Relevant bibliographies by topics / Moholy-Nagy

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  2. Dissertations / Theses
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Academic literature on the topic 'Moholy-Nagy'

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Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Moholy-Nagy"

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Miesbach, Thomas. "László Moholy-Nagy." NeuroTransmitter 21, no. 1 (January 2010): 62–63. http://dx.doi.org/10.1007/bf03363169.

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Jaffee, Barbara. "Moholy-Nagy: Future Present." Design Issues 33, no. 4 (October 2017): 92–95. http://dx.doi.org/10.1162/desi_r_00464.

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Botar, Oliver. "Moholy-Nagy: Film Architect." Maske und Kothurn 65, no. 1-2 (December 28, 2019): 60–65. http://dx.doi.org/10.7767/mako.2019.65.1-2.60.

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Charitonidou, Marianna. "László Moholy-Nagy and Alvar Aalto’s Connections." Enquiry The ARCC Journal for Architectural Research 17, no. 1 (December 30, 2020): 28–46. http://dx.doi.org/10.17831/enq:arcc.v17i1.1080.

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Departing from the fact that László Moholy-Nagy’s Von Material zu Architektur (1929), had been an important source of inspiration for Alvar Aalto, this article examines the affinities between László Moholy-Nagy and Alvar Aalto’s intellectual positions. The article places emphasis on two particular ideas: how Aalto and Moholy-Nagy conceived the connection of biology with standardization and technology and its relationship to light and perception. Special attention is paid to the notions of “flexible standardisation” and rationalisation in Aalto’s thought, as well as to his belief that nature and standardization should be conceived are closely interconnected. In regard to their shared intellectual development, the article sheds light on the first encounters of the two men including: their meeting at the second Congrès International de l’Architecture Moderne (CIAM) in 1929; the June 1931 Finish meeting of Aino Marsio-Aalto, Alvar Aalto, Moholy-Nagy and Ellen Frank; the June 1931 exchanges between Aalto and Moholy-Nagy during the inner circle CIAM meeting in Berlin; and the common stay of the Aaltos and Moholy-Nagy in London in 1933 are discussed. Particular emphasis is placed on Aalto’s “The Reconstruction of Europe is the Key Problem for the Architecture of Our Time”, in which he argued that standardization in architecture should draw upon biological models.
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Blanchon-Caillot, Bernadette. "Le pont transbordeur de Marseille, Moholy-Nagy (The Marseilles Transporter Bridge, Moholy-Nagy)." Journal of Landscape Architecture 8, no. 2 (July 3, 2013): 89. http://dx.doi.org/10.1080/18626033.2013.864137.

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Horak, Jan-Christopher. "The Films of Moholy-Nagy." Afterimage 13, no. 1-2 (1985): 20–23. http://dx.doi.org/10.1525/aft.1985.13.1-2.20.

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Horak, Jan-Christopher. "The Films of Moholy-Nagy." Afterimage 13, no. 1-2 (1985): 20–23. http://dx.doi.org/10.1525/aft.1985.13.1-2.20.

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Jelavich, Peter, and Louis Kaplan. "Laszlo Moholy-Nagy: Biographical Writings." American Historical Review 102, no. 1 (February 1997): 88. http://dx.doi.org/10.2307/2171272.

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Malherek, Joseph. "Moholy-Nagy and the Practical Side of Socialism." Disegno, no. 1-2 (2021): 144–53. http://dx.doi.org/10.21096/disegno_2021_1-2jm.

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For László Moholy-Nagy, socialism was about progress, and industrial design was a way to incorporate technological progress into the everyday lives of ordinary, working people in the interest of achieving “social coherence”, as he put it in his magnum opus, Vision in Motion. If the economic and social structures of capitalism presented obstacles to progress, they were to be opposed; however, if the competitive incentives of businessmen could be channeled in the interest of progress, the capitalistic framework presented not an obstacle but an opportunity. This pragmatic approach to political economy aligned with the applied-arts ethos of Walter Gropius’s Bauhaus, where Moholy-Nagy first established himself as an innovative teacher, but it contrasted with the starker ideological commitment of leftist artists with whom Moholy-Nagy would associate over the years, such as the Hungarian Activists and the circle around the Ma magazine and gallery. The idealistic elation of the immediate years after the Great War soon gave way to the rise of fascism and the geopolitics that would define Moholy-Nagy’s life as an émigré in Berlin, London, and Chicago. This migrant life of making do in frequently changing circumstances and foreign cultures made Moholy-Nagy more amenable to adjusting the shape of his politics according to the constraints and possibilities of wherever he was. This approach allowed him to thrive as a commercial designer in London, and as the leader of the New Bauhaus/School of Design despite the constant threats to that institution’s survival. Moholy-Nagy’s partnership and friendship with Walter Paepcke—an ardent capitalist if there ever was one—is in many ways emblematic of the ways in which Moholy-Nagy creatively found ways to keep to the ideals of social democracy within a world of industrial capitalism.
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Quiroga Fernández, Sofía. "Moholy-Nagy’s Light Prop for an Electric Stage. Design, Copies and Reproductions." Disegno, no. 1-2 (2021): 166–77. http://dx.doi.org/10.21096/disegno_2021_1-2sqf.

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László Moholy-Nagy worked on the prototype for Light Prop for an Electric Stage for eight years, from 1922 to 1930, developing several sketches and designs. The final drawings and model were made with the collaboration of the Hungarian architect Stefan Sebök (István Sebők). The device was built by the AEG company, and it was displayed for the first time in the Werkbund exhibition held in Paris in 1930, where it appeared as an autonomous aesthetic object. This was clearly captured in the film Light Play: Black-White-Gray, in which Moholy-Nagy recorded its kinetic quality in the spirit of the abstract films developed at that time. The film clearly shows the motion of the lighting device as a formal exercise of abstraction using double exposures, special effects and close-ups. The Light Prop underwent several alterations over time to keep it working in a variety of exhibitions around Europe and America. In 1956, after Moholy-Nagy passed away, his widow, Sibyl Moholy-Nagy, donated it to the Harvard Busch-Reisinger Museum, where it has remained ever since. After further damage caused by inappropriate restoration and its mechanical instability, the Light Prop was reconstructed in 1969 for the exhibition From Pigment to Light, celebrated at the Howard Wise Gallery in New York (Tsai et al. 2017). The idea of a copy emerged during the planning of this exhibition to preserve the legacy of Moholy-Nagy’s knowledge. Sibyl Moholy-Nagy finally approved this idea in 1970, allowing the production of two copies, one for the exhibition and the other for the 35th Venice Biennale (1970). Both reproductions were kept and sent to the Bauhaus Archive in Darmstadt and the Van Abbemuseum, where the original device had suffered repeated damage during the KunstLichtKunst exhibition (1966). The essay attempts to trace the timeline of modifications from the original device to the reproductions.
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Dissertations / Theses on the topic "Moholy-Nagy"

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Findeli, Alain. "Du bauhaus a chicago : les annees d'enseignement de laszlo moholy-nagy." Paris 8, 1989. http://www.theses.fr/1990PA080433.

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Laszlo moholy-nagy (1895-1946) a enseigne le design au cours de deux periodes dans une carriere partagee entre deux continents: l'europe et l'amerique. Le premier tome de la these, qui se rapporte a la periode europeenne (1923-1928), depasse le cadre de l'enseignement de moholy-nagy proprement dit pour se concentrer sur cinq aspects determinants du bauhaus sous la direction de walter gropius: ses rapports avec la technique et la production industrielle, ses rapports avec la politique, ses objectifs pedagogiques, son programme artistique, ses fondements philosophiques et esoteriques. L'oeuvre de moholy-nagy est ensuite examinee a la lumiere d'une notion-cle qui la traverse tout entiere: la transparence. Le deuxieme tome expose l'histoire du bauhaus americain, fonde a chicago et dirige par moholy-nagy jusqu'a sa mort (1937-1946). Pour cette institution, appelee successivement new bauhaus (1937-38), school of design (1939-44) puis institute of design (1944-aujourd'hui), il reprit l'enseignement original du bauhaus apres l'avoir modifie pour l'adapter au contexte nord-americain. Appuyee sur des documents d'archives et les temoignages des premiers professeurs et etudiants, la these presente le programme detaille des ateliers ainsi que de nombreux travaux d'etudiants, abondamment illustres. La conclusion propose un diagnostic de cette experience ainsi qu'une evaluation critique de la pertinence des principes pedagogiques du bauhaus pour l'enseignement actuel du design
The teaching career of laszlo moholy-nagy (1895-1946) spans over two periods and two continents: europe and america. The first part of the dissertation is devoted to the european period (1923-1928) but goes beyond the mere teachings of moholynagy; its purpose is to discuss five fundamental points peculiar to the bauhaus under the directorship of walter gropius: its connexion with industrial production and techniques, its relationships with politics, its pedagogical goals, its artistic program, its philosophical and esoterical foundations. Finally, the work of moholy-nagy is summarized in the light of one of its major structuring concept: transparency. The second part of the dissertation deals with the history of the american bauhaus in chicago. After having transformed the original educational program of the bauhaus to adapt it to the american context, moholy-nagy applied it to the institution which he founded and directed until his death (1937-1946), under the successive names of the new bauhaus (1937-38), the school of design (1939-44) and the institute of design (1944-now). The text is illustrated by numerous examples of student projects and original documents found in various archives. A critical evaluation of this pedagogical experiment is presented in the conclusion together with a discussion of the relevance of bauhaus principles for future design education
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Käss, Alexandra [Verfasser]. "Ästhetische Zeitkonzeptionen der zwanziger Jahre: László Moholy-Nagy und El Lissitzky / Alexandra Käss." Bonn : Universitäts- und Landesbibliothek Bonn, 2018. http://d-nb.info/1162134372/34.

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Fry, Roger Bruce. "The manipulated photographic images of Man Ray and Moholy-Nagy: "a deconstructural approach"." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009447.

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From introduction: In the following essay an emphasis has been placed on manipulated photographic images. Although this implies a whole variety of ways in which these images can be manipulated e.g. in collage, silkscreen etc., the emphasis here is on images that have a fabricated or deliberate manipulation of subject matter to make up the photograph.
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Simmonds, Toni Mia. "Mein Kodak Avant-Garde Photography in 1920s Germany." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15991/1/Toni_Simmonds_Thesis.pdf.

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This study examines some of the fundamental principles of a number of influential photographers working in Germany in the 1920s and assesses the ways they understood the world through their camera's lens. German photography initiated a complex engagement with the modern world and marked a significant reevaluation of the relationship between the camera, perception and reality. The unique quality of the photographic image's verisimilitude of nature was an important phenomenon in this re-evaluation, as it led to assumptions about the capacity of photography to reveal the truth of reality. László Moholy-Nagy's innovative employment of a variety of photographic techniques provide an effective conduit to modern theories about photography that not only expose the presumptions surrounding the photographic image, but also the inherent complications. I propose that the avant-garde photographic experiments of 1920s Germany radically changed the ways in which humanity perceived and interacted with the surrounding world.
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Simmonds, Toni Mia. "Mein Kodak Avant-Garde Photography in 1920s Germany." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15991/.

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This study examines some of the fundamental principles of a number of influential photographers working in Germany in the 1920s and assesses the ways they understood the world through their camera's lens. German photography initiated a complex engagement with the modern world and marked a significant reevaluation of the relationship between the camera, perception and reality. The unique quality of the photographic image's verisimilitude of nature was an important phenomenon in this re-evaluation, as it led to assumptions about the capacity of photography to reveal the truth of reality. László Moholy-Nagy's innovative employment of a variety of photographic techniques provide an effective conduit to modern theories about photography that not only expose the presumptions surrounding the photographic image, but also the inherent complications. I propose that the avant-garde photographic experiments of 1920s Germany radically changed the ways in which humanity perceived and interacted with the surrounding world.
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La, Coe Jodi Lynn. "Constructing Vision: László Moholy-Nagy's Partiturskizze zu einer mechanischen Exzentrik, Experiments in Higher Spatial Dimensions." Diss., Virginia Tech, 2019. http://hdl.handle.net/10919/89334.

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In 1936, while an expatriate in London, László Moholy-Nagy signed the Manifeste dimensioniste, crafted by Hungarian poet Charles Sirató, declaring his allegiance to the pursuit of creating artistic works in higher dimensions. In his artworks and writings, Moholy-Nagy was deeply invested in emerging technologies of the early twentieth century in the service of seeing the world differently, augmenting and training the sensory organs to visualize higher dimensions of space, essentially to see what does not appear, what is apparently invisible. Through his work with light and movement, which took many forms, painting, photography, film, kinetic sculpture, and theater, he worked through traditional and avant garde notions of space and time as related to psychophysical experience. Moholy-Nagy held that higher dimensions could be experienced through a re-education of human senses and began to lay out his claim for the education of the senses in order to see the world differently as early as 1922 in "Produktion–Reproduktion" (De Stijl). In Malerei, Fotografie, Film (Painting, Photography, Film, 1925), Moholy-Nagy asserted that through the visual objectivity produced photographs, especially in oblique photographs, "[w]e may say that we see the world with entirely different eyes." In this dissertation, I examine the influence of contemporary psychophysical, space-time theories on a stage/ performance design created by Moholy-Nagy, in particular, the two versions of his design for a synaesthetic theatrical performance entitled, Partiturskizze zu einer mechanischen Exzentrik (Score-Sketch for a Mechanical Eccentric): one a hybrid, mixed media drawing (c. 1923) and the other a revised version printed in Die Bühne im Bauhaus (The Stage of the Bauhaus, 1925). Following the structure of the hybrid drawing, each chapter is an interpretation of a single panel of the drawing, corresponding to the prelude and the five acts of the performance. This interpretation was made through a close reading of the drawing itself, examining the references made in the images and notations, comparing the two versions, and uncovering similar themes in his lectures, writings, and artistic works, and, in turn, pursuing references to physics, psychology, mathematics, and literature, whose profound influence was acknowledged by Moholy-Nagy in those texts. These influences include the writings of Albert Einstein, Hermann Minkowski, János Bolyai, Hermann von Helmholtz, Rudolf Carnap, Sigmund Freud, Wilhelm Wundt, E. T. A. Hoffmann, James Joyce, and many others. Through this analysis, I reveal the ambitious intention at the heart of the Exzentrik, to immerse the audience in a synaesthetic experience that expands their psychophysical consciousness using electromagnetic vibrations in the form of visible and invisible light and sound, as well as shocking and comedic forms and movements, and that, thereby, opens the audience to the construction of a new vision that endows them with the capacity to envision higher dimensions of space.
Doctor of Philosophy
In 1936, while living in London, László Moholy-Nagy signed the Dimensionist Manifesto, written by Hungarian poet Charles Sirató, declaring his allegiance to the pursuit of creating artistic works in higher dimensions, such as three-dimensional paintings or four-dimensional space-time constructions. In his artworks and writings, Moholy-Nagy was deeply invested in the emerging and advancing technologies of the early twentieth century in the service of seeing the world differently, augmenting and training the sensory organs to visualize higher dimensions of space, essentially to see what does not appear to the naked eye, for instance x-ray images reveal what is apparently invisible. Through his work with light and movement, which took many forms, painting, photography, film, moving sculptures, and theater, he explored how a person experiences space and time both physically and intellectually and Moholy-Nagy began to lay out his claim for the education of the senses in order to see the world differently. In Malerei, Fotografie, Film (Painting, Photography, Film, 1925), Moholy-Nagy asserted that through the visual objectivity produced photographs, especially in oblique photographs, “[w]e may say that we see the world with entirely different eyes.” In this dissertation, I have examined the influence of contemporary space-time theories on two versions of Moholy-Nagy’s design for a theatrical performance called the Score-Sketch for a Mechanical Eccentric, one a hand-drawn and painted collage (c. 1923) and the other a revised version printed in The Stage of the Bauhaus (1925). Following the structure of the former, each chapter is an interpretation of a single panel of the drawing/collage, corresponding to the prelude and the five acts of the performance. This interpretation was made through a close reading of the drawing itself, examining the references made in the images and notations, comparing the two versions, and uncovering similar themes in his lectures, writings, and artistic works, and, in turn, pursuing references to physics, psychology, mathematics, and literature, whose profound influence was acknowledged by Moholy-Nagy in those texts. These influences include the writings of Albert Einstein, Hermann Minkowski, János Bolyai, Hermann von Helmholtz, Rudolf Carnap, Sigmund Freud, Wilhelm Wundt, E. T. A. Hoffmann, James Joyce, and many others. Through this analysis, I will reveal the ambitious intention at the heart of the performance, to immerse the audience in a multi-sensory experience that will expand their consciousness, thereby, to expand their sensory perception, using shocking and comedic displays to psychologically open the audience to the possibility of perceiving higher dimensions of space.
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Potter, Julia Kathryn. "Geometry as space in art and architecture : the mediating role of geometry in the work of Kandinsky and Moholy-Nagy." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/22383.

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Passuth, Krisztina. "Le rôle de l'avant-garde hongroise (Moholy-Nagy, Kassák, Péri) dans le développement des mouvements d'avant-gardes Est-Ouest (1909-1926)." Paris 1, 1987. http://www.theses.fr/1987PA010614.

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Le but de cette etude est d'envisager simultanement les phenomenes artistiques en europe centrale dans leur aspect d'avantgarde au cours des annees dix et vingt et l'histoire de l'avantgarde hongroise proprement dite. Le cadre temporel de cette etude (1909-1926) porte avant tout sur l'avant-garde hongroise, les datesclefs de son histoire (1909: la formation du groupe des huit hongrois, 1926: le retour d'exil du groupe d'avant-garde ma (aujourd'hui). L'autre delimitation du sujet est celle du territoire couvert par l'etude. Notre recherche est centree sur la hongrie et les pays avoisinants qui ont eu des relations avec les courants hongrois ou dont l'art presente des tendances paralelles : la pologne, les etats de la future yougoslavie, la roumanie et surtout la tchecoslovaquie. L'etude est composee de trois parties : la premiere sert d'introduction generale. La deuxieme partie englobe des mouvements d'esprit novateur avant 1919 et met l'accent dans le premier chapitre, sur le groupe des huit hongrois et des huit tcheques. Le deuxieme chapitre presente les caracteristiques de l'avant-garde hongroise proprement dite, avec la revue ma (aujourd'hui) et les activites de son redacteur en chef lajos kassak, poete, artiste. La troisieme partie essaie de donner un apercu plus large des mouvements internationaux d'avant-garde dans l'immediat apres guerre. En revanche, le chapitre suivant analyse les mouvements dans leur contexte national et cherche a etablir leurs caracteristiques individuelles. Dans ce cadre prennent forme les oeuvres des trois artistes hongrois de valeur internationale: lajos kassak (poete, peintre), laszlo moholy-nagy (peintre, photographe), laszlo peri (sculpteur)
The aim of this study is to consider the central european artistic developments in their avant-garde aspects in the 1910 's and 1920's as well as the history of the hungarian avant-garde. The time frameworks (1909-1926) of this study include above all the hungarian avant-garde and the most important dates of its history ; i. E. From 1909 -the formation of the groups, the hungarian eight till 1926, the return from exile of the avant-group ma (today). The subject is also circumscribed by the territory covered by the study. Our research focusses on hungarian and those neighbouring countries that had certain relationships with the hungarian currents and whose art shows parallel tendencies ,i. E. Poland, the states which will constitute yugoslavia, rumania, and above all czechoslovakia. The study consists of three parts. The first one is a general introduction. The second part includes the discussion of the innovative movements before 1919. It lays emphasis, in the first chapter, on the groups the hungarian eight and the czech eight. The second chapter describes the characteristic features of the hungarian avant-garde including the review ma (today), and the activities of its editor-in. Chief, the artist and poet lajos kassak. The third part attempts to depict broader picture of the international avant-garde movements immediately after world war i. The next chapter analyses those movements in their national context and points out of their individual characteristics. These are the circumstances on the basis of which the study establishes the international and national frameworks within which the work of three internationally known artists - lajos kassak, kaszlo moholy-nagy, laszlo peri
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Passuth, Krisztina. "Le Rôle de l'avant-garde hongroise (Moholy-Nagy, Kassak, Péri) dans le développement des mouvements d'avant-gardes est-ouest, 1909-1926." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37608722j.

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Castral, Paulo Cesar. "Criações oticas : propostas de reciprocidades entre os meios de expressão fotografica e os meios de expressão de espacial na obras de Laszlo Moholy-Nagy." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284712.

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Orientador: Roberto Berton de Angelo
Acompanha 1 CD-ROM: acervo Moholy Nagy
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-12T13:18:59Z (GMT). No. of bitstreams: 1 Castral_PauloCesar_D.pdf: 28061578 bytes, checksum: c96d8994b2af4fc5919d0c0ce28e4924 (MD5) Previous issue date: 2007
Resumo: Pretende-se discutir através das formulações dos conceitos de criação ótica absoluta e criação ótica representativa elaborados por László Moholy-Nagy, tendo como recorte de análise sua produção de imagens fotográficas, o desenho dos contornos das relações de reciprocidade entre os meios de expressão fotográfica e os meios de expressão espacial, estabelecidas na primeira metade do século XX. Dessa maneira, procura-se resgatar a contribuição do campo específico da linguagem fotográfica no debate e definição do espaço dito moderno. Busca-se redirecionar as abordagens antes focadas nos diferentes níveis de figuração empregados na elaboração dos discursos sobre o espaço, para a discussão então do processo de constituição das possíveis proposições de novas configurações espaco-temporais, elaboradas através da própria imagem fotográfica.
Abstract: Through the concept formulation of 'absolute optical creation' and 'representative optical creation' created by László Moholy-Nagy, It Intend to discuss, having as a cutting out of analysis his production of photographic images, the sketch contours of the reciprocities relations between photographic expression media and espacial expression media, estabilished in the first half of twentieth century. In this way, it intend to rescue the contribution of the specific field of photographic language in the debate and definitions of the modern space. One searchs to redirect the approach previously focus on different levels of figuration used to elaborate space's speeches, for the discussion of the constitution process of possible proposals of new configurations space-time, elaborated through photographic image.
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Books on the topic "Moholy-Nagy"

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Moholy-Nagy, László. Moholy-Nagy. London: Thames and Hudson, 1985.

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1895-1946, Moholy-Nagy László, ed. Moholy-Nagy. London: Thames and Hudson, 1987.

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Moholy-Nagy, László. Moholy-Nagy. London: Thames and Hudson, 1987.

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Moholy-Nagy, László. László Moholy-Nagy. Marseille: Musées de Marseille, 1991.

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Moholy-Nagy, László. László Moholy-Nagy. Edited by Rüdiger Renate, Göbel Monika, and Loers Veit. Stuttgart: G. Hatje, 1991.

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Hattula, Moholy-Nagy, and Brown Regan, eds. Moholy-Nagy: Mentor to modernism. Cincinnati: Flying Trapeze Press, 2009.

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Louis, Kaplan. László Moholy-Nagy: Biographical writings. Durham: Duke University Press, 1995.

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Botar, Oliver A. I. Technical detours: The early Moholy-Nagy reconsidered. New York: Art Gallery of the Graduate Center, the City University of New York in association with the Salgo Trust for Education, 2006.

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Moholy-Nagy, László. Laszlo Moholy-Nagy: Compositions lumineuses 1922 - 1943. Paris: Editions du Centre Pompidou, 1995.

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Moholy-Nagy, László. László Moholy-Nagy retrospective: Schirn Kunsthalle Frankfurt. Munich: Prestel, 2009.

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Book chapters on the topic "Moholy-Nagy"

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Kékesi, Zoltán. "Moholy-Nagy, László." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16332-1.

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Kékesi, Zoltán. "Moholy-Nagy, László: Das kunsttheoretische Werk." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16333-1.

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Wessely, Anna. "An Exile’s Career From Budapest Through Weimar to Chicago: László Moholy-Nagy." In Exile, Science and Bildung, 75–100. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-04596-6_6.

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Hornsey, Richard. "László Moholy-Nagy at the London Zoo: Animal Enclosures and the Unleashed Camera." In The Zoo and Screen Media, 223–46. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-53561-0_11.

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Chau, Christina. "Three Key Influences of the Kinetic Aesthetic: Henri Bergson, László Moholy-Nagy and Naum Gabo." In Movement, Time, Technology, and Art, 97–120. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4705-3_6.

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Schlemmer, Oskar, László Moholy-Nagy, and Farkas Molnár. "Moholy-Nagy." In Die Bühne im Bauhaus, 44–56. Gebr. Mann Verlag, 2019. http://dx.doi.org/10.5771/9783786175025-44.

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Kaplan, Louis. "Moholy." In László Moholy-Nagy, 157–89. Duke University Press, 1995. http://dx.doi.org/10.1215/9780822382676-006.

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Brett, Donna West. "László Moholy-Nagy." In Material Modernity. Bloomsbury Visual Arts, 2022. http://dx.doi.org/10.5040/9781350228771.ch-006.

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"LÁSZLÓ MOHOLY-NAGY." In Modern Sculpture, 59–61. University of California Press, 2022. http://dx.doi.org/10.2307/j.ctv2vr8v47.15.

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Kaplan, Louis. "Introduction." In László Moholy-Nagy, 1–29. Duke University Press, 1995. http://dx.doi.org/10.1215/9780822382676-001.

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Conference papers on the topic "Moholy-Nagy"

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Feder, Eudice. "Homage to Moholy-Nagy, 1979." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281571.

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Terezani, João Henrique Tellaroli, Myrna De Arruda Nascimento, Ralf José Castanheira Flores, and Luciana Chen. "En movimiento: las (im) posibilidades de las imágenes flagradas entre múltiples (im)previsibles." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9542.

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Como Primeiras Experiências com cinetismo aplicado como Artes Visuais ocorreu NAS décadas Primeiras do Século XX, Quando composições objetos COM e Estruturas Foram Móveis desenvolvidas que pretendem explorar, controle e multiplicai-vos Efeitos Desses elementos e gerados recursos para estética Uma ambientes vida e Espaços para Interações corpora Os espectadores que vivenciaram essas experiências, tiveram a coragem de memorizar os vestígios do jantar em movimento, sabiam que era uma imagem impossível de ser totalmente apreendida e nunca definitiva. Assim como as sensações viviam e reflexos germinavam sobre o que testemunharam, choque chocante, era impreciso e ambíguo. Entre OS Pioneiros Desse tipo de arte que encontramos ou artista Lazlo Moholy-Nagy, autor de Produções MUITAS você experimenta, cuja Abstrata Natureza serviu de referência para INTERESSADOS em explorar Manipulação dois Meios de Comunicação e Não convencionais técnicas, como Investigação estratégia Uma artístico e científico. Seus estudos sobre imagem incluíram o uso da luz como meio de gerar possíveis composições a serem apreendidas apenas em movimento. Portanto, ele explorou a fotografia eo cinema, não como um meio para produzir imagens, mas como áreas transdisciplinares, telhas, cuja altera a percepção sensorial dos observadores, o que lhes permite imaginar, através da desmaterialização de efeitos de iluminação sobreposição, como " Veja se movendo. " Este artigo apresenta dois produtos de pesquisa que os estudos tríade balé bauhausiano de Oskar Schlemmer, em diálogo com a produção de professores não ensino iniciativa centenária alemão. ELES discutidos à luz de curadores e teóricos da arte da, Taís como premissas e materialidades empirismo exploratório de Moholy-Nagy poluídas artistas contemporâneos como ou norte-americano Bill Viola, que investiga como Obter Percepção da da imprecisão tudo de Imagens em Movimento.
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MUNCH, Anders V. "Total design of participation: Ideas of collective creativity by Tim Brown, László Moholy-Nagy and Walter Gropius." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-04_001.

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Jo, Kazuhiro. "Au Clair de la Lune on Gramophone "For Édouard-Léon Scott and László Moholy-Nagy" (1860 / 1923 / 2015)." In TEI '18: Twelfth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3173225.3173300.

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García Vázquez, Milagros. "La pedagogía de la Bauhaus como modelo para la expresión plural en las comunidades artísticas actuales." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10317.

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En 1933, un gobierno totalitario cerraba las puertas de una de las comunidades artísticas más significativas para la Historia del Arte del siglo XX y del actual, tanto desde el punto de vista de la creación, como de la pedagogía de las artes: la Bauhaus. Aquella clausura no supuso, sin embargo, su fin. En 1937 tomaría su testigo la New Bauhaus, abierta en Chicago por László Moholy-Nagy, uno de los profesores más influyentes en la plantilla de aquella institución creada por Walter Gropius en 1919. Su nombre ha variado desde entonces, «Chicago School of Design» (1939), «Institute of Design» (1944), hasta llegar a integrarse en el «Illinois Institute of Technology», existente en la actualidad. El paréntesis entre dos guerras mundiales había sido ocasión para el encuentro de artistas, especialistas en diversos ámbitos de la creación y de diferentes orígenes culturales, con un objetivo común, formar a otros creadores para «desear, proyectar y crear todos juntos la nueva estructura del futuro», como decía Gropius en el manifiesto original. Su pretendido final, impuesto por un régimen político, encontró su punto y aparte en un estado democrático al otro lado del Atlántico, dando pie no solo a una iniciativa mantenida a nivel académico en el Instituto de Illinois, sino inspirando a otra, fuera de las estructuras estatales, que puede servir a su vez como ejemplo de aplicación creativa del presente disenso en las culturas democráticas. Precisamente en Chicago surgiría, en 1990, un proyecto de la mano de la Fundación MacArthur, para potenciar la diversidad artística y cultural y orientarla hacia una meta, reconocer y promover procesos creativos y nuevas ideas como cauces esenciales en la mejora de la vida. Se dotaría económicamente a una serie de instituciones artísticas, colonias, comunidades o residencias de artistas, para celebrar un encuentro llamado «Special Initiative on Artists». De aquella reunión que tuvo lugar en 1991, surgió la creación de un consorcio internacional de comunidades artísticas, hoy conocida como «Alliance of Artists Communities», donde la formación y la puesta en común de trabajos y nuevos proyectos son los ejes fundamentales. Quizá pueda ser este un ejemplo de salto creativo por encima de las barreras de las políticas del consenso, si fracasan, o del desacuerdo, si tienen lugar.
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