and the machine was describ

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Dutton, Jacqueline Louise. "C'est dégueulasse!: Matters of Taste and “La Grande bouffe” (1973)." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.763.

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Dégueulasse is French slang for “disgusting,” derived in 1867 from the French verb dégueuler, to vomit. Despite its vulgar status, it is frequently used by almost every French speaker, including foreigners and students. It is also a term that has often been employed to describe the 1973 cult film, La Grande bouffe [Blow Out], by Marco Ferreri, which recounts in grotesque detail the gastronomic suicide of four male protagonists. This R-rated French-Italian production was booed, and the director spat on, at the 26th Cannes Film Festival—the Jury President, Ingrid Bergman, said it was the most “s

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Newman, James. "Save the Videogame! The National Videogame Archive: Preservation, Supersession and Obsolescence." M/C Journal 12, no. 3 (2009). http://dx.doi.org/10.5204/mcj.167.

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Introduction In October 2008, the UK’s National Videogame Archive became a reality and after years of negotiation, preparation and planning, this partnership between Nottingham Trent University’s Centre for Contemporary Play research group and The National Media Museum, accepted its first public donations to the collection. These first donations came from Sony’s Computer Entertainment Europe’s London Studios who presented the original, pre-production PlayStation 2 EyeToy camera (complete with its hand-written #1 sticker) and Harmonix who crossed the Atlantic to deliver prototypes of the Rock B

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