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Journal articles on the topic 'Mimesis in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

Ab. Aziz, Arba’iyah. "Konsep Mimesis Dalam Seni Melayu." INTERNATIONAL JOURNAL OF ART AND DESIGN 5, no. 2 (October 7, 2021): 45–58. http://dx.doi.org/10.24191/ijad.v5i2.5.

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The Malays have long utilized natural resources to meet their daily basic needs. Natural resources serve as the basis not only in nutrition, medicine, and equipment but also the basis of inspiration in Malay art. It begins with careful observation and reasoning and then the natural resources are utilized wisely by the Malays. Since most of them live in villages, life is well integrated with the rural environment such as plants, and other various natural elements. With the concept of hometown, they make nature to fulfill their economic and social functions and, also to fill the gap between ethical and aesthetical values, for cultural development. This paper discusses the concept of mimesis or imitation by Malay artisans in the production of art and design motifs. The objective of this study was to document the concept of mimesis in the production of Malay art. There are many art and design motifs that are sourced from nature. It is based on the process of imitation is found in songket weaving motifs, weaving, batik, wood carving, telepuk and others. The research of this study is based on observation methods and interviews with individuals and cultural expert figures. It is hoped that every Malay art will continue to be appreciated and understood as a rich artistic heritage with its values and philosophy that support the community and the culture. The essence of such methodology or procedure is to highlight nature as the source of aspiration and inspiration of art treasures that will ensure the greatness of the Malay art universally.
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2

Gebauer, Gunter, Christopher Wulf, and Don Reneau. "Mimesis: Culture--Art--Society." Philosophy East and West 47, no. 2 (April 1997): 291. http://dx.doi.org/10.2307/1399889.

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3

Siemens, Herman. "Mimesis, Metaphysics and Aesthetic Science in Baumgarten and Nietzsche's The Birth of Tragedy." MLN 138, no. 5 (December 2023): 1405–21. http://dx.doi.org/10.1353/mln.2023.a922031.

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Abstract: This paper investigates the notion of mimesis in Baumgarten's Meditationes (1735), the inaugural text of modern aesthetics, and Die Geburt der Tragödie , as two exemplary texts of aesthetische Wissenschaft . What meanings and functions do they give to 'mimesis' and the Aristotelian doctrine that art is an imitation ( Nachahmung, Abbild ) of nature? The main thesis is that both texts cast art as a Nachahmung of the creative principle of nature (natura naturans), rather than the order of things (natura naturata); a move that displaces traditional (static, dualistic, passive, representational) notions of mimesis with one that is dynamic, creative and tendentially anti-metaphysical, in line with the mimetic turn. They are exemplary texts of aesthetische Wissenschaft because the way they do this places them at opposite ends of metaphysics.
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Dolar, Mladen. "Mimesis and ideology - from Plato to Althusser." Filozofija i drustvo 26, no. 1 (2015): 156–78. http://dx.doi.org/10.2298/fid1501156d.

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The moment one imitates something, it sticks, it marks the imitator, there is no innocent imitation. Imitation necessarily affects the one who imitates, for better or (usually) for worse, and the making of a simple copy of something necessarily affects the original. This is perhaps the briefest way to describe Plato?s concerns about the nature of mimesis in the Republic. The purpose of this paper is to give a brief account of looking at the mysterious magic powers of mimesis and of attempts to counteract them. The topic is massive, so the paper will concentrate on a few perspectives, starting with the theatrical parable of St. Genesius, leading to Pascal and to Althusser?s theory of ideology, then scrutinizing the ways in which modernity tried to disentangle itself from mimesis (Brecht?s estrangement, Irigaray?s femininity as mimesis, Badiou?s anti-mimetic stance, Freud?s account of magic and Lacan?s account of enjoyment). What is the real of the mimetic spell which has so vastly ramified aesthetic and political consequences? The paper proposes a defense of mimesis, claiming that modernity, by relegating the traditional art to the past of mimesis and representation, thereby maintained a disavowed kernel of mimesis at its core.
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5

Deriu, Fabrizio. "Mimesis and/Is/as Restoration of Behaviour." CounterText 8, no. 1 (April 2022): 103–22. http://dx.doi.org/10.3366/count.2022.0259.

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In light of the paradigm shift which in Theatre Studies led to the emergence of a new (post)discipline that takes the notion of performance as its cornerstone, this essay discusses the productive convergence between mimesis and ‘restored behaviour’, namely the key process of every kind of performance in art, ritual, and ordinary life. This convergence can improve the understanding of the mimetic condition in the twenty-first century, provided we rely on a postmodern and, at the same time, pre-Platonic conception of mimesis. Even though ‘restored behaviour’ is not the same as mimesis, evidence for their proximity can be found in neuroscientist Merlin Donald’s theory of the evolution of the human mind, in which he locates a pre-verbal stage named ‘mimetic culture’. A final section draws some arguments from cognitive perspectives in evolutionary studies on literature in order to show how mimesis and performativity are likely to emerge as a pre-literary layer, confronting the present-day post-literary condition.
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6

Underriner, Chaz. "Mimesis, Murakami and Multimedia Art: Parallel Worlds in Performance." Leonardo Music Journal 29 (December 2019): 31–36. http://dx.doi.org/10.1162/lmj_a_01059.

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The artistic techniques of mimesis—the representation of reality in art—make it possible to “render the unreal familiar or the real strangely unfamiliar.” The author, a composer and intermedia artist, uses mimetic techniques in acoustic composition, video art and field recording to reimagine everyday experience, as in his multimedia piece Landscape: Home. The author analyzes passages from the novel Sputnik Sweetheart by Haruki Murakami to understand Murakami’s use of “parallel worlds” and the “reality effect.” This literary analysis aims to highlight the potential of mimetic techniques for artistic practice in sound and image, particularly in the author’s Landscape series.
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7

Şenol, Ajda. "Is Art Mimesis or Creation?" Procedia - Social and Behavioral Sciences 116 (February 2014): 2866–70. http://dx.doi.org/10.1016/j.sbspro.2014.01.670.

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8

Miller, Carolyn R. "Tilsløring og afsløring af retorikken." Rhetorica Scandinavica, no. 47 (2008): 30–54. http://dx.doi.org/10.52610/adoz8175.

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Rhetoric has been characterized throughout its history as an art that must conceal itself to succeed. Two arenas where rhetoric has been most successfully concealed are those of science and technology. This essay explores the general conditions and justifications for the concealment of rhetoric, finding that four principles appear repeatedly in the ancient tradition: suspicion, spontaneity, sincerity, and mimesis. In response, rhetorical art has developed strategies to allay suspicion, create the impression of spontaneity and sincerity, and emphasize the direct mimetic power of language, strategies that themselves must be concealed. Two examples drawn from the rhetoric of science and technology, specifically the discourse of risk analysis, illustrate the operation of rhetorical concealment. The first example, a foundational 1969 scientific article by engineer Chauncey Starr, relies on an unacknowledged rhetoric of pathos; the second, the 1975 Reactor Safety Study by the U.S. Nuclear Regulatory Commission, relies on an appeal to ethos, disguised as technical expertise. Keywords rhetoric of science, risk analysis, pathos, ethos, mimesis, concealed rhetoric
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9

Grotowski, Piotr. "Classicisation or representation? Mimesis in Byzantine pictorial arts as a derivative of style." Zograf, no. 37 (2013): 23–36. http://dx.doi.org/10.2298/zog1337023g.

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The idea of mimesis in art theory has been neglected by Byzantine scholars. Reasons for this may lie in the fact that the understanding of the term in Byzantium was very complex and that it changed over time. In the Early Byzantine period and the so-called Macedonian Renaissance, a tendency to use tonal modelling, which was inherited from ancient Greco-Roman art, can still be observed. Starting in the late tenth century they give way to a more linear style. Simultaneously, a change in the understanding of mimesis in theological writings can also be observed. The aim of this paper is to introduce the problem of a mimetic approach in visual arts as a phenomenon in Byzantine culture.
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10

Lughi, Giulio. "Digital Media and Contemporary Art." Mimesis Journal, no. 3, 2 (December 1, 2014): 43–52. http://dx.doi.org/10.4000/mimesis.686.

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11

Lieto, Antonio, Rossana Damiano, and Vanessa Michielon. "Conceptual Models for Intangible Art." Mimesis Journal, no. 3, 2 (December 1, 2014): 70–78. http://dx.doi.org/10.4000/mimesis.690.

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12

Lombardo, Vincenzo, Nadia Guardini, and Alessandro Olivero. "Visualisation of contemporary public art." Mimesis Journal, no. 3, 2 (December 1, 2014): 79–89. http://dx.doi.org/10.4000/mimesis.694.

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13

Fendt, Gene. "Book review: Mimesis: Culture, Art, Society." Philosophy and Literature 21, no. 1 (1997): 199–201. http://dx.doi.org/10.1353/phl.1997.0016.

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14

Ragazzi, Rossella. "Liberating mimesis: between art and anthropology." Critical Arts 27, no. 6 (November 2013): 799–806. http://dx.doi.org/10.1080/02560046.2013.867598.

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15

Malyshev, Vladislav B. "Dance of the language: Primordial cultural modalities in the light of metaphor theory." Aspirantskiy Vestnik Povolzhiya 20, no. 7-8 (April 26, 2020): 44–48. http://dx.doi.org/10.17816/2072-2354.2020.20.4.44-48.

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The article analyzes the relationship between the conceptual field of metaphor and the primordial cultural modalities in the context of the problem of transcendent instances. Metaphor, mimesis, and poetry as three types of modeling the reality of culture can be correlated in the plane of language representation of the world. The dance of language is the top species of mimetic evolution, whereas metaphor is the key to understanding the mechanism of mimesis in art and culture (I.-G. Herder, F. Nietzsche). The discourse of the primordial cultural modalities in language is clothed in certain images, in certain mimetic forms, in the dance of language. Metaphor is the key to understanding the primordial cultural modalities. It is in the dance of language which a person finds wholeness of being.
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Малышев, Владислав Борисович. "THE QUESTION OF MIMESIS IN THE LIGHT OF METAPHOR THEORY: TO THE PROBLEM STATEMENT." Вестник Тверского государственного университета. Серия: Философия, no. 3(53) (October 30, 2020): 122–29. http://dx.doi.org/10.26456/vtphilos/2020.3.122.

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В статье производится анализ соотношения понятийного поля метафоры и мимезиса в контексте проблемы языка в его истоке. Метафора и мимезис как два вида моделирования реальности культуры могут быть соотнесены в плоскости языковой репрезентации мира. Танец языка - вершина эволюции миметического, а метафора - ключ к пониманию механизма мимезиса в искусстве и культуре. Метафора - это некий более тонкий механизм репрезентации мира посредством языка, высшая точка эволюции миметического (И.-Г. Гердер, Ф. Ницше). Через мимезис в искусстве происходит воссоздание мира. Метафора также соотносит одну вещь с другой через мнимое подобие, через его утверждение, затем отрицание, затем через синтез и создание новой реальности. Метафора не столько создает систему подобий, сколько уничтожает саму возможность существования старых подобий в системе различий. Это еще один пункт, в котором метафора и мимезис сходятся, ибо их предназначение создавать новую реальность культуры. The article analyzes the relationship between the conceptual field of metaphor and mimesis in the context of the problem of language at its source. Metaphor and mimesis as two types of modeling the reality of culture can be correlated in the plane of language representation of the world. The dance of language is the pinnacle of mimetic evolution, and metaphor is the key to understanding the mechanism of mimesis in art and culture. Metaphor is a more subtle mechanism for representing the world through language, the highest point in the evolution of the mimetic (I.-G. Herder, F. Nietzsche). Through mimesis, the world is recreated in art. Metaphor also relates one thing to another through an imaginary similarity, through its affirmation, then negation, then through the synthesis and creation of a new reality. The metaphor does not so much create a system of similarities as it destroys the very possibility of the existence of old similarities in the system of differences. This is another point where metaphor and mimesis converge, for their purpose is to create a new reality of culture.
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Dahlsveen, Heidi. "TO REMEMBER IS A RISK OF FORGETTING – MIMESIS AND CHRONOTOPE IN ARTISTIC PROCESS." Culture Crossroads 22 (September 13, 2023): 172–82. http://dx.doi.org/10.55877/cc.vol22.446.

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A performing storyteller is completely depending on the memory. In the process of making a performance the storyteller must make some choices regarding the memory. This article is based on a musical storytelling performance. Through using the research question: what possibilities does the chronotope and mimesis provide in an artistic working process towards an oral storytelling performance? the author looks at the concept of mimesis as a process and chronotope as a clarifying term. According to Catherine Heinemeyer, a chronotope is applicable because it is not only about the artistic experience, but the metaphor places the artistic work in contemporary political, economic, and social tendencies. This helps identify ways of behaving in a practice [Heinemeyer 2020]. Paul Ricoeur (1913–2005) relates. Aristotle’s mimesis to poiesis, which means art, and it is therefore only within the art that mimesis is effective [Ricoeur 1991]. The author has used examples from the storytelling performance to understand the concept of mimesis and the metaphor chronotope better.
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18

Trueba Atienza, Carmen. "El error poético en Aristóteles." Theoría. Revista del Colegio de Filosofía, no. 10 (June 1, 2001): 11–21. http://dx.doi.org/10.22201/ffyl.16656415p.2000.10.245.

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The question of the poetic error is treated by Aristotle in the context of his analysis of mimesis or poetic imitation, and constitutes a key element for the adequate comprehension of his mimetic theory of art. In this article, the author demonstrates that the Aristotelian notion of poetic error acquires an artistic or poetic sense, based on relevant passages of his Poetics. The author maintains that the notion of poetic error indicates that Aristotle recognizes some degree of autonomy to art concerning politics, ethics, and science.
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19

Slessor, Stephen, and Anne Sophie Voyer1. "Algorithmic Mimesis: Translation, Technology, Resistance." TTR 29, no. 2 (August 27, 2018): 129–54. http://dx.doi.org/10.7202/1051016ar.

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Translation technologies often figure translation as a simple process of linguistic transfer from one code to another or as a question of selecting the correct matching segments from a database. The prominence of such technologies in the digital age has thus renewed discussions of fidelity and equivalence for translators. The critical attention given to broader cultural and textual contexts that came into focus with the cultural turn seems at risk of disappearing into cyberspace. However, the ongoing proliferation of textual production and reproduction also foregrounds the possibilities of variability and difference in repetition. Using the foibles of technology as catalysts for their own creative ventures, digital-age artists such as Urayoán Noel and Malinda Kathleen Reese channel deficiencies productively in their art, revealing the unsuspected potentials of digital technologies. Such a view of translation as creation challenges the commonplace notion that translation is a scientific act of “carrying across,” a purely semantic transfer that results in the (illusion of) identicality of source and target. Echoing Lévi-Strauss’s notion of “bricolage”—the means by which people retrieve and recombine cultural materials to create new content—Reese and Noel shatter the semantic shackles of identicality by using technology to retrieve and transform the material scraps of language and culture. Their art helps us reconceptualize translation and go beyond fixed notions of what a translation should be or do in terms of fidelity and equivalence. Their playful misuse of machine translation and voice-recognition software allows for a critical analysis of the tension between the universal and the particular as it relates to the act of translation, and does so in a way that uses formal experimentation and humour to resist traditional power dynamics.
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전혜현. "Art and Nanotechnology: Haptic Mimesis of Reality." Journal of History of Modern Art ll, no. 36 (December 2014): 211–31. http://dx.doi.org/10.17057/kahoma.2014..36.008.

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21

Dudareva, M. A., and V. V. Nikitina. "MIMESIS VARIATIONS IN A. SHATSKOV’S POETRY BOOK “KULIKOVO FIELD TALES”." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 86 (2022): 57–62. http://dx.doi.org/10.37313/2413-9645-2022-24-86-57-62.

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The object of the article is mimesis in art. The subject of the research is variations of mimesis in modern poetry. The material for the article is a new book of poems “Kulikovo Field Tales” by A. Shatskov. The focus of cultural and philosophical analysis is the interrelation of phenomenal and noumenal, rational and pre-rational in art. Much attention is paid to the problem of relationship between mimesis and cultural entelechy. Mimesis is understood as sacral recollection of other epochs and cultures by the wordsmith. Mimesis is described as an artistic practice. The research methodology is mainly represented by the holistic ontological-hermeneutic analysis of the modern poet’s book, aimed at highlighting the cultural potential of the mimesis problem in the digital epoch, which makes it possible to describe the importance of the poetic word for a Russian from the cultural-philosophical and ontological position, to deepen the comprehension of spiritual life of the literary artist. Much attention is given to the architectonics of the book of poetry, to the three-part composition designed according to the laws of man’s cosmic life cycle: from childhood to the epitome of life. The work results may be of interest to literary historians who include literature in the space of a broad dialogue of cultures; the book can also be useful in courses on cultural studies and Russian philosophy.
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Son, Jin-A., and Jeong-Hyun Lee. "Analysis of Mimesis Expressed in the Beauty Works from North American Hairdressing Awards." Korean Society of Beauty and Art 24, no. 1 (March 20, 2023): 7–26. http://dx.doi.org/10.18693/jksba.2023.24.1.7.

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Hairstyles are the results of creative activities in beauty art. For such hairstyling, there always exists a source of inspiration. In fact, creative works are being completed through the representation or partial imitation of the original. In other words, such process is related with a concept of ‘mimesis’, one of aesthetic factors. Therefore, this study attempted to theoretically review mimesis and examine its characteristics expressed in the works from the North American Hairdressing Awards (NAHA). For this, mimesis is conceptualized by the names of imitation, representation, expression and creation, and its type was classified into representative mimesis, metaphoric mimesis and creative mimesis. When the works from the NAHA were analyzed according to the characteristics of mimesis, in representative mimesis, the physical properties of natural objects were expressed as they were as much as possible. In metaphoric mimesis, on the contrary, target objects were mostly imitated, or inner images were metaphorically expressed. In creative mimesis, an artist’s subjective thoughts and emotions were expressed in an abstract fashion, not in a morphological way. It is anticipated that the above results would extend the scope of research on beauty works by establishing the ground to recognize such works again from a mimesis perspective and suggesting a possibility of studying them within the range of aesthetics.
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Wulf, Christoph. "Mimesis and the Process of Becoming Human: Performativity, Repetition and Practical Knowledge." CounterText 8, no. 1 (April 2022): 46–60. http://dx.doi.org/10.3366/count.2022.0256.

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Although mimetic processes play an important role in the aesthetic experiences of art, literature, music, and theatre, they are also important in other areas. Mimetic processes are central to how human beings develop into humans. Plato and Aristotle were among the first to point this out. More recently, this ancient insight has been confirmed by research in evolutionary anthropology, neuroscience, and cultural anthropology. Cultural learning is essentially mimetic learning. It ensues through relationships with other people, as well as with nature, cultural objects, and artifacts. Hence, mimesis is of central importance for the development of cultural and practical knowledge. In this article, I argue that mimetic processes are processes of repetition and as such they are key elements both of memory and innovative action. They pave the way for innovations in post-literary cultures where a mimetic turn, or re-turn of attention to mimetic processes, is currently underway.
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Opelz, Hannes. "Mimetic Annihilation." CounterText 8, no. 1 (April 2022): 177–205. http://dx.doi.org/10.3366/count.2022.0262.

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What is the relationship between mimesis, biology and identity? I propose to explore this question here by turning to Alex Garland’s 2018 SF film Annihilation. Not least because it is identity that is eponymously annihilated in the film via what could be described as biomimetic processes. At stake in Garland’s film is an infinitely refracting mimetic process of genetic mutations and exchanges resulting in a fundamental alteration of human identity. When faced with ‘the Shimmer’ – the alien life-form causing mysterious transformations in what is called ‘Area X’ – the film’s protagonists are forced to shed their understanding of themselves as irreducibly singular, physically self-contained and conceptually inviolable beings. Revisiting the relationship between deconstruction and dialectics, art and genetics, plasticity and the sublime, the living and death, I argue that Garland’s annihilating mimesis reveals itself as a conditio biologica that puts into question our very notions of what constitutes the human.
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Ricci, Maria Elena. "The Performance Art of Carlos Martiel: The Political Body and Social Change." Mimesis Journal 12, no. 2 (December 1, 2023): 159–73. http://dx.doi.org/10.4000/mimesis.2830.

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Trochimska-Kubacka, Beata. "Koncepcja sztuki w filozofii kultury Ernsta Cassirera." Studia Philosophica Wratislaviensia 14, no. 3 (August 27, 2019): 81–99. http://dx.doi.org/10.19195/1895-8001.14.3.6.

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The Concept of Art in Ernst Cassirer’s Philosophy of CultureThe presentation is dedicated to the discussion of the concept of art and aesthetics within Ernst Cassirer’s philosophy of culture. The considerations are connected with an attempt to answer the question about the meaning of art in the system of symbolic forms and the position of aesthetics in Cassirer’s thought. It includes a reconstruction of his position on the tradition of aesthetic thought, including the theory of mimesis and theory of expression, the notion of beauty and imagination. It shows the dialogical, dynamic and communicative nature of culture as viewed by Cassirer. In the context of his intuition of culture art as a “bridge,” the following is discussed: mediation between the “I” and “You,” subjectivity and objectivity, mimesis and creativity, rationality and emotionality. References are made to the positions adopted by Michaela Hinsch, Marion Lauschke, Birgit Recki.
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Alessandra Campoli. "Art, Myth and Memory." VISUAL REVIEW. International Visual Culture Review 7, no. 2 (December 23, 2020): 199–206. http://dx.doi.org/10.37467/gka-revvisual.v7.2647.

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This paper aims at investigating the relationship between collective and cultural memory, myth, and contemporary art practice. Artists in the past have relied on the power of myth to visually speak to their audience, re-presenting myths in an illusionistic way. Today art is not conventionally telling stories anymore and is disentangled from the need for mimesis. How has the relation between art and myth changed outside the framework of representational art? Is the connection between myth and collective and cultural memory used in contemporary art practice? How do art and myth intersect today?
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Gouarné, Esther. "Escaping the Representation: Lieutenantenduetten, a critical performance by the Warme Winkel." Revista Brasileira de Estudos da Presença 4, no. 1 (April 2014): 28–46. http://dx.doi.org/10.1590/2237-266041770.

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ABSTRACT This performance questions the logics of representation and mimesis, blurs the borders between life and fiction, and mixes codes inherited from the theater, performance-art, and happening. It plays with art history to address the difficulty of art to create images in a globalized world, and more specifically, in the context of the current European economic crisis, which directly threatens the art scene in Holland.
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Piercey, Robert. "Active Mimesis and the Art of History of Philosophy." International Philosophical Quarterly 43, no. 1 (2003): 29–42. http://dx.doi.org/10.5840/ipq200343155.

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Bantinaki, Katerina. "Beyond Mimesis and Convention: Representation in Art and Science." International Studies in the Philosophy of Science 26, no. 1 (March 2012): 114–18. http://dx.doi.org/10.1080/02698595.2012.653120.

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Cazeaux, C. "Beyond Mimesis and Convention: Representation in Art and Science." British Journal of Aesthetics 52, no. 2 (November 22, 2011): 211–16. http://dx.doi.org/10.1093/aesthj/ayr043.

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32

Park, Youjeong. "Gadamer’s thinking on Art through Heidegger’s Hermeneutics: Art as the Encounter Experience with Self itself." Global Knowledge and Convergence Association 6, no. 2 (December 31, 2023): 11–30. http://dx.doi.org/10.47636/gkca.2023.6.2.11.

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This paper pursues to think about Gadamer’s thinking on Art through Heidegger’s Hermeneutics. Experience on Beauty was chosen for the purpose of good explanation, and we could finally discover how Gadamer elaborated Heidegger’s hermeneutics and his thinking on Art. At first, hermeneutics was originally a skill of interpretation, but it became a methodology of Geisteswissenschaft by Dilthey. After that Heidegger changed hermeneutics as methodology into onology as a methaphysics, and Gadamer was successive to Heidegger’s hermeneutics and elaborated it. According to Gadamer, art is a field of truth that Being is revealed in Heidegger’s sense. Experience on Beauty is to discover Selbst itself in the event of Being-Aletheia, and it is a fusion of horizons(Horizontverschmelzung) in Gadamer’s philosophical vocabularies. So art is like Game(Spiel) because peoples in art rely on art itself as players should obey to game. But art expresses itself only by way of peoples in art who make art created. it is called Mimesis according to Gadamer because art is representation of Being-Truth, not just copy of actual thing. To conclude, art is to meet Selbst itself in the experience on beauty, and this experience is a fusion of horizons in the basis of Being-Truth according to Gadamer. So he defines that art is to be Game and Mimesis.
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Burganova, Maria A. "Glasstress. A Transparent Border Between Mimicry and Mimesis." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 16–36. http://dx.doi.org/10.36340/2071-6818-2022-18-1-16-36.

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The article analyses the modern artistic process that began in the middle of the 20th century within the framework of the "craft + art" concept on the example of glassworks. The author covers two periods in the development of Murano glass. The first period is associated with the names of O.Kokoschka, P.Picasso, M.Chagall, M.Ernst, Le Corbusier, A.Calder, F.Leger, L.Fontana, H.Arp, G.Braque. At that time, an attempt to master the new plastic language of modern art space was undertaken by E.Costantini, the founder of one of the Venetian glass workshops. In the late 1940s, Costantini formulated the concept of joining a new artistic idea and technology, refined over the centuries, in Venetian glass. The new image of Murano glass of the late 20th - early 21st century is associated with the Berengo Studio, founded by Adriano Berengo in 1989. He practically adopted Costantini’s concept and invited outstanding contemporary artists: Ai Weiwei, Thomas Schütte, Jaume Plensa, the Kabakovs, Cesar, and others to work in the Murano workshops. The author analyses the “glass as an object of high art” concept on the example of the Glasstress. A Window to the Future exhibition, held at the State Hermitage Museum in St. Petersburg. The author believes that some artists formally exploit Venetian glass technologies and a high presentation platform, presenting works devoid of artistic significance. In this regard, the author draws on the philosophical concepts of mimicry and mimesis, believing that mimicry, in this case, is aimed at the space of high art. It reflects innovations in the artistic image and the search for a new creative method associated with the use of new material. In turn, the author believes that in the same context, a number of works can be described as mimesis - a kind of pretence, a certain result of imitation without artistic transformation.
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Ternova, Maryna. "Structural elements of an artistic work: creative and research innovations by R. J. Collingwood." Culturology Ideas, no. 23 (1'2023) (2023): 68–76. http://dx.doi.org/10.37627/2311-9489-23-2023-1.68-76.

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The article reconstructs the process of formation of the structural elements of an artistic work: mimesis – canon – style – image – form – artistic method, which in the logic of the historical and cultural movement of art have gained significant importance in relation to the process of reproduction of reality. The specificity of the gradual introduction of these structural elements into both theoretical and practical circulation is shown in accordance with the development and complication of creative tasks of each specific art form. The specified structural elements were later evaluated as fundamental components of art history, and in a practical aspect, they were implemented in the process of creating artistic works and gave them those outlines that met the requirements of a certain historical period. It is emphasized that the deformation of the outlined structural elements took place at the beginning of the 20th century, when numerous formalist trends began to take shape on European soil, the representatives of which consciously rejected either mimesis or image. It is noted that after the avant-gardes, the elements of the work of art were revised in the 70s of the 20th century by supporters of "postmodern" aesthetics. The main theoretical principles of the monograph "Principles of Art" (1938) by the famous English philosopher, historian of science and art critic Robin George Collingwood (1889–1943), who proposed his own vision of the structural elements of an artistic work, which we evaluate as "creative and research innovations", are analyzed. In this article it is emphasized that, acting as an opponent of the vast majority of avant-garde experiments, the scientist consistently recreated the progressive "movement" of mimesis, canon, image and form in the dynamics of the historical and cultural process, for various reasons ignoring "style" and "artistic method".
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Donovan, Josephine. "Ethical Mimesis and Emergence Aesthetics." Humanities 8, no. 2 (May 22, 2019): 102. http://dx.doi.org/10.3390/h8020102.

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In nature the transformation of dead matter (objects) into living matter endowed with green energy or subjectivity is called emergence. Art itself, I argue, is an emergence phenomenon, enacting and replicating in theme and form emergence in nature. Literature thus conceived is about the emergence of spirit. It depicts forces that suppress spirit and enables the spiritual in nature to find expression. It gives voice to spirit rising. Mimesis is thus reconceived as a replication of the natural phenomenon of emergence, which brings to life what has hitherto been seen as object, dead matter. This article outlines the concept of emergence in current philosophical and scientific theories; examines the aesthetic precursors of emergence theory in certain Frankfurt School theorists, notably Theodor Adorno; and applies emergence aesthetic theory to a contemporary novel, Richard Powers’ The Overstory (2018).
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Savage, Roger W. H. "Aesthetic Experience, Mimesis and Testimony." Études Ricoeuriennes / Ricoeur Studies 3, no. 1 (June 25, 2012): 172–93. http://dx.doi.org/10.5195/errs.2012.114.

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In this article, I relate the demand that Paul Ricoeur suggests mimesis places on the way we think about truth to the idea that the work of art is a model for thinking about testimony. By attributing a work’s epoché of reality to the work of imagination, I resolve the impasse that arises from attributing music, literature, and art’s distance from the real to their social emancipation. Examining the conjunction, in aesthetic experience, of the communicability and the exemplarity of a work reveals how Ricoeur’s definition of mimesis as refiguration relates to the “rule” that the work summons. This “rule” constitutes the solution to a problem or question for which the work is the answer. In conclusion, as a model for thinking about testimony, the claims that works make have a counterpart in the injunctions that issue from exemplary moral and political acts.
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Adams, Harrison. "Vija Celmins: The Art of Enervation." Zeitschrift für Kunstgeschichte 86, no. 1 (March 1, 2023): 100–127. http://dx.doi.org/10.1515/zkg-2023-1007.

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Abstract The painter Vija Celmins has long been an outlier in narratives of postwar American art. Extensive formal analysis of her work, from her early still lifes to her later night skies and ocean surfaces, shows that Celmins was deeply invested in the issues of time, entropy, and energy that proved crucial to her contemporaries, like Robert Smithson and Hans Haacke. However, Celmins found ways of objectifying energy through naturalistic representation and the most traditional of media, painting and drawing. She explores these issues by discovering contradictions within classical mimesis.
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Aiman, Umme. "Unveiling the Familiar: Exploring Makoto Shinkai’s Anime Art." Indian Journal of Social Science and Literature 3, no. 2 (December 30, 2023): 36–40. http://dx.doi.org/10.54105/ijssl.b1106.123223.

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In the past few years, film theory has experienced incredible growth and transformation. In modern film theory, the analysis of the relationship that films have with their recipients is a key area of research. This study examines the aesthetics of Makoto Shinkai's anime and how it realistically depicts the outside world. Additionally, it will compare and contrast their investigations of this realism in his art style with selections from Shinkai's corpus of films. Harnessing the principles embedded in the concept of mimesis developed by Walter Benjamin, this paper uses a recipient-centered approach to cinema narrative. This study is significantly central to the art style rather than its structure by observing the characteristics of animation drawings and audio-visual in the anime. The paper provides an insight into the connection between man and man-made, which unveils the familiarity we have with nature—justifying the hypothesis by employing the literary theory of Mimesis. It investigates the art style of Shinkai’s animation that works as a special force to realize this connection. It will enable one to recognize the significance of his works in serving as a model that consciously or unconsciously influences the recipients to take note of and appreciate the mundane sights and moments of life around them.
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Barkan, Leonard. "Making Pictures Speak: Renaissance Art, Elizabethan Literature, Modern Scholarship." Renaissance Quarterly 48, no. 2 (1995): 326–51. http://dx.doi.org/10.2307/2863068.

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Some Often Quoted Lines from Sidney's Apology for Poetry can stand both as a piece of literary history in themselves and as a methodological guide for the study of that history: “Poesy therefore is an art of imitation: for so Aristotle termeth it in the word mimesis, that is to say, a representing, counterfeiting, or figuring forth—to speak metaphorically, a speaking picture.“1 It is one of the most famous of all definitions of poetry, and like many other such definitions—Plato's in the Republic, Horace's in the Ars Poetica2- —it arrives at saliency by drawing an analogy to the visual. More succinctly even than his predecessors, Sidney demonstrates just how difficult it is to unpack the cdncept of mimesis as he ranges through a sequence of functional descriptions ﹛representing, counterfeiting, figuring forth), none of which quite does the trick, until he arrives at a metaphor that names itself as such. One might say that a metaphor is itself a speaking picture and therefore Sidney's memorable phrase is a self-confirming artifact. But let us shy away from such metaformulations and content ourselves with a sense of just how felicitous the expression “speaking picture” turns out to be.
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Koortbojian, Michael. "Mimesis or Phantasia? Two Representational\\ Modes in Roman Commemorative Art." Classical Antiquity 24, no. 2 (October 1, 2005): 285–306. http://dx.doi.org/10.1525/ca.2005.24.2.285.

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Abstract The commemorative forms of the Romans are marked by the ubiquity of two contrasting presentational modes: one essentially mimetic, rooted in the representational power of artistic forms, the other abstract and figurative, dependent on the presentation of cues for the summoning of absent yet necessary images. The mimetic mode was thoroughly conventional, and thus posed few problems of interpretation; the figurative knew no such orthodoxy and required a different and distinctive form of attention. At the tomb, epigraphic and sculptural forms, each in its characteristic manner, addressed an audience habituated by tradition to respond to both of these modes, to grasp their differences, and to rise to the challenge implicit in the very fact of their contrast.
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Kim, Dong-Jo, and Sang-Hwa Lee. "Interactive Media Art based on Bio-mimesis for the Ecosystem." Journal of Digital Art Engineering and Multimedia 6, no. 1 (June 30, 2019): 33–46. http://dx.doi.org/10.29056/idaem.2019.06.06.

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42

Ramazzotto, Nicola. "The Ambiguity of Mimesis: Kierkegaard between Aesthetic Fantasy and Religious Imitation." Kierkegaard Studies Yearbook 25, no. 1 (August 18, 2020): 85–110. http://dx.doi.org/10.1515/kierke-2020-0005.

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Abstract This paper attempts to investigate Kierkegaard’s thought through the category of mimesis. First, two meanings of the word are distinguished and analyzed: the archaic meaning that links it to the concept of re-enactment, and the traditional meaning that links it to the aesthetic field of art. These two meanings are then considered in relation to Kierkegaard’s opus, showing the oscillation of mimesis as corresponding to that between the aesthetic, which lives in fantasy and in the unfulfilled possibility, and the religious, which finds its identity in the imitation of Christ and in the transparent relationship to God.
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Kobialka, Michal. "Corpus Mysticum et Representationem: Hildegard of Bingen's Scivias and Ordo Virtutum." Theatre Survey 37, no. 1 (May 1996): 1–22. http://dx.doi.org/10.1017/s0040557400001393.

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Ever since the project of supplying objective knowledge was challenged by the debates about colonialism, gender, sexual orientation, and ethnicity, academics from different fields have begun to share a conception of knowledge as representational, differing primarily in the accounts of how their, “representations” are related to objects that are represented. Understandably, Plato's and Aristotle's definitions of mimesis have acquired new currency. According to Plato, whenever “you see one, you conceive of the other.” According to Aristotle, the relationship between techne and phusis is contained in the formulation that, on the one hand, art imitates nature; on the other hand, art carries to its end what nature is incapable of effecting. Both Plato and Aristotle perceive mimesis as the process of either epistemological or ontological repetition or doubling in which “one” (thought or subject) becomes “two” (thought or subject doubles as idea or object), in theatre studies, for example, the prevailing tradition defines representation in terms of a promise of a performative act. Such an act signifies that the “I” or “we” making the promise understands or knows the problem, the object, or the text and will be able to transfer it from nature, that is, from the real space, to the theatrical, “imaginary” space where the declaration of its existence and the formulation of its speech will be staged in a tight spotlight. This process is authorized by an institutional structure that safeguards the promise, its execution, and its use.
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Roque, Ricardo. "Mimetic Governmentality and the Administration of Colonial Justice in East Timor, ca. 1860–1910." Comparative Studies in Society and History 57, no. 1 (January 2015): 67–97. http://dx.doi.org/10.1017/s0010417514000607.

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AbstractThis article explores the mimesis of indigenous “customs and law” as a theory of and strategy for colonial government in the period of late imperialism. I draw on the case of colonial administration in the Portuguese colony of Timor during the second-half of the nineteenth century. I introduce the concept of “mimetic governmentality”: the art of governing the Other through the productive inclusion of institutions, symbols, cultural materials, or social forms understood as other than one's own. In Timor, the imperial establishment was characterized by fragility and isolation, and a pragmatic style of colonial action thrived. In Europe, modern doctrines of colonial law rejected assimilationist policies and advocated “specialization.” In this context, between 1860 and 1910, administrators on Timor devised a system of colonial justice that required the colonizers to slip into the indigenous world and govern others from the others' position and perspectives. To efficiently govern the “natives” and apply colonial justice in courts—the so-calledjustiças—Europeans had to release themselves from European principles and embrace indigenous law, as they understood it. The essay uses the case of Timor to assert the analytic importance and potential of mimesis for the comparative study of colonial administrations during the period of imperial expansion.
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45

Wolf, Philipp. "Posthuman Mimétisme: Caillois, Adorno and an Aesthetics of Mimesis." Journal of Posthumanism 2, no. 2 (June 30, 2022): 125–37. http://dx.doi.org/10.33182/joph.v2i2.1940.

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My paper focuses on a notion of mimesis which made a lasting impression on French sociologists and surrealists of the 1930s, most notably Roger Caillois. Mimicry or mimétisme denotes an instinctive (and not always beneficial) form of assimilation to (not of) another organism or object. Interestingly enough, Caillois, was fascinated by an active “natural imagination,” diagnoses a propensity among humans to abandon themselves to the “lure” of what he calls “represented spaces”—beyond the intentional grasp of the subject. However, what mimicry “morphologically” brings about in animals may lead in humans to a “depersonalization” or loss of self. Theodor W. Adorno received Caillois’s pre-reflexive with (critical) approval, but he insisted on retaining an, albeit aesthetic, form of reflexivity, without falling back into conceptual subjectivity and categorial appropriation. Aesthetic mimesis, a willing abandonment to works of art, makes possible and actuates the experience of a material, sensuous and indeterminate Other. Indeed, in an open confrontation with art, one cannot help getting immersed, even lost, in its radiating presence. “Aesthetic rationality,” then, comes precisely down to a realization of the limits of human rationality along with a— posthuman—acknowledgment of a more-than-human world beyond instrumental reason.
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Schenk, Franziska, and Doekele G. Stavenga. "The lesser purple emperor butterfly, Apatura ilia: from mimesis to biomimetics." Faraday Discussions 223 (2020): 145–60. http://dx.doi.org/10.1039/d0fd00036a.

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Pinto, Sílvia, and Moisés de Lemos Martins. "Binding logics in art." Comunicação e Sociedade 31 (June 29, 2017): 271–86. http://dx.doi.org/10.17231/comsoc.31(2017).2617.

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The work of art produced in its origins was only much later recognized as such. Similarly, the artistic function of current art objects in the future may become accidental again. In fact, at no time has art ever answered exclusively to aesthetic demands. From these assumptions by Walter Benjamin (1936-1939/1992), we will attempt to apply to art the concepts of “binding” (original of ethology) and of “linking networks” (used in neuroscience) to explain distinctive aspects of image metaphysics, shared by art and religion. From a historical perspective, we will attempt to show the evolution of art in three main binding logics: art as a magical activity (also in relation to index logic); art as mimesis; and art as language. The image, or rather the multiple realities we call “image”, takes each one of these links, in an exchanging or simultaneous way, since image is their heiress. Taking into account the present context of media images hypervisibility, we aim, with this study, to show the importance of art and its mythical-religious ascendance in what concerns media image redefinition.
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48

Ciutescu, Sergiu-Alexandru. "Mimesis şi reprezentare: Platon, Aristotel şi pardigma artei islamice/Mimesis and representation: Plato; Aristotle and the paradigm of islamic art." Hiperboreea 1, no. 2 (December 1, 2014): 46–66. http://dx.doi.org/10.5325/hiperboreea.2014.2.0046.

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Abstract Viziunile despre mimesis susţinute de Platon şi de Aristotel constituie douǎ modalitǎţi diferite de a înţelege arta reprezentaţionalǎ. Dacǎ Platon vede arta reprezentaţionalǎ ca pe un dispozitiv care reflectǎ lumea, asemǎnǎtor unei oglinzi (deformatǎ şi deformatoare), Aristotel o înţelege ca pe un mod de a crea o lume prin reproducerea mecanismelor funcţionǎrii realitǎţii, prin sesizarea universaliilor şi exprimarea acestora în opere de artǎ. Ambele teorii considerǎ opera de artǎ ca reprezentare în timp ce paradigma artei islamice, deşi nu teoretizatǎ explicit, ne permite sǎ concluzionǎm cǎ operele de artǎ ar trebui sǎ fie referenţiale prin asemǎnare, nu reprezentaţionale. Acest fapt încurajeazǎ dezvoltarea unei estetici a metaforei care necesitǎ o privire modelatǎ de religie pentru a fi înţeleasǎ. Dacǎ teoriile lui Platon şi Aristotel se sprijnǎ pe o gândire filozoficǎ, viziunea islamicǎ asupra artei se bazeazǎ pe o gândire religioasǎ şi, aşa cum susţinem în studiul de faţǎ, acesta e motivul pentru care cea din urmǎ nu se încadreazǎ în cele douǎ tipuri de înţelegere a artei (ca relfexie sau creare a lumii) cǎrora gândire vesticǎ le este tributarǎ.
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Ciutescu, Sergiu-Alexandru. "Mimesis și reprezentare: Platon, Aristotel și paradigma artei islamice / Mimesis and representation: Plato, Aristotle and the paradigm of islamic art." Hiperboreea. Journal of History 1, no. 2 (2014): 46–66. http://dx.doi.org/10.3406/hiper.2014.864.

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Skalin, Lars-Åke. "The art of narrative – narrative as art: Sameness or difference?" Frontiers of Narrative Studies 5, no. 1 (July 2, 2019): 35–56. http://dx.doi.org/10.1515/fns-2019-0004.

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AbstractThis paper is a critique of narratology’s generality thesis and especially focused on a corollary of that thesis, the “sameness premise”. It says that all objects designated by the noun “narrative”, whether actual, possible, or fictional, are defined by some basic intrinsic properties. This goes for ordinary informative telling of events as well as for literary art, such as novels and short stories. The latter assumption is rejected by me and theorists taking up a “difference premise” instead. Literary art should not be included within a general category of narrative. It would be more correct to regard it as sui generis, since it manifests a system quite different from and incompatible with narrative as this system is defined by standard narratology. For example, ordinary narrative accounts display logically a two-place relation between the denoting signs and the denoted contents (events); while the artistic representations produced by literary art and other art-forms do not denote anything outside themselves– the relation between signs and content is one-place. I discuss this theoretic problem from two sources: modern narratology in conflict with artistic/aesthetic theory and the mimesis-debate in Greek antiquity between Plato and Aristotle, where Plato is advocating a sameness and Aristotle a difference premise.
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