Relevant bibliographies by topics / Nostalgia in art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Nostalgia in art'

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

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Journal articles on the topic "Nostalgia in art"

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Kostova-Panayotova, Magdalena. "The Socialist Art – Teaching or Rewriting." Balkanistic Forum 33, no. 2 (June 1, 2024): 261–67. http://dx.doi.org/10.37708/bf.swu.v33i2.17.

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The article focuses on the phenomenon of soc-art as part of the parodic reimagining of socialist realism literature. It examines its secondary reception as part of the nostalgia of the 70s-80s of the 20th century, which is a lack, a hiatus, a non-realization, but a part of the past of thousands of people. The phenomenon is placed against the back-ground of Bulgarian literature and the story "The Anyuta Case" by the writer Alek Popov is drawn for analysis. This story shows the way in which Bulgarian literature in the 90s of the 20th century ironically and without a lack of nostalgia interprets the time of socialist realism and its values. The aesthetics of socialist realism are turned upside down, and the writer demonstrates all the insanity and idiocy of the reality he was called to reflect. Unlike the late 20th century Russian soc-art, which is perceived more nostalgically than ironically, this work from the late 20th century unambiguous-ly reveals the scars of a time that, despite the usual nostalgia of the generation, could not sound nostalgic.
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Morozov, A. Y. "NOSTALGIA AS THE CULTURAL PHENOMENON." UKRAINIAN CULTURAL STUDIES, no. 2 (3) (2018): 13–18. http://dx.doi.org/10.17721/ucs.2018.2(3).03.

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The article is devoted to the observation of the cultural phenomenon of nostalgia, its social, psychological, ethical and general philosophical aspects. It is shown that nostalgia is based on value-laden memory that helps us differ pleasant and unpleasant, useful and useless, meaningful and meaningless. This value-laden memory has its ethical dimension that deals with moral tradition, our concepts of good and evil, justice and injustice, sense of life and sense of death. We may say that ethical memory is a part of a larger “cultural memory” that enables every kind of social and individual identity. Due to nostalgia the generation`s continuity is established. In the act of nostalgia a person recalls the past but also rebels against actual state of presence. It is affirmed that our time-arrangement of “bad presence” and “good past” is possible because of ontological time regress. Nostalgizing for the past, a man is trying not only to mythologize the latter, but to resurrect it symbolically. Nostalgia’s faith in revival contains a hope for annihilation of time and triumph of eternity. We may call it an archetypical need, a manifestation of ancient mythological and religious motive of death and resurrection. Longing for past accompanies mankind dur- ing all its history and especially rises in the postmodern culture – in forms of metaphysical, political and aesthetical nostalgias. Metaphysical nostalgia is the lust for Logos, (God, meaning, truth, the good and the beauty) in the post-nihilistic absurd world, where god is claimed to be dead, and all supreme values are seemed to be devalued. It is also longing for the sacred reality, the being, that postmodern culture is lacked. Political nostalgia is the lust for the real power, subconscious desire for its increasing, expanding, absolutization. Aesthetical nostalgia is the sadness for the art as symbolic hierarchical structure with definite cultural and historical code as today we observe fakes and simulations, chaos and “metastases of cultural codes” (J. Baudrillard).
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Ballam-Cross, Paul. "Reconstructed Nostalgia." Journal of Popular Music Studies 33, no. 1 (March 1, 2021): 70–93. http://dx.doi.org/10.1525/jpms.2021.33.1.70.

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In chillwave, synthwave, vaporwave, and their respective subgenres, a common element is the thread of nostalgia, constant in each. This is the case for both the cover art used for these releases, as well as compositional techniques used in the music itself. Although these genres certainly approach nostalgia in different ways, they each rely on imagery that evokes nostalgic feelings or memories in a form of collective, imaginative self-soothing. The memories evoked, however, tend to rely on unrealistic depictions of reality and center on times and places that have perhaps only existed in the listener’s imagination. This article argues that the re-interpretation of cultural memory is an important structural feature in chillwave, synthwave, vaporwave, and vaporwave subgenres such as mallsoft and the associated Japanese “city pop” revival. Through a discussion of the visual and musical connections that draw these genres together, the concepts of nostalgia in music (as well as the related concept of “reconstructed nostalgia”) are explored. An examination of listeners’ narrative explorations of these genres posted online suggests that users engage knowingly and willingly with this “reconstructed nostalgia.” Ultimately, this forms a collaborative and collective universe used by listeners as a method of escapism, through both their own imaginations and online comments.
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MIDDLETON, RICHARD. "O brother, let's go down home: loss, nostalgia and the blues." Popular Music 26, no. 1 (January 2006): 47–64. http://dx.doi.org/10.1017/s0261143007001122.

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The blues genre is commonly (and not incorrectly) regarded as a key marker of African-American identity and one with ‘deep’ (folk, or ‘down home’) roots. But this status is inadequately understood unless it is placed in a context of inter-racial exchange, in which ‘roots’ are a product of a complex transaction between ‘modernity’ and ‘tradition’. This territory is explored in terms of a thematics of loss, nostalgia and trauma, evident both in blues content and in the historical structure of revival to which the genre has been continually subject. A useful background is the film O Brother, Where Art Thou?, a nostalgic celebration of nostalgia with a blues/bluegrass inter-racial dimension, and a productive theoretical framework is provided by Lacan's approach to fantasy, loss and nostalgia.
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Gee, M. "Review: Art, Nature and Nostalgia." Oxford Art Journal 27, no. 3 (March 1, 2004): 428–31. http://dx.doi.org/10.1093/oaj/27.3.428.

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Cardoso, Dinora. "Café Nostalgia: Art and Exile." Neophilologus 89, no. 4 (October 2005): 563–73. http://dx.doi.org/10.1007/s11061-005-0520-1.

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Hauser, Katherine. "Photorealist Nostalgia and the American Family." Prospects 22 (October 1997): 263–84. http://dx.doi.org/10.1017/s0361233300000132.

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Many critics of photorealism relied on the concept of nostalgia to dismiss the movement, finding in these apparently photographically accurate paintings representations of a simple past which seemed to disregard the complicated problems of the day. These critics, speaking within the constraints of a period when nostalgia experienced wider appeal than usual, offered what has become one of the accepted, and simplistic, interpretations of photorealism. Disenchanted by an apparently sentimental art popularized in mass-media photospreads and even business journals, critics of photorealism depended on a negative sense of nostalgia to dismiss these paintings as expressions of ineffective longings. However, Fredric Jameson's recent articulation of the utopian content in nostalgic yearnings affords the paradigm an affirmative element. Building on Jameson's model, I argue that Robert Bechtle's family paintings, taken as a group, display nostalgic desires for the secure families of the past even as they engage with contemporary popular and media-sustained perceptions of the breakdown of the family. In mediating conflicting or dissonant cultural pressures and desires, Bechtle's works at times display an ambivalent position toward the family as they echo fifties values for family unity while they capture seventies dissatisfactions with family tensions. Precisely because “the family” inspired controversy during the late 1960s and 1970s, it also became the site of nostalgic longings, as many Americans found images evocative of older domestic norms comforting. The family also serves as the hinge linking the present and past in Bechtle's works, displaying what I call the temporal density of nostalgia.
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Štroblová, Kateřina. "Whose Nostalgia is Ostalgia? Post – Communist Nostalgia in Central-European Contemporary Art." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 249–64. http://dx.doi.org/10.36770/bp.481.

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The paper is focused on a particular group of visual artists from Poland, Hungary, and the Czech and Slovak republics dealing with the issue of memory, history and nostalgia in their work. A common feature of their art is the perception of local space in its historical connotations, the exploration of historical content, causality reception, and the time-space orientation of man. Using space, with its physical and symbolic expression, is their strategy; a specific interest is the process of searching, changing or losing the identity in a historically complicated area of Central Europe. The article examines relations between collective memory, identity and nostalgia, captured in the artistic reflection and thus mirroring the actual state of a society.
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Caviness, Madeline H. "Medieval Art as Nostalgia for the Future." Medieval Feminist Newsletter 22 (September 1996): 19–21. http://dx.doi.org/10.17077/1054-1004.1398.

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Jeffries, Dru. "Captain Marvel and the Art of Nostalgia." Journal of Graphic Novels and Comics 10, no. 3 (March 3, 2018): 381–82. http://dx.doi.org/10.1080/21504857.2018.1446453.

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Dissertations / Theses on the topic "Nostalgia in art"

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Romaniko, Pavel. "Nostalgia /." Online version of thesis, 2009. http://hdl.handle.net/1850/11216.

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Welch, Allison Pearl Snow. "Necessity and nostalgia." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1107.

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Why do we keep things? To remember. Bedside tables are our modern-day altars, places where habit, respect, mystery, and love collide. Our physical materials wait while we travel through dreams, coaxing us back into activity come morning. Books and remote controls summon sleep, alarm clocks and written reminders startle the mind into a wakeful state. But not all objects are directly linked to sleeping or waking; some things simply exist to comfort us, reflecting our need to gather, collect, and nest.
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Alencar, Filipe Henrique Bezerra Matos de. "Pixel Art & Low Poly Art : catalisação criativa e a poética da nostalgia." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/24541.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2017.
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Este trabalho apresenta reflexões a respeito dos recursos gráficos de videogames em Pixel Art e Low Poly Art, e os seus desdobramentos estéticos e poéticos. Nesse processo, levantam-se questões sobre a relação dessas imagens com o jogador e com o artista e desenvolvedor. As principais questões tratam do processo criativo e do sentimento de nostalgia que envolve essas imagens. Chega-se então, a partir de conceitos da psicologia cognitiva sobre criatividade e memória, e de informações disponibilizadas em entrevistas pelos artistas, aos termos Catalisação Criativa e Poética da Nostalgia. Expõe-se o percurso histórico das imagens em Pixel Art, desde a popularização de PONG, o primeiro videogame de grande sucesso comercial. Em seguida traça-se um paralelo histórico entre o fenômeno da Pixel Art e Low Poly Art. Com isso, procura-se aproximar as duas técnicas e discutir os processos de catalisação criativa e nostalgia que as envolve. A partir dessa linha do tempo e da análise das imagens de alguns jogos, percebe-se o efeito do avanço sobre uma obsolescência gráfica, levando ao descarte as imagens mais antigas dos videogames. Esse ciclo passa a ser questionado com a popularização dos Indie Games – também objeto de discussão desta pesquisa –, que retomam o uso de recursos gráficos considerados ultrapassados e os ressignificam.
This dissertation presents reflections on Pixel Art and Low Poly Art graphic resources and its poetics and aesthetics developments. In this process some concerns have been raised on the relation of the player, the artist and the developer to these images. The main issues refer to the creative process of these artists and the feeling of nostalgia that is about these images. From some concepts of cognitive psychology about creativity and memory, and from information gathered in interviews, the terms Creativity Catalysis and Poetics of Nostalgia are presented. The historical path of the Pixel Art images is exposed, since the popularization of PONG, the first great success commercial videogame. Then it is outlined an historical parallel between the Pixel Art and Low Poly Art graphics. Henceforth it is intended to approximate both techniques and discuss the creativity catalysis and nostalgia process that implicate them. From the presentation of this timeline and the analysis of some game images, it becomes clear the industry stimulus for a graphic obsolescence, leading the more antique videogame images to be discarded. The popularization of the Indie Games – also discussed in this research –questions that obsolescence cycle. They take up graphical resources considered out-of-date and give them a new meaning.
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Zhu, Chenlu (Cindy). "Searching For A Graspable Past: Landscapes, Nostalgia, And Chinese Contemporary Art." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1311.

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Landscape art reinvents itself throughout history, along with changes in relationships between humans and nature. During unprecedented processes of urbanization, industrialization, and globalization, the past two hundred years witnessed shifts in global landscapes. The idea of using art to cope with a sense of loss becomes the departure point for my art project. To contextualize my work, I will discuss art scenes in urbanizing Europe and contemporary China and explore the powerlessness of individuals under the formidable trend of development reflected in landscape art.
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Reeves, Hannah Stealey Josephine M. "Home-made home creating in the face of the nostalgic impulse /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5634.

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Thesis (M.F.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 12, 2008) Vita. Includes bibliographical references.
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Ng, Yan-chak Grace, and 吳恩澤. "Nostalgia in Hong Kong cinema: when the insipid becomes Tantalizing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29782892.

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Kientzel, Paula. "Artifacts and fantasy." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4895.

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Thesis (M.F.A)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 28, 2008) Includes bibliographical references.
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LaManna, Kathleen. "Power and Nostalgia in Eras of Cultural Rebirth: The Timeless Allure of the Farnese Antinous." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/176.

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Little did Hadrian know in 130 A.D. that when he deified his beloved departed Antinous, in order to provide a unifying symbol of worship for his diverse empire, that he was instead creating a lasting symbol of the antique world. This thesis examines the power of nostalgia and its successful use by two formidable men from different eras in Rome: The Emperor Hadrian and the extravagantly wealthy Renaissance merchant Agostino Chigi. Though separated by centuries, each man used the nostalgic allure of the beautiful youthful male figure of Antinous to gain power and influence in his own time and to leave a lasting impact on generations to come. Using the statue known as the Farnese Antinous I will show that these very different men were not so different after all: each understood the human tendency to romanticize the past, and each attempted to evoke a feeling of nostalgia for the past from those they sought to “conquer.” Hadrian used portraits of Antinous to unite an empire and cement his place in history; Agostino used one of those very same portraits in commissioned artworks by Raphael to earn his place among the nobility of his day, and to leave a lasting legacy for his descendants.
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Bauman, Emily. "Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438626.

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Reed, Kesayne. ""I've always known this place, familiar as a room in our house" : engaging with memory, loss and nostalgia through sculpture." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020022.

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My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.
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Books on the topic "Nostalgia in art"

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1953-, Weiss Allen S., ed. Taste nostalgia. New York, NY: Lusitania Press, 1997.

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Dragojlović, Marija. Nostalgija: Nostalgia : Likovna galerija Kulturnog centra Beograda, april-maj 2005. Beograd: Kulturni centar Beograda, 2005.

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Sokolowski, Thomas W. Lest we forget: On nostalgia. New York City: Takashimaya, 1994.

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Earle, Edward W. Futurism & nostalgia: Valera & Natasha Cherkashin. Great Neck, N.Y: "Cherkashin Metropolitan Museum" Publishing House, 2005.

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H, Brown Kendall, Minichiello Sharon 1939-, and Honolulu Academy of Arts, eds. Taishō chic: Japanese modernity, nostalgia, and deco. Honolulu: Honolulu Academy of Arts, 2001.

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Manfredi, Alberto. Alberto Manfredi: Il colore della nostalgia. Milano: Skira, 2000.

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1975-, Querci Eugenia, De Caro Stefano, and Museo archeologico nazionale di Napoli., eds. Alma Tadema e la nostalgia dell'antico. Milano: Electa, 2007.

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1975-, Querci Eugenia, De Caro Stefano, and Museo archeologico nazionale di Napoli., eds. Alma Tadema e la nostalgia dell'antico. Milano: Electa, 2007.

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Baldacchino, John. Avant-nostalgia: An excuse to pause. Aberdeen, Scotland: Unit for the Study of Philosophy in Art, 2002.

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Selma, José Vicente. Imágenes de naufragio: Nostalgia y mutaciones de lo sublime romántico. Valencia: Generalitat Valenciana, 1996.

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Book chapters on the topic "Nostalgia in art"

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McCartney Robson, Euan. "Jefferson’s Middle Ages. Art, Artifice, Nostalgia." In Reinterpreting the Middle Ages, 257–68. Turnhout, Belgium: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.neo-eb.5.136273.

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Groes, Sebastian. "Against Nostalgia: Climate Change Art and Memory." In Memory in the Twenty-First Century, 175–87. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137520586_22.

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Lombardo, Patrizia. "Absence and Revelation: Photography as the Art of Nostalgia." In Cities, Words and Images, 150–73. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230286696_7.

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Marchesini, Irina. "The Presence of Absence. Longing and Nostalgia in Post-Soviet Art and Literature." In Biblioteca di Studi Slavistici, 149–65. Florence: Firenze University Press, 2015. http://dx.doi.org/10.36253/978-88-6655-822-4.07.

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This article explores the phenomenon of nostalgia for the Soviet era found in contemporary Russian society and manifested both in contemporary art, such as in the installations of Il'ja Kabakov, Sergej Volkov, and Jevgenij Fiks, and in modern literature, especially in the prose of Andrej Astvacaturov. Such regret for a bygone past primarily mourns not the apparatus of the Soviet state, but the routine and the quality of familiar daily life. Insights from the fields of visual studies and trauma studies undergird this exploration of the relationship between a work of art's visual composition and its representation of toska, memory, and material culture in the Soviet era. By juxtaposing artwork with literary prose, we reveal the significant role had by 'reflective' toska-nostalgia (as defined by Svetlana Boym, 2001) in the formation of post-Soviet identity.
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Figueroa, Pablo. "Subversion and nostalgia in art photography of the Fukushima nuclear disaster." In Fukushima and the Arts, 58–73. Milton Park, Abingdon, Oxon : New York : Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315617589-4.

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Moxey, Keith. "Nostalgia for the real: the troubled relation of art history to visual culture." In Medieval Texts and Cultures of Northern Europe, 45–55. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.tcne-eb.3.2012.

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Strangleman, Tim. "Nostalgia for Nationalisation?" In Work Identity at the End of the Line?, 164–77. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230513853_7.

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Holdsworth, Amy. "Who Do You Think You Are? Memory and Identity in the Family History Documentary." In Television, Memory and Nostalgia, 65–95. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230347977_4.

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Esfandiary, Rana. "Embracing the Liminal rather than Nostalgia." In At the Threshold, 114–47. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003258896-5.

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Mallinson, Jonathan. "3. 1905–09: Experiment and Adversity." In William Moorcroft, Potter, 51–70. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.03.

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In the years following success at St Louis, Moorcroft’s designs began to follow two distinct paths: some appealing to the contemporary nostalgia for eighteenth-century elegance, others developing more innovative and experimental ideas. One of his most radical creations, named ‘Flamminian’ ware, reduced ornament to a simple roundel, and focussed attention on form and glaze; it was an uncompromising challenge to the swirling lines of Art Nouveau, and was a great success both at home and in the US. Reviews published in the UK, France and Canada regularly distinguished Moorcroft’s work from much art pottery, underlining the originality of his decorative technique, the quality of his colours, and the integrity of his designs. It is a mark of his growing international reputation that he was invited to write an article for the newly founded American Pottery Gazette. But even as his reputation grew, the first signs of tension with H. Watkin, Director and General Manager at Macintyre’s, can be seen between the lines of reviews in the Pottery Gazette, where Moorcroft’s name was increasingly subordinated to that of Macintyre’s. Factory Minutes show that Watkin was tabling proposals to close down Moorcroft’s department from as early as 1905, to the evident surprise of the other Directors; surviving financial documents suggest that the reason was not the unprofitability of the Ornamental ware, as Watkin would affirm.
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Conference papers on the topic "Nostalgia in art"

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Josephine, Eleanora, and Fadilah Fadilah. "The Mechanism of Nostalgia as a Narrative in XXI’s Campaign #RinduNontondiXXI." In ICON ARCCADE 2021: The 2nd International Conference on Art, Craft, Culture and Design (ICON-ARCCADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211228.052.

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Plamadeala, Ana-Maria. "The cinema actor in the hypostasis of ideals and virtues of the “ancestral soul”." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.04.

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The approach to the inner life of man by the seventh art through detail shots and foreground ones resulted in the “eye in eye” effect, as a result of which the viewer found his double, alleviating the desolate loneliness in the rush of galloping sociocultural metamorphoses of the 20th century. Thus, the enlightening mission of the seventh art was proliferated, which through the white screen, revealed to humanity the polychromatic palette of Earth’s human offspring. Regarding the contribution of the Moldovan film to this domain, we note with satisfaction the widening of the anthropological range by launching a psycho-cultural type of an original parentage – the nostalgic hero. The actors Sandri Ion Şcurea and Serghei Lunchevici competed in this performance. Through their inspired roles, they managed to capitalize on the hierarchy of spiritual values of the nation, sealed in the vocation of transcendence and cosmicization, of the “thirst for eternity” (M. Eliade), the spiritualization of the tragic, the mioritic catharsis, the nostalgia of the heroic consecration, etc.
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Zhurkova, Daria. "TV Project "Old Songs About the Most Important": the Destiny of Nostalgia in the Context of Post-Soviet Culture." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.30.

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Irmanti, Adinda Lisa, and Prabu Wardono. "Studies on the Application of Nostalgia Supergraphic for Inducing Positive Emotions Among Elderly in The Abiyoso Nursing Home, Yogyakarta." In ICON ARCCADE 2021: The 2nd International Conference on Art, Craft, Culture and Design (ICON-ARCCADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.211228.043.

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Stanton, Michael. "The American City." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.9.

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A city divides into forms and attitudes, into significances, in the most political of senses, into episodic impressions, grand narratives and great collective generalizations. Cities are the vehicles for vivid nostalgia and are often the victims of banal cliche, both in the making of their form and in the way they are perceived. They are collaborative works, and, like works of art, they are conceived passionately, formed imperfectly, understood and misread by a continually transforming and distracted collective. Cities embody myth and fact, blurring the border between the two. All this applies especially to the fraught history and troubled body of the American city.
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Arar, Raphael. "Nostalgia: A Human-Machine Transliteration." In 2018 IEEE VIS Arts Program (VISAP). IEEE, 2018. http://dx.doi.org/10.1109/visap45312.2018.9046055.

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Yu, Xuqin, Masa Inakage, and Atsuro Ueki. "Aesthetic Nostalgia Mediated Design for Long Distance Relationship." In ARTECH 2021: 10th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3483529.3483745.

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Dai, Nan. "Nostalgic Representation of “Old Shanghai” in Hong Kong and Taiwan Films." In 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.070.

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Abudayyeh, Rana. "Future Nostalgia: Breeds, Deeds, and Otherworldly Ruins." In 2021 ACSA Teachers Conference. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.teach.2021.26.

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Building and construction are responsible for about 40% of carbon emissions globally. This sobering reality raises the question: do we need to build new? The reactivation of dormant existing structures was the main focus of an inter-disciplinary vertical design studio that included third-year Architecture and fourth-year Interior Architecture students. The studio addressed the synthesis and propagation of new strategies to revitalize decommissioned parts of our built environment generating speculative narratives for future cities in partnership with Gensler, one of the world-leading design practices. This collaboration demarked a unique overlap between pedagogy and practice, bringing real-world climate issues into academia for collective problem-solving. This partnership emerged from Gensler’s involvement in the shaping of existing and future cities. The firm is actively lever¬aging mobility through design to create multimodal, vibrant settings. Throughout the semester, students interacted with designers from Gensler to explore multimodal thinking, cli¬mate sensitivity, and the transformative impact of adaptive reuse in the urban environment. The partnership encouraged human-centric design sensibilities, cognizant that human experience is ultimately at the center of any design problem. Together, students and professionals pursued design solutions capable of adapting to a changing world and catering to future cities. Future cities rely on collaborative networks and shared platforms, asserting a more collective societal presence. This shift necessitates new multifunctional urban centers. As such, this collaborative studio engaged the design of multimodal transportation hubs grafted in the context of four inactive building types. The four-building typologies were the indoor mall, the office building, the parking structure, and the abandoned cultural icon. The selected buildings were sited in different cities. Each combination (city and building type) offered distinct challenges and opportunities for intervention within the urban fabric. Collectively, the four locations informed an agenda for resilient future cities, actively responding to the pressing realities of climate change while catering to shifting socio-economic parameters.
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Yam, Min-Yee Angeline, Kristina Marie Tom, and Bee Chin Ng. "A Comparative Analysis of Language and Typography Between Two Chinese Enclaves in Singapore for Nostalgic Design Trends." In The Asian Conference on Arts and Humanities 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2186-229x.2023.28.

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Reports on the topic "Nostalgia in art"

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Hellström, Anders. How anti-immigration views were articulated in Sweden during and after 2015. Malmö University, Malmö Institute for Studies of Migration, Diversity and Welfare (MIM), 2021. http://dx.doi.org/10.24834/isbn.9789178771936.

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The development towards the mainstreaming of extremism in European countries in the areas of immigration and integration has taken place both in policy and in discourse. The harsh policy measures that were implemented after the 2015 refugee crisis have led to a discursive shift; what is normal to say and do in the areas of immigration and integration has changed. Anti-immigration claims are today not merely articulated in the fringes of the political spectrum but more widely accepted and also, at least partly, officially sanctioned. This study investigates the anti-immigration claims, seen as (populist) appeals to the people that centre around a particular mythology of the people and that are, as such, deeply ingrained in national identity construction. The two dimensions of the populist divide are of relevance here: The horizontal dimension refers to articulated differences between "the people", who belong here, and the "non-people" (the other), who do not. The vertical dimension refers to articulated differences between the common people and the established elites. Empirically, the analysis shows how anti-immigration views embedded in processes of national myth making during and after 2015 were articulated in the socially conservative online newspaper Samtiden from 2016 to 2019. The results indicate that far-right populist discourse conveys a nostalgia for a golden age and a cohesive and homogenous collective identity, combining ideals of cultural conformism and socioeconomic fairness.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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