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Journal articles on the topic 'Visual arts in Pará'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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1

Weyl, Francisco. "I-MARGENS DE UM CARUANA ENTRE ESTÉTICAS DE GUERRILHAS." Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 9 (2021): 96. http://dx.doi.org/10.18542/arteriais.v5i9.9819.

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ResumoEste artigo reflete questões artísticas, políticas, antropológicas e identitárias, que atravessam ações culturais em comunidades periféricas e quilombolas da Amazônia Paraense, sendo um recorte à pesquisa que desenvolvo no âmbito do Programa Doutoral em Artes Plásticas da Faculdade de Belas Artes da Universidade do Porto, tendo esta narrativa emergido das memórias de práxis transgressoras que caracterizaram resistências coletivas no cenário da arte contemporânea e da antropologia visual, particularmente nas experiências do Projeto Mola, junto a crianças, jovens e adultos em comunidades t
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Fletcher, John. "Historiografia dos decolonialismos para o ensino/aprendizagem em artes visuais." Arteriais - Revista do Programa de Pós-Gradução em Artes 4, no. 7 (2019): 204. http://dx.doi.org/10.18542/arteriais.v4i7.6942.

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ResumoO presente artigo, fruto de uma conferência realizada no Ciclo de Debates intitulado Experiências Educativas em Artes Visuais na Amazônia Paraense, visa a organizar uma historiografia dos pensamentos Decoloniais na América Latina, com sua contrapartida na Amazônia paraense. Desse modo, delineia possibilidades convergentes com os atuais debates sobre Ensino/Aprendizagem em Artes Visuais. Os autores trabalhados, dentro de uma premissa historiográfica, são Inge Valencia, Luciana Ballestrin, Walter Mignolo, Osmar Pinheiro Junior, João de Jesus Paes Loureiro, Maria Fusari, Maria Heloísa Ferra
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3

Barros, José Costa D'Assumção. "Renascimento e Barroco – um paralelo contrastante através da Pintura e da Música." Arteriais - Revista do Programa de Pós-Gradução em Artes 3, no. 5 (2017): 91. http://dx.doi.org/10.18542/arteriais.v3i5.5358.

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ResumoEste artigo busca refletir sobre as relações entre Artes Visuais e Músico no âmbito de momentos específicos da História da Arte, elaborando uma análise comparativa entre a arte renascentista e a arte barroca, examinando as relações entre artes visuais e Música. Os elementos essenciais do estilo Barroco e do estilo Renascentista são considerados em oposição de modo a identificar possíveis similitudes existentes entre os aspectos pictóricos e os aspectos musicais de cada um destes estilos. O artigo parte do pressuposto de que, uma vez que estejam envolvidas pelo mesmo contexto histórico-so
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Capra, Carmen Lúcia, and Luciana Gruppelli Loponte. "FORMAS DA POTÊNCIA E ESTADOS ARTÍSTICOS NA FORMAÇÃO INICIAL E NA DOCÊNCIA EM ARTES VISUAIS." Cadernos de Pesquisa 27, no. 3 (2020): 226. http://dx.doi.org/10.18764/2178-2229.v28n3p226-248.

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RESUMO: O texto parte de modos de relacionar-se com a arte, manifestados por professoras de artes visuais, seguindo com uma reflexão sobre as posições de professores em formação e em exercício em relação à arte. Apresenta uma reunião ensaística de ideias que fornecem meios para pensar as relações produzidas com a arte desde a formação docente inicial, como o caráter biográfico que compõe o estudo e as práticas de arte no curso de licenciatura. É feita uma argumentação sobre conceitos da filosofia, da filosofia da arte e da educação, como verdade e potência, por exemplo, a fim de elaborar contr
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Cortes, Luis Claudio, Noemi Grinspun, Sandra Medina, and Claudio Humberto Oyarzún. "El cuerpo como dispositivo didáctico en la formación inicial docente en artes visuales para enseñanza secundaria." eari. educación artística. revista de investigación, no. 11 (December 19, 2020): 54. http://dx.doi.org/10.7203/eari.11.17013.

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Resumen. El presente artículo corresponde a una experiencia pedagógica implementada al interior de un programa de formación de profesores/as en artes visuales, cuyo futuro contexto de desempeño laboral son los niveles de enseñanza secundaria en el contexto escolar chileno. Su objetivo principal es reflexionar teóricamente en torno al cuerpo y sus posibilidades pedagógicas, a partir de la implementación de estrategias de enseñanza y aprendizaje de las artes visuales que involucran la practica corporal como dispositivo didáctico. Bajo una metodología de Proyectos de Aprendizaje Expresivos define
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Delgado, Hishochy, Yasselle Angela Torres, and Maylín Alonso. "Educación crítica de las artes visuales en estudiantes de diseño gráfico. Relaciones de aprendizaje en torno a la cultura visual." eari. educación artística. revista de investigación, no. 11 (December 19, 2020): 71. http://dx.doi.org/10.7203/eari.11.15716.

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Resumen: La dimensión crítica en los procesos de enseñanza y aprendizaje universitarios constituye un estadio superior del intelecto y la moral en los educadores y educando. Encuentra su base teórica, epistemológica y metodológica en las capacidades reconstructivas y autónomas del sujeto libre que piensa y crea. En esta investigación pretendemos abordar –desde las experiencias como docentes e investigadores- el andamiaje contextual que sitúa al discurso crítico como una necesidad educativa en estudiantes de Diseño Gráfico. Realizaremos un análisis de los componentes curriculares que interviene
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7

Chang, Yu-Chien, and Chloe Preece. "Visual arts marketing in East Asia." Arts and the Market 8, no. 2 (2018): 118–22. http://dx.doi.org/10.1108/aam-10-2018-031.

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Purpose The purpose of this paper is threefold. First, it reviews the background to, and development of the special issue call for papers on the topic of “Visual arts marketing in East Asia”; second, it introduces the four papers and commentary in the issue; and third, it considers some of the key areas with a rich potential for future directions of research. Design/methodology/approach The papers in this special issue comprise of both qualitative (e.g. interviews, observation, case studies) and quantitative (surveys) as well as conceptual issues for policy and artists. Moreover, the articles
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8

Dragoş, Răzvan. "Theater, Between Technology and Visual Arts." Theatrical Colloquia 10, no. 2 (2020): 85–92. http://dx.doi.org/10.2478/tco-2020-0022.

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AbstractSince Antiquity, there have been biunivocal links between theater, technology and visual arts, each of these branches being, if not decisively influenced by the others, at least stimulated. Technology was put at the service of theater either as a logistical part or in “main” roles, sometimes in competition with the actor, in other words with the man. In the first case we are dealing with elevators, cranes, light or sound devices and so on. In the second, with automatic machines, largely autonomous. Applied arts, costumes, scenery, stage props and everything related to scenography are l
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Introvigne, Massimo. "New Religious Movements and the Visual Arts." Nova Religio 19, no. 4 (2016): 3–13. http://dx.doi.org/10.1525/nr.2016.19.4.3.

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Contrary to popular conceptions, modern artists are often religious. Some of them are part of mainstream religions including Catholicism, Protestantism, Judaism, and Islam. Others try to establish new religions and forms of spirituality based on art itself. A significant number of artists, while alienated from traditional religions, were either part of, or deeply influenced by, new religious movements and esoteric groups. Scholars have particularly focused on the influence of the Theosophical Society on the visual arts, but other movements have also been significant.
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10

Foellmer, Susanne. "Mundhöhlenereignisse. Grenzfiguren zwischen Expression und Passage im zeitgenössischen Tanz und den Visual Arts." Paragrana 18, no. 2 (2010): 242–56. http://dx.doi.org/10.1524/para.2009.0038.

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Im Tanz ist seit Beginn der 1990er Jahre eine Betonung des Körpers als kontingente Matrix zu beobachten, wobei oszillierende, an den Grenzen verschwimmende oder geöffnete Körperentwürfe zur Disposition gestellt werden. Im Feld solcher Kontingenzen sind allerdings mittlerweile Musterungen des Dazwischen zu beobachten: Eines ihrer Motive ist der geöffnete Mund. Partiell sind solche Körperthemen von der bildenden Kunst inspiriert oder reflektieren diese paraphrasierend. Beiden Kunstgenres eignet in diesen spezifischen ästhetischen Auseinandersetzungen der temporäre Aufenthalt im Zwischenraum von
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Hamilton, Donald G. "Australian doctors and the visual arts: Part 6. Photography." Medical Journal of Australia 145, no. 11-12 (1986): 640–43. http://dx.doi.org/10.5694/j.1326-5377.1986.tb139520.x.

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12

Carvalho, Ana. "Symbiotic fictional experiments in the visual arts." Technoetic Arts 17, no. 1 (2019): 111–18. http://dx.doi.org/10.1386/tear_00010_1.

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Abstract Sameness and difference, seen through the use of the term symbiosis, are tooled for the construction of other, future realities. Two examples from literature will describe how symbiosis is, in science fiction, used as means to propose connections with Otherness, through a return to a nature recovered, and as part of rational human deliberate actions towards the recovery of our present damaged planet. Science fiction is where the methodological approach is formulated, as thought experiments, within Ursula Le Guin's literature, from where to develop the process to create two visual artw
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Pereira, Samuel Vilasbôas, and Paulo César Antonini de Souza. "Uso de jogos eletrônicos em artes visuais." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 3, no. 1 (2019): 30. http://dx.doi.org/10.29181/2594-6463.2019.v3.n1.p30-45.

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ResumoO presente artigo reúne reflexões a partir de um estudo voltado para o ensino de artes visuais considerando as possibilidades pedagógicas do uso de jogos eletrônicos em espaços de ensino e de aprendizagem. Tendo por fundamento uma revisão de literatura sobre o fenômeno lazer e a natureza lúdica dos jogos no meio virtual, são realizadas análises de alguns jogos eletrônicos, destacando seus potenciais lúdicos e educativos, decorrentes de uma relação estética entre o jogador e o jogo, além de aspectos descritivos dos jogos. Realiza-se, por fim, um movimento que procura destacar os aspectos
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14

Henriod, Gustavo von Bischoffshausen. "The Manuel Solari Swayne Library at the Museum of Art of Lima." Art Libraries Journal 30, no. 3 (2005): 16–19. http://dx.doi.org/10.1017/s0307472200014048.

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This paper describes the collections and services, as well as the current and future goals, of the Manuel Solari Swayne Library, an information service specializing in the visual arts in Lima, Peru. The library is part of the Museo de Arte de Lima, an institution that holds more than 10,000 objects, providing a survey of Peruvian art from pre-Columbian times to the present day. The museum’s current renovation project includes plans to double the space available to the library and thus create better access to this valuable resource for art history, museology and the visual arts in Peru and Lati
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15

Tineva-Gyurkovska, Katya, and Ani Zlateva. "BUILDING BASIC VISUAL PERCEPTIONS OF STUDENTS OF PEDAGOGY UNPREPARED FOR COMMUNICATING WITH VISUAL ARTS." Годишник на Педагогически факултет, Тракийски университет 15 (2018): 75–88. http://dx.doi.org/10.15547/ybfe.2018.06.

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This research contains certain pedagogical problems concerning the basic visual perceptions of the students from the pre-school and primary school education specialty at the Faculty of Education in Trakya University, reviewed on theoretical and analytical level. People studying to become primary school teachers are expected to teach the subject Art in their future pedagogical carrier, but they are often unprepared for communicating with the visual arts. They don't have former knowledge in this area. That is why the aims of this article are connected to presenting the real "picture" of their le
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Tineva-Gyurkovska, Katya, and Ani Zlateva. "Building basic visual perceptions of students of pedagogy unprepared for communicating with visual arts." Годишник на Педагогически факултет, Тракийски университет 15 (2018): 75–88. http://dx.doi.org/10.15547/10.15547/ybfe.2018.06.

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This research contains certain pedagogical problems concerning the basic visual perceptions of the students from the pre-school and primary school education specialty at the Faculty of Education in Trakya University, reviewed on theoretical and analytical level. People studying to become primary school teachers are expected to teach the subject Art in their future pedagogical carrier, but they are often unprepared for communicating with the visual arts. They don't have former knowledge in this area. That is why the aims of this article are connected to presenting the real "picture" of their le
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17

Hamber, Anthony. "The Photography of the Visual Arts, 1839–1880: Part II." Visual Resources 6, no. 1 (1989): 19–41. http://dx.doi.org/10.1080/01973762.1989.9658842.

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Hamber, Anthony. "The Photography of the Visual Arts, 1839–1880: Part III." Visual Resources 6, no. 2 (1989): 165–79. http://dx.doi.org/10.1080/01973762.1989.9658857.

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Hamber, Anthony. "The Photography of the Visual Arts, 1839–1880: Part I." Visual Resources 5, no. 4 (1989): 289–310. http://dx.doi.org/10.1080/01973762.1989.9659189.

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Hamber, Anthony. "The Photography of the Visual Arts, 1839–1880: Part IV." Visual Resources 6, no. 3 (1990): 219–41. http://dx.doi.org/10.1080/01973762.1990.9658865.

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Cavalcante, Larissa Gabrielle Mendes, Carlos Aldemir Farias da Silva, and Iran Abreu Mendes. "Percepção visual e pensamento geométrico nos Anos Iniciais: uma abordagem interdisciplinar com a Arte." REMATEC 15 (April 30, 2020): 16. http://dx.doi.org/10.37084/rematec.1980-3141.2020.n0.p16-31.id231.

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<p>Este artigo aborda o desenvolvimento da habilidade de percepção visual enquanto elemento necessário para a formação do pensamento geométrico nos anos escolares iniciais. Descrevemos uma ação pedagógica interdisciplinar entre Arte e Geometria, realizada em uma escola municipal de Belém do Pará com 52 alunos do terceiro ano do ensino fundamental, que objetivou explorar as propriedades das figuras geométricas planas por meio do desenho de personagens criados pelos alunos. A atividade constituiu uma estratégia de ensino para integrar conhecimentos artísticos e matemáticos a partir de uma
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22

Proenço de Oliveira, Juliana. "CONTEXTOS DE CENSURA ÀS ARTES VISUAIS NO BRASIL: DUAS APROXIMAÇÕES / Visual arts censorship contexts in Brazil: two approaches." arte e ensaios 26, no. 40 (2020): 201–15. http://dx.doi.org/10.37235/ae.n40.14.

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Esta pesquisa propõe aproximar o “contexto” de censura às artes visuais no Brasil após 2017 ao da ditadura militar (1964–1985). Na ditadura, a censura agia via um órgão estatal oficial, extinto em 1988. Ainda assim, pode-se divisar um "contexto" atual de censura pela profusão de casos ocorridos desde 2017. Se, no passado, censurar era ato exclusivo de funcionários estatais específicos; representantes públicos, privados e até indivíduos censuraram obras de arte nos últimos anos. No curso da análise, surgem indagações sobre o perfil político ou moral da censura nos dois contextos estudados e sob
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Brizuela, Natalia, and Tatiana Monassa. "Pluriversal Brazil." Film Quarterly 74, no. 2 (2020): 67–76. http://dx.doi.org/10.1525/fq.2020.74.2.67.

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This conversation with directors Patricia Ferreira Pará Yxapy, André Novais Oliveira, Filipe Matzembacher, Marcio Rolon, and Julia Katharine took place over email exchanges and recorded phone conversations in the weeks between late June and early late August of 2020. In lieu of a real conversation, in person or online, all of the interviewees were sent the same set of questions, upon which they were invited to reflect. The directors were chosen because of the independent production models they work with, and because their voices, here placed side by side, portrays the sense of heterogeneity an
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Davydova, S. "CREATIVE PROJECT ACTIVITY IN PROFESSIONAL TRAINING OF FUTURE VISUAL ARTS TEACHERS." Pedagogical education: theory and practice. Psychology. Pedagogy, no. 30 (2018): 74–79. http://dx.doi.org/10.28925/2311-2409.2018.30.7479.

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The article reveals new requirements for training the visual arts teachers, determined by a rapid evolution of society and restructuring of national education, where an emphasis is put on the project-based learning. Such circumstances demand the change of forms and methods of education, updating and modernization of existing methodical funds. Modern scientists have turned to the project method, which is not new in teaching practice, however, has proven its suitability and importance for a teaching process in the 21st century, which is indicated in the concept “New Ukrainian School” that offers
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Benetti, Liliane. "Samuel Beckett e Stan Douglas: aproximações pontuais." Eutomia 1, no. 20 (2018): 139. http://dx.doi.org/10.19134/eutomia-v1i20p139-152.

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Este texto parte de pistas deixadas em Goodbye Pork-Pie Hat (1988), ensaio do artista visual canadense Stan Douglas sobre Film e as peças para televisão de Samuel Beckett, e pretende discutir a recorrência de alguns procedimentos beckettianos na produção de Douglas, especialmente nas séries Television Spots (1987-88) e Monodramas (1991). Palavras-chave: Samuel Beckett; peças para TV; artes visuais contemporâneas; multimídia Abstract: This short text has as its starting point some clues left in Goodbye Pork-Pie Hat (1988), essay by Canadian visual artist Stan Douglas on Film and TV pieces by Sa
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Huerta, Ricard. "Alfabetos en series. Creación artística a partir de derivas gráficas urdidas con letras." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 26 (July 2, 2016): 17. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2016261411.

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Alfabetos en series. Creación artística a partir de derivas gráficas urdidas con letrasDurante tres décadas de producción artística mi trabajo ha partido siempre del alfabeto latino como engranaje de creación. Las letras del alfabeto constituyen un escenario de posibilidades gráficas que combinan el potencial visual con aquellos significados verbales e icónicos que introducen los signos empleados. Debido al poder comunicativo de las letras, las obras realizadas posibilitan una múltiple lectura, ya que imprimen un carácter polisémico que transita entre lo visual y lo verbal. Para organizar cada
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Monrad, Kaper. "The Nordic contributions to romanticism in the visual arts." European Review 8, no. 2 (2000): 173–83. http://dx.doi.org/10.1017/s1062798700004749.

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The Nordic achievements in the visual arts in the age of romanticism were first and foremost accomplished by Danish artists. The great initiator was C. W. Eckersberg, who observed reality with great scrutiny and demanded of himself a faithful rendering of all the details. However, at the same time, he stuck to the classical principles of composition and omitted all accidental and ugly aspects of the motif that did not fit into his concept of an ideal picture. The principles he laid down in his art in around 1815 formed the basis of Danish (and Norwegian) painting until 1850. He introduced open
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Schoonmaker, Cristina Penn. "Arts Education in Thailand: Why it Matters." MANUSYA 17, no. 2 (2014): 1–16. http://dx.doi.org/10.1163/26659077-01702001.

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The humanities, especially the visual arts, are often neglected at Thai universities because they are perceived as rarely yielding tangible results. This paper aims to demonstrate that learning to decode and talk about a painting not only require high level cognitive, visual, and language skills, but also extensive contextual knowledge, which only a background in the humanities can offer. The author analyzes several works of art as well as discusses modern aesthetics to argue that the arts are an integral part of the human experience, and therefore, should be included in general education cour
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Miklaszewska, Joanna. "Literature and visual arts as a source of inspiration." Musicology Today 16, no. 1 (2019): 113–21. http://dx.doi.org/10.2478/muso-2019-0006.

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Abstract This article is a contribution to scientific research on this aspect of Krystyna Moszumańska-Nazar’s musical output which concerns the connections between her music and other arts, primarily literature and the visual arts, as well as inspirations flowing from nature, religion, philosophy, and broadly understood culture. The article applies structuralist methodology. The starting point for the analysis of the phenomena in question is the musical work itself, its title and its structure, and in the case of vocal-instrumental works - the content and message of the literary text and the p
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Schwartz, Laura. "Advocating for digital projects in the arts: UC San Diego Visual Arts and Architecture Digital Collections." Art Libraries Journal 45, no. 2 (2020): 61–67. http://dx.doi.org/10.1017/alj.2020.4.

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Through a close examination of the UC San Diego Visual Arts and Architecture Digital Collections, this article reviews the context of the UC San Diego Library's Digital Collection including the tools leveraged to create a successful digital library environment and the importance of cultivating relationships with content donors, including challenges and opportunities. Marketing and publicity of digital collections as part of the project lifecycle will also be discussed, as well as the importance of advocating for arts content within the library's digital collection.
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Tejo-Veloso, Carlos. "Proyectos de arte de acción: análisis de una experiencia pedagógica." Arte, Individuo y Sociedad 29, no. 2 (2017): 203–17. http://dx.doi.org/10.5209/aris.47320.

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Tras seis años de docencia continuada en la asignatura Proyectos de Arte de Acción, proponemos ahora un artículo que analice esta materia ofertada dentro del plan de estudios del grado en Bellas Artes de la Universidad de Vigo. Para ello estudiaremos el contexto de la enseñanza del arte de acción en la universidad española, la tipología de arte de acción que ocupa nuestra práctica pedagógica, el tejido académico que rodea nuestra docencia, la demanda de la asignatura entre los estudiantes, la guía docente, el perfil de nuestro alumnado, la metodología docente empleada y las características ese
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Koenderink, Jan. "Parts and Wholes in Pictorial Art." Art & Perception 3, no. 3 (2015): 303–17. http://dx.doi.org/10.1163/22134913-00002035.

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The part–whole relation is fundamental to the Gestalt description of visual awareness; therefore one expects it to play an equally important role in the visual arts. The formal science of parthood relations is mereology. Thus, it is natural to attempt to construct a mereological account of the structure of works of the visual arts. However, I argue in this paper that such a program is headed for failure. There are various reasons for this, perhaps the more interesting being that one deals with parallel pictorial worlds.
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Wendorff, Anna, and Aneta Joanna Pawłowska. "Descripción curatorial y audiodescripción de las obras de arte. Un estudio comparativo." Quintana: revista do Departamento de Historia da Arte, no. 19 (January 18, 2021): 303–14. http://dx.doi.org/10.15304/qui.19.6009.

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El artículo reflexiona sobre la traducción de la imagen en palabras. En la primera parte se enumeran las teorías que relacionan la imagen con la palabra, a continuación se acerca el tema de las audiodescripciones (descripciones verbales para las personas con deficiencia visual) de las obras de arte. En la parte práctica se compara la descripción curatorial y la audiodescripción de la Sala Neoplástica del Museo de Arte de Łódź para analizar cómo la situación de la recepción de la obra audiodescrita modifica la forma de su descripción. Asimismo se indican los cambios actuales en la percepción y
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Monleón-Oliva, Vicente. "Arte para primaria." Arte, Individuo y Sociedad 32, no. 1 (2020): 269–70. http://dx.doi.org/10.5209/aris.65338.

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Marqués Serra, David. "Más allá de la imagen. La literatura visual del artista invisible." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 15 (June 10, 2020): 122. http://dx.doi.org/10.7203/scripta.15.17560.

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Resumen: El presente artículo gira en torno al proceso constructivo de la comunicación pictórica contemporánea en el caso de la producción de Joan Millet (Gandía, 1958). Así pues, en él se abordan diferentes cuestiones que se devienen esenciales para la configuración de su particular discurso, tales como la intención narrativa primigenia, la estructura semiótica de la imagen o el valor expresivo de la propia materia. Entender la conjunción entre lo narrativo y lo sensitivo resulta primordial para la comprensión de la intencionalidad del artista en cuestión, que siempre articula sus imágenes mi
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Pombo, Fatima, and Anna Marie Fisker. "Chiasmus and sceneries for all senses - the hidden possible at Faaborg Museum. A Visual Essay." kepes 16, no. 20 (2019): 153–68. http://dx.doi.org/10.17151/kepes.2019.16.20.7.

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Reveron Peña, María Isabel, and Mario Antonio Parra Pérez. "Circunstancias y comienzo del arte erótico en Colombia: Débora Arango, Jim Amaral y Óscar Muñoz." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 12, no. 1 (2015): 164. http://dx.doi.org/10.26564/16926250.541.

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ResumenEl presente artículo se deriva de la investigación Artes visuales y narrativa erótica en Colombia (1970- 2010) realizada por Mario Antonio Parra Pérez y María Isabel Reverón Peña durante el lapso de enero de 2013 a enero de 2015 y financiada por el Sistema Universitario de Investigaciones (SUI) de la Universidad Autónoma de Colombia.En el presente artículo desarrollaremos brevemente el campo histórico de apertura de las artes plásticas hacia un desarrollo del arte erótico; luego señalaremos algunos aspectos en torno a los límites de lo erótico y de lo pornográfico para finalmente presen
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Ho Quynh, Giang. "CAMP- ITS EXPANSION IN VERBAL ARTS, FINE\VISUAL ARTS, PERFORMANCE ARTS AND ITS POSSIBLE LINKAGE WITH SCHOOL TRANING PROGRAMS IN VIETNAM." Journal of Science Social Science 65, no. 11 (2020): 81–92. http://dx.doi.org/10.18173/2354-1067.2020-0074.

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The idea about camp is still an unfamiliarity in the country of Vietnam while it is likely a large part of the daily and academic life in the western society. Camp can be found in many arts forms like literature, architecture, paintings, sculptures, music and fashion from the history up to the present days. However, it seems that the presence of camp was not widely recognized until the release of Sontag’s essay in 1964. Therefore, it has led to the rationale to make an insight into it on the scales of the above fields. From the analysis it can be summarized that camp exists in arts with three
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Bazán de Huerta, Moisés. "Los catálogos humorísticos de las Exposiciones Nacionales de Bellas Artes en el último tercio del siglo XIX." Liño 26, no. 26 (2020): 55. http://dx.doi.org/10.17811/li.26.2020.55-66.

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RESUMEN: Las Exposiciones Nacionales de Bellas Artes son un factor relevante para valorar el arte español contemporáneo. Inauguradas en 1856, durante más de un siglo fueron la principal vía promocional y su celebración se convirtió en un evento no solo artístico, sino también social. Se publicaba un Catálogo Oficial, que identificaba títulos y autores. Pero generaban también guías y ediciones paralelas, además de un gran aparato crítico en prensa.Nos ocupamos en concreto de los catálogos humorísticos que parodiaban en versos satíricos el contenido de las Exposiciones. Es una fuente poco conoci
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Lima, Jailson, and Janis Timm-Bottos. "This is not a Pipe: Incorporating Art in the Science Curriculum." Journal of Teaching and Learning 11, no. 2 (2018): 43–60. http://dx.doi.org/10.22329/jtl.v11i2.5063.

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Science courses employ instructional strategies that are based on lecture, drill, and practice to help students memorize collections of facts and procedures of increasing complexity. These strategies emphasize the acquisition of knowledge through the development of logical-mathematical skills employed in problem solving and verbal-linguistic abilities to make sense of the concepts and jargon in the field. Due to its highly abstract character, these science courses deal with complex representations that require an understanding of the role of mental models. Learners need to develop their visual
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Ernest-Martinec, Blanka, and Hessel Miedema. "De gildebrief van Rudolf II voor de schilders van Praag van 27 april I595 en zijn implicaties rondom het begrip kunst." Oud Holland - Quarterly for Dutch Art History 117, no. 3-4 (2004): 154–61. http://dx.doi.org/10.1163/187501704x00368.

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AbstractThe privilege granted by Emperor Rudolf II to the painters' guild of Prague embodied not only a confirmation of the old privileges, but also comprised two passages seemingly elevating the status of the guild. First, the guild's coat of arms was to be embellished with precious stones in the crown and the female Moor crest figure replaced by Pallas Athena. And, second, it was stipulated that henceforth painting was to be referred to as an art rather than a craft. While the term 'artist' for painters and architects had been in use for some time, this emphatic formulation seemed to coincid
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Muñóz Campos, Paloma, and Sofía Rodríguez Bernis. "Industria, decoración y diseño. Historias del Museo Nacional de Artes Decorativas." Ge-conservacion 8 (December 4, 2015): 67–77. http://dx.doi.org/10.37558/gec.v8i0.291.

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La posición de las artes decorativas –artes aplicadas, cultura material, diseño, artesanía- en el panorama actual cultural de los museos está necesitada de una reflexión para conectar con la sociedad y con los cambios operados en la museología del siglo XXI. El Museo Nacional de Artes Decorativas (MNAD) ha reflejado en su evolución el desarrollo de las profesiones dedicadas a los objetos de consumo. Aunque en sus inicios como Museo Nacional de Arte Industrial (MNAI) se centró en el fomento de los productos de la segunda Revolución Industrial, acabó por perder la batalla de la modernidad tras l
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Mozzati, Tommaso. "El Casón del Buen Retiro y la exposición centenaria de Alonso Berruguete en 1961: cultura y propaganda entre España, Europa y América Latina." Archivo Español de Arte 94, no. 375 (2021): 281–96. http://dx.doi.org/10.3989/aearte.2021.17.

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A la luz de documentos inéditos, el artículo examina la muestra conmemorativa de la obra de Alonso Berruguete que organizó la Dirección General de Bellas Artes en 1961 en el Casón del Buen Retiro de Madrid. Desde esta perspectiva se analiza la relevancia política que el gobierno franquista atribuyó a la programación cultural de ese espacio recientemente restaurado, y los esfuerzos diplomáticos realizados para dar a conocer el evento en Europa y en América Latina, ofreciendo una visión ideológica del arte del escultor castellano, útil para la propaganda cultural del régimen.
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Chang, Chia-Ju. "The Missing View in Global Postsecular Cinema: Crouching Tiger, Hidden Dragon as a Visual Kōan/Gong'an." Paragraph 42, no. 3 (2019): 370–86. http://dx.doi.org/10.3366/para.2019.0312.

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This article explores intersections between critical theory, Buddhism (Chan/Zen in particular), and film studies in what Jürgen Habermas characterizes as the current ‘post-secular society’. I use Ang Lee's Crouching Tiger, Hidden Dragon (2000) as a case in point to unveil a hidden kōan/gong'an structure or subtext. I view the medium of film as a technology of Chan eudaimon that is capable of deconstructing a reified self and helping the viewer develop compassion for cultivating an awakened mind. Cinema, in this light, can be recruited to foster a collective, self-less mind and culture that is
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Çakirlar, Cüneyt. "Masculinity, Scatology, Mooning and the Queer/able Art of Gilbert & George: On the Visual Discourse of Male Ejaculation and Anal Penetration." Paragraph 34, no. 1 (2011): 86–104. http://dx.doi.org/10.3366/para.2011.0007.

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The aim of this essay is to investigate the intersections between masculinity, shame, art, anality, the abject and embodiment by focusing on a particular period of the British art duo Gilbert & George's work in the 1990s. In their series The Naked Shit Pictures (1994), The Fundamental Pictures (1996) and The Rudimentary Pictures (1999), the duo's artistic self-performance opens a scatological narrative territory where the male body encounters its own abject fluids strategically magnified. Situating itself within the boundary between queer theory and Lacanian psychoanalysis with a particula
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Marín-Viadel, Ricardo, and Joaquín Roldán. "A/r/tografía e Investigación Educativa Basada en Artes Visuales en el panorama de las metodologías de investigación en Educación Artística." Arte, Individuo y Sociedad 31, no. 4 (2019): 881–95. http://dx.doi.org/10.5209/aris.63409.

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El objetivo es fundamentar epistemológicamente la a/r/tografía y situarla en el contexto de las metodologías de investigación basadas en artes. La Investigación Basada en Artes apareció en 1993, impulsada por Elliot Eisner, como una intensificación de la cualidades estéticas de los procesos y resultados de la investigación educativa. Ha ido desarrollándose desde entonces, -a pesar de las posiciones epistemológicas, como las de H. Gardner, que separan tajantemente las artes de la ciencia-, aproximando la investigación en ciencias humanas y sociales a la creación artística. Su característica fun
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Lopes, Fernando. "Imagem digital: a representação imagética das redes digitais através da experiência Google Arts and Culture." Vista, no. 2 (June 26, 2018): 246–63. http://dx.doi.org/10.21814/vista.3005.

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O presente artigo parte de um relato acerca das imbricações entre imagem, cultura e tecnologia em especial seus reflexos na digitalização das imagens, para então traçar uma reflexão sobre o digital como (re)significador da cultura imagética. Busca-se, com este trabalho, ratificar a influência da tecnologia, da memória visual e informacional na construção dos valores culturais contemporâneos. Será apresentada também uma reflexão sobre a aura benjaminiana em uma dinâmica imagética digital. O pano de fundo no qual se desenvolve o presente artigo são as evoluções tecnológicas
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Silva, Ana Rita da, and Beatriz Aparecida Zanatta. "Teoria histórico-cultural e suas contribuições para o ensino de artes visuais (Historical-cultural theory and its contributions to visual arts teaching)." Revista Eletrônica de Educação 14 (March 3, 2020): 3500063. http://dx.doi.org/10.14244/198271993500.

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The content of this article accrues from a master's research in Education, whose subject matter was the organization of art education in the historical-cultural perspective for the formation of aesthetic reading ability of elementary school students. The aim of this paper is to present some basic concepts of historical-cultural theory in order to explain the formation and development of psychological functions of the human being, emphasizing the role of social relations and cultural mediations, especially teaching-learning interactions, specifically in art. It is based on the premise that art
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Acerbi, Juan. "Borisonik, Hernán: Soporte. El uso del dinero como material en las artes visuales.Support. Money as Material in Visual Arts." Boletín de Arte, no. 41 (November 5, 2020): 318–19. http://dx.doi.org/10.24310/bolarte.2020.v41i.7789.

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Los estudios sobre las relaciones entre dinero y obras de arte ha sido muy asociados a la sociología del arte o la sociología del mercado. A contrapelo de esa tendencia, el libro de Hernán Borisonik (un doctor en ciencias sociales, especializado en filosofía política clásica) se interna en el mundo de la plástica para plantear una hipótesis bastante concreta: el uso del dinero en obras de arte tiene un potencial emancipador.
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Assunção, Teodoro Rennó. "Uma arte dessueta e démodée." Revista do Centro de Estudos Portugueses 26, no. 36 (2006): 101. http://dx.doi.org/10.17851/2359-0076.26.36.101-140.

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<p>O artigo analisa textos do poeta português Alexandre O’Neill, como exemplos de continuidade com a poesia jocosa e satírica do século XVIII, voltada, não para o belo e o bom, mas para o feio e o desagradável. Enfatizam-se afinidades dessas e de outras manifestações literárias com a arte abjeta e com a exploração da dor e da violência em performances e nas artes visuais. Discutindo a relação entre essas criações atuais e a arte do passado, o artigo conclui com uma reflexão sobre a função retórica das produções analisadas no mundo contemporâneo.</p>The text discusses two texts by t
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