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Relevant bibliographies by topics / Sublime (art)

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Academic literature on the topic 'Sublime (art)'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Sublime (art)"

1

Ross, Alison. "The Art of the Sublime." Philosophy Today 49, no. 1 (2005): 33–45. http://dx.doi.org/10.5840/philtoday200549162.

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Bacsó, Béla. "Art and “The Sublime Truth”." Graduate Faculty Philosophy Journal 28, no. 1 (2007): 195–208. http://dx.doi.org/10.5840/gfpj200728123.

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Zuidervaart, Lambert. "Art, Religion, and the Sublime." Owl of Minerva 44, no. 1 (2012): 119–42. http://dx.doi.org/10.5840/owl2012/2013441/232.

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Zuidervaart, Lambert. "Art, Religion, and the Sublime." Owl of Minerva 44, no. 1 (2012): 119–42. http://dx.doi.org/10.5840/owl201310212.

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Weckman, Jan Kenneth. "The sublime." Approaching Religion 7, no. 2 (2017): 64–65. http://dx.doi.org/10.30664/ar.67739.

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Florkovskaya, A. K. "The Fearlessness of Vitality: Transforming the Sublime in Painting of the 2000s." Art & Culture Studies, no. 1 (2021): 48–61. http://dx.doi.org/10.51678/2226-0072-2021-1-48-61.

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The article is devoted to vitality in the art of the twentieth century, interpreted as the Sublime. Vitality manifests itself in art in a very diverse way. The dramatic attitude of the world, suffering, and pain are often synonymous with “vitality” today. But the art of oblivion is also permeated with vitality, “intoxicating”, helping to overcome the horror of existence; as well as art, attaching to the metaphysical source of being. It can be defined as sacred optimism and the ancient art and the art of the avant-garde are especially vividly evidence of it. In this case vitality is in direct c

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Vuksanovic, Divna. "Emphasis: Category of sublime in contemporary aesthetic culture." Theoria, Beograd 64, no. 2 (2021): 133–48. http://dx.doi.org/10.2298/theo2102133v.

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The text has the aspiration to sketch a frame of reference for understanding the concept of the sublime today, as it is used in the context of art. The basic idea is to investigate how the category of the sublime appears in the modern age, both within aesthetic theories and with regard to certain poetics and specific works of art. The key difference in the perception of the sublime in relation to the earlier phases of capitalism and the present one consists in the connection that the sublime establishes with new technologies, which is also reflected in the world of art. The exploitation of the

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Chirico, Alice, Robert R. Clewis, David B. Yaden, and Andrea Gaggioli. "Nature versus art as elicitors of the sublime: A virtual reality study." PLOS ONE 16, no. 3 (2021): e0233628. http://dx.doi.org/10.1371/journal.pone.0233628.

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The sublime–the mixed aesthetic experience of uplift and elevation in response to a powerful or vast object that otherwise is experienced as menacing–has nurtured philosophical discourse for centuries. One of the major philosophical issues concerns whether the sublime is best thought of as a subjective response or as a stimulus. Recently, psychology has conceived of the sublime as an emotion, often referred to as awe, arising from natural or artistic stimuli that are great, rare, and/or vast. However, it has not yet been empirically demonstrated whether two major elicitors of the sublime–natur

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Vandenabeele. "The Sublime in Art: Kant, the Mannerist, and the Matterist Sublime." Journal of Aesthetic Education 49, no. 3 (2015): 32. http://dx.doi.org/10.5406/jaesteduc.49.3.0032.

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Zepke, Stephen. "The Sublime Conditions of Contemporary Art." Deleuze Studies 5, no. 1 (2011): 73–83. http://dx.doi.org/10.3366/dls.2011.0008.

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Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, sensation in both its wider and more specifically artistic senses (senses that become in

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Dissertations / Theses on the topic "Sublime (art)"

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Barnes, Sara Elizabeth. "Autopsic art : sublime, abject, spectacular." Thesis, Lancaster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543954.

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Vernon, Alyss Marie. "Reflecting on the sublime." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2651.

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A place exists where memories and daydreams are allowed to mingle. This place is safe. Away from judgmental eyes. Away from outside influences. This place is safe. Free from the constraints of time and obligation. This place is safe. Attach yourself to this small corner of the world. This is your space, claim this space, for This place is safe.

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Lim, Kheng Saik. "Searching for the Sublime." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6108.

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The influential philosophers Edmund Burke and Emmanuel Kant understand the sublime as events and objects that cause an emotional reaction so magnificent that the intellect fails to comprehend it. It is thus deeply felt and experienced but remains undefined and non-understood. Searching for the Sublime is a suite of paintings that seek to respond to these definitions of the sublime. Together they address and evoke themes of mystery, fear, power, and the unknowable through the medium of painting.

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Buignet, Christine. "Du sublime dans la photographie /." Aix-en-Provence : C. Buignet, 1992. http://catalogue.bnf.fr/ark:/12148/cb370655098.

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Scalco, Diego. "L’art abstrait et la tradition du sublime : du sublime comme principe de critique d’art." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100143.

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Le présent travail a pour objectif de montrer que les réflexions théoriques et les remarques à caractère technique suscitées au cours de l’histoire par le sublime permettent d’approfondir la question du sens de l’art abstrait. En retour, il vise à tracer les voies par lesquelles l’art abstrait porte à témoigner du sublime, à le penser et à le reconnaître. La relation que l’art abstrait entretient avec la tradition du sublime n’est pas univoque, car certaines parmi ses manifestations tendent à confluer dans la tradition du beau et à renouer avec la pratique de la mímēsis (dont la notion classiq

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Pérez, Roger. "The Appearing of the Sublime: the Recovery of the Sublime in Nature through Art." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/119576.

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The Kantian interpretation of the sublime proposes in its assessment a predominant place to the contemplation of nature. Contemporary interpretations, on the other hand, focus their attention upon the capacity of art as a de-structuralizing element, in order to give an account of a historical development of the arts in the way of the sublime. The present paper holds that, since Martin Seel’s Aesthetics of Appearing, it is possible to link both approaches by means of an existential interpretation of the experience of the sublime that stresses the role of time, and thus recovers the experience o

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Ventura, Elisabeth. "Le sublime du comédien." Paris 10, 2012. http://www.theses.fr/2012PA100103.

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Sous la figure rhétorique du paradoxe, Diderot fut le premier philosophe à réfléchir sur l’art du comédien dans une perspective esthétique. A sa suite, nous creuserons ce qu’on pourrait appeler « la matière-comédien », en plaçant au centre de notre recherche la question de l’incarnation : le comédien, medium poétique de l’évènement théâtral, sera le sujet de notre étude. Comment façonne-t-il son corps pour le métamorphoser en réceptacle glorieux de l’incarnation du verbe ? Comment le souffle poétique se dépose en lui ? L’art du comédien ouvre immédiatement à une réflexion sur l’omniscience du

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Saint, Girons Baldine. "Fiat Lux : une philosophie du sublime." Paris 10, 1992. http://www.theses.fr/1992PA100017.

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Avec le sublime surgit une certaine forme de réalité qui nous met en cause en nous éblouissant. Tenter une philosophie du sublime, c'est prétendre construire la définition d'un objet évanescent et rebelle à tout canon, en ressaisir les effets sur un témoin mortifié et rechercher l'enjeu qui lui est alors révélé. Seule, une théorie du risque nous a semblé pouvoir rendre compte à la fois des différentes formes de l'incertitude du sujet, suspendu entre le ravissement et l'angoisse des liens défaits. Le sublime outrepasse la forme, exhibe l'envers caché, brouille les repères et efface les traces d

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Khoury, Milia Lorraine. "Erasing the object : sculptural manoeuvres into the sublime." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8208.

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Includes bibliographical references (leaves 63-85).<br>During the Spring of 1969, as if adopting the guise of the explorer/adventurer of yesteryear, the American artist Robert Smithson (1938 - 1973) and his artist-wifeNancy Holt (1938 - )2 travelled to the Yucatan peninsula, Mexico (Roberts 2000: 552).Over a century earlier, in 1841, the American 'travel writer' John Lloyd Stephens(1805 -1852)3 had embarked on a similar voyage to the Yucatan peninsula and documented his encounters in his then celebrated book Incidents of Travel in Yucatan(1843). Smithson, aware of Stephens' travels and book, p

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Turner, Bradley T. Bratton Susan P. "The sublime and the synthetic riparian art and industrialization /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5262.

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Books on the topic "Sublime (art)"

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Mario, Costa. Il sublime tecnologico. Edisud, 1990.

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England, Arts Council of. Sublime: The darkness and the light. Hayward Gallery Publishing, 1999.

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Northrop, Frye, ed. The apocalyptic sublime. Yale University Press, 1986.

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The Kantian sublime: From morality to art. Clarendon Press, 1989.

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Beauty and the contemporary sublime. school of Visual arts, 1999.

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Sublime Poussin. Stanford University Press, 1999.

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1594?-1665, Poussin Nicolas, ed. Sublime Poussin. Seuil, 1995.

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Ser, Hedva. Sublime landscapes : Aubusson tapestries. Tel Aviv Museum of Art, 1998.

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Longinus. Del sublime. Vita e pensiero, 1992.

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Longinus. Il sublime. Rusconi, 1988.

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Book chapters on the topic "Sublime (art)"

1

Sell, Jonathan P. A. "Bastard Art, Innocent Experience." In Shakespeare's Sublime Ethos. Routledge, 2021. http://dx.doi.org/10.4324/9781003180173-7.

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Grønstad, Asbjørn Skarsvåg. "Sublime Static: Low." In Rethinking Art and Visual Culture. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46176-8_9.

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Sillars, Stuart. "Blitz Sublime." In British Romantic Art and the Second World War. Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-09918-4_4.

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Japaridze, Tamar. "Art: The Visible." In The Visible, the Sublime and the Sensus Communis. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51420-4_1.

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Emmer, Charles E. "Crowther and the Kantian Sublime in Art." In Law and Peace in Kant’s Philosophy. Walter de Gruyter, 2008. http://dx.doi.org/10.1515/9783110210347.3.565.

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Rossi, Osvaldo. "The Sublime and the Thought of Art." In The Poetry of Life in Literature. Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-3431-8_15.

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Atkinson, David M. "The Aesthetic of Art: a Mediation of the Sublime." In Thinking the Art of Management. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230589988_6.

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Shapshay, Sandra. "The Problem and Promise of the Sublime: Lessons from Kant and Schopenhauer." In Suffering Art Gladly. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137313713_5.

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Ray, Gene. "Joseph Beuys and the “After-Auschwitz” Sublime." In Terror and the Sublime in Art and Critical Theory. Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403979445_3.

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Japaridze, Tamar. "Diderot: An Art Critic–Between Honesty and Fidelity." In The Visible, the Sublime and the Sensus Communis. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51420-4_4.

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Conference papers on the topic "Sublime (art)"

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Faleh, M. "The Mediterranean Region: “Islamic” light in the architecture of the sublime." In ISLAMIC HERITAGE ARCHITECTURE AND ART 2016. WIT Press, 2016. http://dx.doi.org/10.2495/iha160151.

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Qian, Jin. "The Aesthetics of the Sublime in Chinese Thought and in Zhuangzi." In 7th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.346.

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Gronauer, Sven, Martin Gottwald, and Klaus Diepold. "The Successful Ingredients of Policy Gradient Algorithms." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/338.

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Despite the sublime success in recent years, the underlying mechanisms powering the advances of reinforcement learning are yet poorly understood. In this paper, we identify these mechanisms - which we call ingredients - in on-policy policy gradient methods and empirically determine their impact on the learning. To allow an equitable assessment, we conduct our experiments based on a unified and modular implementation. Our results underline the significance of recent algorithmic advances and demonstrate that reaching state-of-the-art performance may not need sophisticated algorithms but can also

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Araujo, Patrícia Vargas Lopes de. "Viajantes do século XIX: uma reflexão sobre as estéticas do pitoresco e do sublime na construção de representações para o Brasil." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3694.

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Tem-se como objetivo elaborar uma discussão acerca da imagem ou imagens do Brasil em fins do século XVIII e primeira metade do século XIX. Ainda, analisar quais imagens os europeus faziam do Brasil e pensar como no próprio território brasileiro se articulava ou se compartilhava das idéias circulantes no velho mundo. Por outro lado, compreender o papel ou importância dos viajantes face à elaboração e difusão de noções sobre Brasil e a sociedade brasileira, a partir de uma possível chave de entendimento que seriam, além das perspectivas políticas, as concepções estéticas do pitoresco e do sublim

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Bertarelli, Luciana Taniguti. "Entre o clássico e o sublime: sobre a obra de William Turner e sua relação com as teorias da paisagem do final do século XVIII e início do século XIX." In Encontro da História da Arte. Universidade Estadual de Campinas, 2005. http://dx.doi.org/10.20396/eha.1.2005.3590.

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Cook, Harold A., Sam Akhavan, Patrick J. DeMeo, and Mark Carl Miller. "Finite Element Analysis of the Ulnar Tunnel in Ulnar Collateral Ligament Reconstruction." In ASME 2010 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2010. http://dx.doi.org/10.1115/sbc2010-19040.

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The ulnar collateral ligament (UCL) of the elbow originates on the medial epicondyle of the humerus and inserts on the sublime tubercle of the proximal ulna. This ligament is classically composed of three distinct structures: the anterior bundle, the posterior bundle, and the transverse bundle. Of these three, the anterior bundle has been shown to be the primary stabilizer to valgus load between 20° and 120° of flexion [1]. Injuries to the anterior bundle of the UCL are commonly seen in baseball pitchers, where the valgus load on the elbow during the throwing motion approaches the failure load

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Beneytez, Rafael, and Ophelia Mantz. "Airscapes: Atmosphere as Form in Architecture/ No Molds but Modulators." In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.63.

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Atmosphere, atmospheric, or atmotopo attempts to capture a crucial cultural moment that weaves together different schemes of thought with myriad technologies of communication and visualization. The methods of representation are arguably more varied than ever, and with them, design methods cross all kinds of knowledge. But almost none of the elements that constitute the problem of the atmosphere are aligned under the same ideology. Therefore, addressing the atmosphere within architectural thought becomes a pressing issue today. It involves the acceptance of heterogeneities, contradictions, and

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Rial Zamudio, Sabela. "Vinculaciones entre arte y terror. La insurgencia vanguardista en la Europa del siglo XX." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4917.

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Cuando Karlheinz Stockhausen valoró los atentados del 11S como "la mayor obra de arte jamás realizada", el escándalo provocado fue mayúsculo. Varios de sus conciertos fueron suspendidos y hasta su propia hija pianista anunció que no volvería a actuar bajo el apellido de su padre. Sin embargo, la vinculación entre arte y terror no resultaba ni mucho menos nueva o descabellada. Ya en 1757, cuando el terror aún estaba por surgir, Edmund Burke definía el concepto de lo sublime como una categoría evocadora de lo oscuro y terrorífico. No es de extrañar que fuese precisamente él quien años después ac

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Brouillard, Lee, and Micheael J. Irwin. "Using Real-Time Vadose Zone Monitoring for Long Term Performance Assessment of a Corrective Action Management Unit Containment Cell, Sandia National Laboratories, New Mexico." In ASME 2003 9th International Conference on Radioactive Waste Management and Environmental Remediation. ASMEDC, 2003. http://dx.doi.org/10.1115/icem2003-4914.

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Sandia National Laboratories in Albuquerque, New Mexico (SNL/NM), operates a Corrective Action Management Unit (CAMU) for the United States Department of Energy (DOE). In 1997 SNL/NM was granted a permit modification that allowed construction and operation of a CAMU. The CAMU follows regulatory guidance that facilitates expedient and cost-effective cleanup and management of hazardous remediation wastes. Treatment operations were completed in January 2003 in conjunction with containment of 845,000 cubic feet (23,930 cubic meters) of treated soil. The containment cell is situated approximately 4

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Zimmermann, Peter, Christoph Hirsch, and Thomas Sattelmayer. "Erosion Lifetime Prediction for a Radial Turbine Operation in a Low Dust Stream." In ASME Turbo Expo 2006: Power for Land, Sea, and Air. ASMEDC, 2006. http://dx.doi.org/10.1115/gt2006-90502.

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This study is part of the work performed for the pilot plant of an innovative indirect fired gas turbine cycle for biomass incineration using the Pebble-Heater technology and a microturbine. A Pebble-Heater is a regenerative heat exchanger consisting of an annular bed with radial flow, which implements an unsteady counterflow heat exchanger. It captures the flue gas enthalpy during the atmospheric heating phase and heats compressed air for the turbine during the blowing phase. During the heating phase ash particles from the incinerator deposit on the bulk material and are segregated by periodi

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