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Vélez-Vélez, Roberto y Jacqueline Villarrubia-Mendoza. "Interpreting mobilization dynamics through art: A look at the DREAMers Movement". Current Sociology 67, n.º 1 (26 de noviembre de 2018): 100–121. http://dx.doi.org/10.1177/0011392118807517.
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Most research on art and social movements focuses on the representational aspect of art, leaving untouched how artwork informs audiences and actors on the mobilization dynamics permeating the field of action. In this article the authors contend that the analysis of art in social movements should pursue the ways in which collective actors place art as part of their interpretative lens to act upon changing social conditions. The article’s analysis of art around the DREAMers Movement suggests that artwork allows for movement actors to change the limits of their cultural context and affect the repertoires of articulations conceived within that context. This analysis moves beyond the notions of art as representation and presents art as a field to challenge the forms and dynamics of mobilization.
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Reed, Corey. "Signifying the Sound: Criteria for Black Art Movements". Journal of Aesthetic Education 57, n.º 4 (1 de diciembre de 2023): 36–59. http://dx.doi.org/10.5406/15437809.57.4.03.
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Abstract “Black art” is often understood as being inherently political. In examining two major Black arts movements, the Harlem Renaissance and the Black Arts movement, many of the works attributed to those periods fit the description of “political art” but not all of them. Black art movements are not defined exclusively by similar styles or methodologies, like Expressionism or Surrealism, either. Instead, Black art movements are complex movements that blend social, political, and aesthetic criteria. In this article, I list seven conditions that I take to be jointly sufficient for a Black art movement to be signified as such. In this assertion, I also argue that this current era, paralleling the Black Lives Matter movement, is worthy of Black art movement signification, if we update the mediums by which the conditions are met in the Harlem Renaissance and the Black Arts movement.
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Moreschi, Bruno, Christopher Bratton, Dalida Maria Benfield, Gabriel Pereira y Guilherme Falcão. "_rt movements". ARTMargins 10, n.º 2 (junio de 2021): 93–104. http://dx.doi.org/10.1162/artm_a_00294.
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Abstract _rt Movement(s) is an artist research project intended as a text object that materially represents the complex, relational articulation of art and history with particular emphases on the contingent relationships made by movements of different kinds: geographical migration of artists, displacement of art objects, performances, institutions/festivals, and theories/theorists. _rt Movement(s) challenges the linear developmental approach of normative art history, and its nationalist, racialized, and ethnocentric assumptions. Instead, the project argues through diverse sources, including texts, images, graphs and other visualizations for the essentially translocal and transhistorical character of works of art.
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Lazunina, Ekaterina A. y Ekaterina M. Zinchenko. "Patterns of oculomotor activity during the perception of different art movements: Eye tracking study". Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 24, n.º 2 (21 de junio de 2024): 192–200. http://dx.doi.org/10.18500/1819-7671-2024-24-2-192-200.
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The introduction discusses the role of art in society. Art is one of the ways of learning and describing the world, and its role in the development of an integral personality is enormous. The theoretical analysis presents some research within the framework of neuroaesthetics. The choice of stimulus material for the study is discussed – paintings from five art movements: Realism, Impressionism, Modernism, Cubism, and Surrealism. It is suggested that in the process of viewing works of art from different movements, oculomotor activity (OMA) will be different. Empirical analysis showed differences in OMA parameters: blinking, fixations, and saccades, among students when they were presented with pictures of different art movements. It was found that the subjects showed emotional excitement while perceiving paintings from the Impressionist movement. Paintings of Modernism and Impressionism presented the least concentration of attention but the greatest interest. A high concentration of attention was observed during visual perception of realism pictures. The greatest cognitive load was detected at the time of presentation of cubist paintings. Rational perception and memory resources are more involved in the processing of Surreal pictures. In conclusion, the characteristic patterns of OMA in the perception of various art movements are noted. Research results may be useful in the practice of passive art therapy as part of psychoprophylaxis programs.
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Shi, Xiaomeng, Zhirui Ye, Nirajan Shiwakoti y Offer Grembek. "A State-of-the-Art Review on Empirical Data Collection for External Governed Pedestrians Complex Movement". Journal of Advanced Transportation 2018 (2 de septiembre de 2018): 1–42. http://dx.doi.org/10.1155/2018/1063043.
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Complex movement patterns of pedestrian traffic, ranging from unidirectional to multidirectional flows, are frequently observed in major public infrastructure such as transport hubs. These multidirectional movements can result in increased number of conflicts, thereby influencing the mobility and safety of pedestrian facilities. Therefore, empirical data collection on pedestrians’ complex movement has been on the rise in the past two decades. Although there are several reviews of mathematical simulation models for pedestrian traffic in the existing literature, a detailed review examining the challenges and opportunities on empirical studies on the pedestrians complex movements is limited in the literature. The overall aim of this study is to present a systematic review on the empirical data collection for uni- and multidirectional crowd complex movements. We first categorized the complex movements of pedestrian crowd into two general categories, namely, external governed movements and internal driven movements based on the interactions with the infrastructure and among pedestrians, respectively. Further, considering the hierarchy of movement complexity, we decomposed the externally governed movements of pedestrian traffic into several unique movement patterns including straight line, turning, egress and ingress, opposing, weaving, merging, diverging, and random flows. Analysis of the literature showed that empirical data were highly rich in straight line and egress flow while medium rich in turning, merging, weaving, and opposing flows, but poor in ingress, diverging, and random flows. We put emphasis on the need for the future global collaborative efforts on data sharing for the complex crowd movements.
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Sari, Nilam Permata y Budiwirman Budiwirman. "The Uniqueness Of Kayie Dance Art In Village Laban Nagari Salido District IV Jurai Painan South Pesisir Based On Space, Time, And Energy Aspects". LANGGAM: International Journal of Social Science Education, Art and Culture 2, n.º 4 (19 de diciembre de 2023): 01–06. http://dx.doi.org/10.24036/langgam.v2i4.152.
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The traditional art of Kayie Dance in Laban Nagari Salido Village, IV Jurai Painan District, the South Pesisir is an identity for the life of the community itself, because this art reflects the activities of the South Coast community who work as fishermen. As a source of livelihood and fishing activities in the southern coastal area, the community believes in the value of life that comes from catching fish in the sea or river. Moving away from the values of life, local artists have created art that is characteristic of the southern coastal area, especially in the village of Laban Nagari Salido, District IV Jurai Painan. The uniqueness of this art is that it combines beautiful and rhythmic movements, and each movement has its own beautiful value. The Kayie dance has its own uniqueness which is created by the dance atmosphere expressed through the dance movements. Kayie's dance has 11 main movements in the dance, starting with the initial sambah movement to the closing sambah movement. There are many aspects of beauty contained in every element of the Kayie Dance art. The function of the Kayie Dance is as a means of entertainment and learning for all levels of society, this is an attraction for the community to preserve the Kayie dance on the South Pesisir.
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Onen, Leyla. "Soviet Art Movements between 1917-1990". Art and Design Review 09, n.º 02 (2021): 131–47. http://dx.doi.org/10.4236/adr.2021.92012.
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Wahyono, Wahyono y Benny Hutahayan. "Performance art strategy for tourism segmentation: (a Silat movement of Minangkabau ethnic group) in the event of tourism performance improvement". Journal of Islamic Marketing 11, n.º 3 (16 de octubre de 2019): 643–59. http://dx.doi.org/10.1108/jima-10-2017-0116.
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Purpose The purpose of this paper is to analyze the strategy of performance art, especially Silat Movement (as a source and identity of traditional dance movement of Minangkabau ethnic group), as a marketing medium of tourism, especially in West Sumatera Province. Design/methodology/approach This research used a qualitative approach among six cases of dance. Quantitative method was used to collect data about the dance movement of Minangkabau ethnic group, which is in accordance with the cultural value that they adopt. The data collecting technique used was focus group discussion, documentation, observation and interview. The case study method was used to conduct this research, focusing on the Silat dance movement as a medium to promote tourism. The research method is presented to generate a study that is in harmony with the background and the problem statement. This was a qualitative descriptive analysis research with the aim of providing a comprehensive illustration of performance art as a medium to promote tourism in West Sumatera. Findings Minangkabau ethnic dance movement, which is based on custom and religion, includes movements originating from the Silat movement. Movements in Minangkabau dance include Silat movements, such as attacking and fending off, rolling over, sawhorse posture and leg and hand movements. This is an original movement source and derives from cultural movements born from the fighter. That is why the Minangkabau dancer is a male; females were initially not allowed to dance because the movements are not suitable for them. Movement stylization suitable for a woman appears when she starts involving in dance movements in Minangkabau. Given the basis of culture and religion, the concept of suitable movements for a woman involves having no pelvic-rocking movements, erotic movements (with legs, hands and head) or other movements, such as rolling over, fighting and fending off. When male and female dancers perform together, they are not allowed to touch each other. Originality/value The movement in the dancing art of Minangkabau actually should be in harmony with, balanced on and based on the value of Adat Basandi Syarak, Syarak Basandi Kitabulah, which is the philosophy of the Minangkabau ethnic group. This means, a religious value must be seen in all expressions of dance movements of the Minangkabau ethnic group; no expression should contradict the values of the religious and customs value. A similar perception to the philosophy states that it is very helpful for Indonesian choreographer for the needs of aesthetic from the rich of Indonesian dance. Also, Hastuti and Supriyanti (2012) state that it can be a differentiator from the dance rules of Western thought patterns.
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N, Rathinakumar. "Dravidian Narratives constructed by Mudiyarasan's Poems". International Research Journal of Tamil 4, S-5 (25 de agosto de 2022): 290–300. http://dx.doi.org/10.34256/irjt22s545.
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The relationship between literature and movements is close. One depends on the other. Both have a system of giving and receiving. The new ones are the desired ones. Making major changes possible in society. Various movements have played a role in the creation of modern Tamil literature. Movements use works of art as a tool to bring about change in the social and political sphere. Dravidian ideologies have spread their ideologies in many spheres, such as short stories, novels, poetry, drama, and cinema. Countless people joined the movement and helped to expand the works of art. The role of the monarch in traditional poetry is important. This article describes them.
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Lisi, Edoardo, Mohammad Malekzadeh, Hamed Haddadi, F. Din-Houn Lau y Seth Flaxman. "Modelling and forecasting art movements with CGANs". Royal Society Open Science 7, n.º 4 (abril de 2020): 191569. http://dx.doi.org/10.1098/rsos.191569.
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Conditional generative adversarial networks (CGANs) are a recent and popular method for generating samples from a probability distribution conditioned on latent information. The latent information often comes in the form of a discrete label from a small set. We propose a novel method for training CGANs which allows us to condition on a sequence of continuous latent distributions f (1) , …, f ( K ) . This training allows CGANs to generate samples from a sequence of distributions. We apply our method to paintings from a sequence of artistic movements, where each movement is considered to be its own distribution. Exploiting the temporal aspect of the data, a vector autoregressive (VAR) model is fitted to the means of the latent distributions that we learn, and used for one-step-ahead forecasting, to predict the latent distribution of a future art movement f ( K +1) . Realizations from this distribution can be used by the CGAN to generate ‘future’ paintings. In experiments, this novel methodology generates accurate predictions of the evolution of art. The training set consists of a large dataset of past paintings. While there is no agreement on exactly what current art period we find ourselves in, we test on plausible candidate sets of present art, and show that the mean distance to our predictions is small.
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R.S, Balaji. "Stage Tamil Development and Dravidian Movement". International Research Journal of Tamil 3, n.º 1 (10 de enero de 2021): 149–57. http://dx.doi.org/10.34256/irjt21116.
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An art of public speaking is an essential part of modern human needs. Various movements have made their greatest contribution to the development of Public speaking. At the fore font of such movements of the Dravidian Movement which introduced many new methods to public speaking. This article high lights the contribution of the Dravidian Movement to the development of Public Speaking.
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R.S, Balaji. "Stage Tamil Development and Dravidian Movement". International Research Journal of Tamil 3, n.º 1 (10 de enero de 2021): 149–57. http://dx.doi.org/10.34256/irjt21116.
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An art of public speaking is an essential part of modern human needs. Various movements have made their greatest contribution to the development of Public speaking. At the fore font of such movements of the Dravidian Movement which introduced many new methods to public speaking. This article high lights the contribution of the Dravidian Movement to the development of Public Speaking.
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Zetterman, Eva. "Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s". American Studies in Scandinavia 48, n.º 1 (1 de marzo de 2016): 61–83. http://dx.doi.org/10.22439/asca.v48i1.5361.
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Abstract: Originating in the context of the Civil Rights Movements and political activities addressing issues of race, gender and sexuality, the Women’s Liberation movement and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separation, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by Chicana/o artists in Los Angeles. In so doing, the art activism by Anglo American feminists and Chicanas/os is comparatively investigated with Los Angeles as the spatial framework and the 1970s as the time frame. Four main components are discussed: their respective political aims, alternative art spaces, pedagogical frameworks and aesthetic strategies. The study found that the art activisms by Anglo American feminists and Chicanas/os differed. These findings suggest that a task ahead is to open up a dialogue with Chicana/o activist art, making space for more diverse representations of activities and political issues, both on the mainstream art scene and in the history of art.
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Monk, David, Bruno de Oliviera Jayme y Emilie Salvi. "The heART of Activism: Stories of Community Engagement". Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, n.º 2 (1 de junio de 2019): 61–78. http://dx.doi.org/10.15402/esj.v5i2.68335.
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This paper invites the reader to consider the power and potential of art for public engagement, and its use in social movement learning and in demanding the world we want now. The authors frame social movements as important sites of scholarship and learning. They emphasize that by applying creative strategies to engage in critical thought about the nature of the world and one’s position in it, artforms have the potential to make essential contributions to social change. Inspired by literature related to critical art-based learning and learning in social movements, the authors explore representations of protest art and public art exhibitions. They contextualize their writing with stories of mobile art exhibits in Sao Paulo, the ‘maple spring’ in Montreal (Tiotia:ke in the language of the Kanien’kehá:ka), and anti–Bill C-51 protests in Lekwungen territory (Victoria, British Columbia). They present and reflect on their own experiences of using art as engagement and as a representation of voice in public demonstrations.
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Ayodele, Otonye Bille. "Understanding The ISMS of Nigerian Post-Colonial Art Movements: An Ideological Path for Emerging Contemporary Art". International Journal of Research and Scientific Innovation X, n.º IV (2023): 47–57. http://dx.doi.org/10.51244/ijrsi.2023.10407.
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Scholars of African art have advocated various methodologies for the study of African contemporary arts. These methodologies serve their purposes, however there is no particular most embracing and consensus approach so far. Since the millennium, the outcomes of African contemporary art actually defy any static approach. This paper proposes the ideologies and aesthetics of some post-colonial art movements in Nigeria and their impact on Nigerian contemporary art, as a methodological path to understanding the emerging contemporary arts of Nigeria. The art movements considered in this paper are Zarianism, Osogbo Art, Ulism, Onaism and Araism which are the most outstanding of Nigerian post-colonial art movements since independence in 1960. These art movements, through their ideologies, have largely shaped what is today considered as Nigerian Contemporary Art. This paper is a contribution to the ongoing dialogues on the identity of post-colonial Africa and the processes of de-colonization of African culture. Contemporary Nigerian art in this paper is the art from the 1990s till date. The paper is based on qualitative research and bibliographic surveys. The findings show that many contemporary Nigerian arts and artists are affiliated or linked with early post-colonial art movements. In conclusion, a successful inquiry and understanding of the formation and practice of the art movements hopefully will create a pathway in the prediction, identity, and understanding of recent works of art in Nigeria and Africa.
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Young Chul Suh. "Beyond Postmodernism? - Early Post-Postmodern Art Movements-". Zeitschrift f？r Deutsche Sprache und Literatur ll, n.º 50 (diciembre de 2010): 237–53. http://dx.doi.org/10.30947/zfdsl.2010..50.237.
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Sayfullaeva, Ra'no, Hulkar Hamroeva y Tomaris Azam Butunbaeva. "Language of Uzbek national dance art movements". Linguistics and Culture Review 5, S4 (15 de diciembre de 2021): 2427–38. http://dx.doi.org/10.21744/lingcure.v5ns4.1992.
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This article examines the national-cultural lines of Uzbek dance, the language of subject dances, and their movements. Therefore, along with many other intangible cultural heritage values, it is necessary to pass on to future generations the rich experience accumulated in the art of Uzbek national dance. "Preservation of the art of dance, which embodies national values, customs, and traditions, as an ancient source of our spirituality and culture, the restoration of its disappearing forms and movements, terms, the nature of dance, its structure, performance features, objects, clothing, and jewelry. The scientific study of the role of performance in complement, refinement, and bleaching is one of the urgent tasks facing the executive choreographer, organizer, and researchers working in the field of dance. To this end, one of the important issues facing the scientific community is to improve the textual and video recording system of dance performances, as well as the creation of special terminology.
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Wade, Nicholas J. "Movements in Art: From Rosso to Riley". Perception 32, n.º 9 (septiembre de 2003): 1029–36. http://dx.doi.org/10.1068/p3209ed.
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Peng, Yuan. "Research on Dance Teaching Based on Motion Capture System". Mathematical Problems in Engineering 2022 (10 de mayo de 2022): 1–8. http://dx.doi.org/10.1155/2022/1455849.
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Ethnic dance is a part of minority culture and an important chapter of intangible cultural heritage. Because the art of dance does not exist in a certain physical form in a certain environment, it is difficult to record and preserve dance. In traditional recording work, dancers' dance movements are mostly recorded through text, photos, videos, etc. However, these methods can only record and preserve dance movements in a two-dimensional manner from a limited number of angles and cannot achieve accurate and comprehensive record protection of dance poses. Moreover, data preserved by traditional methods can only be simply copied and transferred, and cannot be exploited, developed, or innovated. Therefore, motion capture technology can be applied to the protection of ethnic dance art, and motion capture technology can be used to obtain 3D gestures of ethnic minority dance spaces, restore and optimize digital movements, such as establishing a national dance art movement technology database, and combine the protection of the original ecological cultural atmosphere. It can accurately and comprehensively preserve the essence of ethnic minority dance art and provide effective reference for many ethnic minority dances with ethnic characteristics, digital protection of sports, and the future.
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Mather, George. "Visual Image Statistics in the History of Western Art". Art and Perception 6, n.º 2-3 (17 de octubre de 2018): 97–115. http://dx.doi.org/10.1163/22134913-20181092.
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The history of Western visual art is traditionally divided into a succession of stylistic movements on the basis of the art-historical provenance and visual qualities of artworks. Little is known about how the visual statistics of Western artworks have changed over time, though this data could inform debate about the transitions between art movements. This longitudinal statistical study shows that two measures of the statistics of Western paintings remained relatively stable for 500 years, and similar to the values found in photographic images depicting the same subjects. Dramatic changes began in the late nineteenth century between the years 1878 and 1891, when the statistics of artworks became steadily more variable, and more frequently departed from values that are typical of representational images. This period can be considered as a major turning point that marks the beginning of the Modern Art movement. Statistically, abstract Modern art is more diverse than the representational art of any period. There is only limited evidence that aesthetic responses to paintings bear any relation to their visual statistics.
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Tailanga, Soranat. "Modernist Thai Short Stories, 1964–1973: The Relationship with Art". MANUSYA 11, n.º 2 (2008): 125–41. http://dx.doi.org/10.1163/26659077-01102007.
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A number of distinguished Thai short stories from 1964 to 1973 reveal new and distinctive features in terms of subject, form, concepts and style. These features are similar to those of modernism, which was an international movement in literature and the arts that began in the late 19th century and continued into the early 20th century. The similarity suggests the direct and indirect influences of the modernist style upon Thai writers. Furthermore, the change in style of some of the short stories indicates a relationship with the art movements: impressionism, expressionism, cubism and surrealism, which were subsidiary art movements within modernism. These specific features of the Thai short story signify a radical break with the traditional writing of the time.
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Rosaliza, Mita, Muhammmad Fajar Vierta Wardhana y Risdayati Risdayati. "MAKNA SYARAT DAN UNSUR SILEK DESA KUBU GADANG". Jurnal Ilmu Budaya 17, n.º 1 (9 de agosto de 2020): 43–66. http://dx.doi.org/10.31849/jib.v17i1.4711.
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The martial art of silat in Minangkabau, which is usually called silek, has its own uniqueness in terms of terms and movements. Silek in Minangkabau is a legacy from the Minangkabau ancestors that still exists and develops today. The requirements that must be possessed in this silat include cloth, knives, sewing needles, mirrors, rice and money that have meaning in this silat tradition. In addition, there are other elements in these martial arts which also have meaning in terms of movement, clothing and place of implementation. This study focuses on the meaning of the terms and movements used in the silek of Tuo gunuong in Kubu Gadang village. The informants in this study are traditional elders and people who still practice silat as a martial art and understand the terms and meanings of the movement.
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Kardum, Goran, Dubravka Kuščević y Marija Brajčić. "The Impacts of Different Sorts of Art Education on Pupils’ Preference for 20th-Century Art Movements". Education Sciences 10, n.º 1 (3 de enero de 2020): 15. http://dx.doi.org/10.3390/educsci10010015.
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The research presented here aims to determine how art education influences students’ preferences for the 20th-century art movements. An educational experiment that spanned through one school year was conducted on 200 primary school students. It included three types of intervention: observing works of art from the 20th century, introducing works of art using a puppet, and the students’ art activities/artwork based on the 20th-century art movements. The results show that the model of art education is an important factor in changing students’ preferences for the 20th century art movements. Students reacted positively to each kind of education, as evidenced in the wider acceptance of 20th-century art (abstract, fauvism, cubism, pop art, and surrealism). The type of education did not influence preferences (as much) when it came to classical art and visual works without artistic value. We concluded that puppets and independent creative work should be used more often in art education.
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Tsetskhladze, Ketevan. "THE ART OF PERESTROIKA: NEW MOVEMENTS IN GEORGIAN ART OF THE 1980s". Culture Crossroads 21 (28 de diciembre de 2022): 106–16. http://dx.doi.org/10.55877/cc.vol21.275.
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The study of Georgian art of the perestroika is very important, especially in the context of the history of art movements of the 1980s, linked to the establishment of the non-official art groups in Tbilisi.
The aim of this article is to analyze the history of the establishment of the art groups Archivarius (1984) and Tenth Floor (1986) and to discuss the art movements of the 1980s in Tbilisi. The generation of Georgian artists involved in the non-official art groups fundamentally changed the art scene of that period and played an important role of the development of contemporary art in Georgia. Perestroika, associated with Mikhail Gorbachev’s policy of openness, contributed to a shift in political and sociocultural discourse throughout the Soviet Union and also played an important role in the artistic processes in Georgia. All the events that took place in the 1980s art scene of Tbilisi portray a vigorous willingness to hasten away from the Soviet dimension and maintain the memory of a historical discourse. Some artists found a way out through emigration; others discovered an intangible shelter via working collectively. Perestroika had clearly formed a special environment in which things that were previously unseen became visible. The Georgian avant-garde managed to create its own sui generis aesthetic and theoretical principles in just a decade, alongside expressing postmodernist hues at certain points.
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Krysankov, Timofey G. "ON PROBLEMATIC ISSUES OF DANCE PHILOSOPHY: SEMIOTIC AND ONTOLOGICAL ASPECTS OF DANCE MOVEMENTS". Вестник Пермского университета. Философия. Психология. Социология, n.º 4 (2021): 604–12. http://dx.doi.org/10.17072/2078-7898/2021-4-604-612.
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One of the core objectives of dance philosophy is research into dance movements as the main means of artistic expression in choreography. This article aims to break the tether of semiotic interpretation of dance movements, to analyze them outside the context of any corporal movement-based practice, and to determine their ontological base, being an irrevocable and immanent quality of human nature itself. Based on various research works in the fields of philosophy, culture studies and art studies, the nature and spe-cific features of the choreographic arts’ expressive language are defined. Semiotic approach to the expressive specifics of dance movements is critically re-evaluated. Its limitations connected with the inter-pretation of the nature of dance movements in the context of understanding the nature of art are substanti-ated. With the help of the method of phenomenological reduction, the dance is represented as an inde-pendent phenomenon. Three important qualities of the nature of dance movements are identified: they oc-cur spontaneously under the influence of positive emotions, have a connection with a person’s special mental state, contribute to the harmonization of a person’s lifeworld. Dancing is characterized by «happi-ness affect», being a source of an individual’s motional activity. This is the state of happiness, positive and joyful emotions that direct a person towards self-actualization. The research is novel in that it defines the ontological aspect of dance movements as those occurring as a result of the «happiness affect» and transferring the energy arising in the human body into an objectified form. Feeling the increased ability of their body to act and its internal energy, doing dance movements, a person experiences satisfaction and joy, and as a result harmony fills their lifeworld.
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Ortiz, Carlos Manuel Montenegro. "Pragmatism and Creativity: Patenting the School Art Manifesto from Dewey’s Aesthetic Experience". Creativity. Theories – Research - Applications 9, n.º 1 (1 de junio de 2022): 130–45. http://dx.doi.org/10.2478/ctra-2022-0007.
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Abstract An original way to make sense of the aesthetic experience concept – in a Deweyan perspective – is from the Art-Education binomial. After studying the pragmatist philosophical category of Experience in John Dewey, a product of Doctoral theoretical research in education, it was possible to characterize a new art movement: School Art. Hence, this conceptual-theoretical finding will expand a wide range of art movements that emerged between the nineteenth century and contemporaneity: Art Nouveau, Impressionism, Abstract Art, Futurism, Action Painting, and Children’s Art, among many others. However, because of lexical reasons and hoping to achieve greater acceptance among theorists, the so-called School Art will patent from this paper as a neologism named from now on as Artscholarism. Thus, its philosophical-historical foundations, characteristics, and description will be the article’s primary purpose. In that sense, psychological and historical discussions will emerge throughout the paper. In conclusion, the new art movement – Artscholarism – comes from Deweyan thinking and is framed by creativity and a social context.
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Bader, Lena. "Verdrängte Orte und einverleibte Bilder Die Antropofagia-Bewegung im Spiegel transregionaler Bilderwanderungen". Zeitschrift für Kunstgeschichte 81, n.º 2 (15 de octubre de 2018): 242–55. http://dx.doi.org/10.1515/zkg-2018-0017.
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Abstract This article proposes to consider the Brazilian art movement Antropofagia in the context of transcultural global modernism. Strongly connected to Paris during the 1920s and 1930s, the modernist movement that came to define Brazilian art was situated among clichéd colonial exhibitions and international artistic movements. With its striking background, the movement proves to be a very interesting contrast to Warburg’s Mnemosyne-Atlas. While both projects – from an emancipatory perspective – were formed as a ‘community of memory’, their different contexts of genesis did not make them equally susceptible to transregional experiences.
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Taehyung, Kim. "Showcasing Case Studies of Artists and Artistic Movements That Have Sparked Transformative Social Movements in South Korea". International Journal of Arts, Recreation and Sports 1, n.º 1 (3 de julio de 2023): 1–8. http://dx.doi.org/10.47941/ijars.1331.
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Purpose: The aim of this study was to explore the showcasing case studies of artists and artistic movements that have sparked transformative social movements in South Korea.
Methodology: The study adopted a desktop research methodology. Desk research refers to secondary data or that which can be collected without fieldwork. Desk research is basically involved in collecting data from existing resources hence it is often considered a low-cost technique as compared to field research, as the main cost is involved in executive’s time, telephone charges and directories. Thus, the study relied on already published studies, reports and statistics. This secondary data was easily accessed through the online journals and library.
Findings: The findings revealed that there exists a contextual and methodological gap relating to the artists and artistic movements that have sparked transformative social movements in South Korea. Preliminary empirical review revealed that the there is a high potential of art therapy in addressing mental health challenges. It was a longitudinal study with participants in art therapy programs, pre- and post-program assessments, and qualitative interviews. Art therapy promotes self-expression, emotional healing, and personal transformation among participants.
Recommendations: The Social Movement Theory, Cultural Sociology and Visual Sociology may be used to anchor future studies on the artists and artistic movements that have sparked transformative social movements in south Korea. The South Korean government should support and promote artists from diverse backgrounds and give them platforms to showcase their work. Integrating arts education in schools and communities allows individuals to develop critical thinking skills, empathy, and an appreciation for diverse perspectives.
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Bangun Prasetyo Widodo, Muhammad y Yuliawan Kasmahidayat. "Ibing Pencak Silat Gaya Cimande di Jampangkulon Kabupaten Sukabumi". Jurnal Sendratasik 12, n.º 2 (26 de junio de 2023): 241. http://dx.doi.org/10.24036/js.v12i2.122790.
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Pencak silat can be said as a martial art that has been included in the presentation of performing arts. Because Ibing pencak Silat already contains aesthetic aspects which are distilled into a form of motion for the needs of performing dance. The movement structure of pencak silat has its own technique, broadly speaking it contains attack and defense techniques arranged in such a way as to create a beautiful style. Along with the development of the era of pencak silat, it also follows its development, which now, apart from being a martial art, pencak silat also doubles as a performing art. The purpose of this research was to obtain data and information about the influence of Cimande style pencak silat on the development of Ibing pencak Silat in Jampangkulon. This study uses a qualitative approach with descriptive analysis method. Data collection techniques are carried out by means of observation, interviews, and also documentation. The results of this study show that the Cimande martial arts school is the oldest of several martial arts schools on the island of Java and is known as a large school. Silat Cimande is known as a style of silat that uses and relies more on bare hands, every movement showing movements that explore the limbs of the human body as a gift from God. Cimande's pencak silat can be called one of the parents of the currently circulating pencak styles, and Cimande's movements are also some of the basics of movements that have been developed now. With this research, it is possible to obtain and obtain information about several pagurons in Jampangkulon by studying and discovering the movements resulting from the development of Cimande style pencak silat movements.
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Nordhjem, Barbara, Jan Klug y Bert Otten. "Faces in Motion: Embodiment, Emotion and Interaction". Leonardo 51, n.º 1 (febrero de 2018): 28–32. http://dx.doi.org/10.1162/leon_a_01330.
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As humans, we express what we think and feel by facial movements, often without even realizing it. In the (e)motion installation, the goal was to create awareness of even the subtlest movements of the face, and to facilitate interaction purely based on facial expressions. Facial movements were tracked by custom software and translated into motion vectors, which were in turn visualized and coupled with sounds. Participants could interact within the installation by responding to each other’s facial movements. (e)motion was inspired by embodied cognition and scientific studies on emotion and action. The installation was the result of an interdisciplinary collaboration between art, movement science and cognitive neuroscience.
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Rozin, Vadim Markovich. "Plastic Culture: an Approach to the Study and the Main Characteristics". Культура и искусство, n.º 11 (noviembre de 2022): 30–41. http://dx.doi.org/10.7256/2454-0625.2022.11.38985.
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The author discusses the phenomenon of plastic culture and art. An expanded understanding of body movement is proposed, including gestures, poses, facial expressions, expression, the involvement of the artist and the viewer in external social rhythms and in music, internal movements and rhythms of the soul. All these movements are organized within the framework of plastic culture, although they exist by themselves, they have different sources of formation and areas of functioning. The immersion of a person into an aesthetic, more broadly artistic culture that has permeated, since antiquity, even the ordinary life of a person, not to mention specialization in a particular kind of art, triggers the process of organizing human movements and rhythms. The author identifies two factors that significantly determine this organization: the conditions and requirements of the sphere of art and the artistic language, understood extremely broadly. He characterizes the sphere of art with the features of publicity, differences from ordinary life and work, art opens an outlet to another, usually attractive, reality (to gods, beauty, ideals, to another world), sets a special type of communication. Describing the artistic language, the author points out that meaningful constructions of this language perform a different task than ordinary signs: they do not set unambiguous denotations, but should introduce into artistic reality and help the viewer to construct events in this reality. On the basis of these provisions, an analysis of the formation of dance is proposed and a characteristic of plastic art and culture is given.
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Kang, Jun-Young. "A Study on Integrated Art Movement Healing Contents Program Based on Korean Dance: Focusing on Meditation, Breathing Exercise, and Muscle Relaxation Therapy". Academic Association of Global Cultural Contents 56 (31 de agosto de 2023): 1–18. http://dx.doi.org/10.32611/jgcc.2023.8.56.1.
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This study developed a program that can help recover from depression and anxiety, which have emerged as a social problem along with the phenomenon of the COVID-19 pandemic, from a perspective of art therapy instead of using medicines. The purpose of this study is to develop a new program with simple movements, breathing exercises, and meditation that have been reorganized with a focus on Korean dance that provides aesthetic senses to help people recover from stress, depression, and anxiety, thereby providing the program as a progressive muscle relaxation therapy through concentration meditation for the public. The rhythms of Korean dance consist of breathing beats, and therefore, their beats are formed by interworking with the length of breathing. In this study, breathing exercises were appropriately applied to the movements of Korean dance movements through an active reflection of this advantage. The movements of Korean dance as a progressive muscle relaxation therapy are gentle and smooth, and thus form a phenomenon that is easily accessible by anyone. This program was intended to help people recover from their psychological stress by creating a dramatic harmony of the body and the spirit through an adequate application and reorganization of the upper body’s gently curved dance movements and the lower body’s rather static dance movements. The process of dance movement therapy via Korean dance is to learn movement techniques that participants can immerse themselves in. This process should enable them to express their immersion and perform appropriate movements even if these movements are not proficient. Dance movements have been applied to the program after being changed to a neutral status in order to allow men to participate in dance movements that used to be centered on women, and appropriate Gutgoeri rhythms for breathing exercise were also applied. This study organized a therapy program with Korean dance’s movements and sensitivity that are most suited to Koreans, which can also serve as a public health program that can relax, supplement, and cure contracted muscles and energy under the tensions of life built over a long period of life. In doing so, it intends to prevent greater stress, depression, and anxiety of the public than before and improve their abilities to resist external circumstances by strengthening their immunity. The results of this study will also be able to promote the qualitative growth of national policy programs related to the improvement of public mental health, and to develop professional dance movement therapy instructors and enhance their expertise through the utilization of a dance movement therapy program. In addition, this program will contribute to job creation for dance majors and positively influence emerging dance industries.
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Ashenfelter, Orley y Kathryn Graddy. "Sale Rates and Price Movements in Art Auctions". American Economic Review 101, n.º 3 (1 de mayo de 2011): 212–16. http://dx.doi.org/10.1257/aer.101.3.212.
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This paper examines the relationship between sale rates and price shocks in art auctions. Using data on contemporary and impressionist art, we show that while sale rates appear to have little relationship to current prices, there exists a strong negative relationship of sale rates to unexpected price shocks, which is reminiscent of a Phillips curve. We estimate an empirical model that suggests that the reserve price is set on average at about 70% of the low estimate.
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Arámburo-Lizárraga, J. y Jorge C. Sanabria. "An Application for the Study of Art Movements". Procedia Computer Science 75 (2015): 34–42. http://dx.doi.org/10.1016/j.procs.2015.12.196.
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Hsu, Yu-Tung. "Medici Influence in 15th Century Movements". Journal of Education, Humanities and Social Sciences 8 (7 de febrero de 2023): 982–87. http://dx.doi.org/10.54097/ehss.v8i.4390.
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During the Renaissance period, the Medici family has played a fundamental role in encouraging the spread of humanism ideas. As humanist believed, spirit of human is lost during the Middle Ages prior to the Renaissance period due to feudal system. The introduction of such humanism idea is impactful towards the society; however, it is lacking in direct support that promotes such idea. In Florence, the Medici family made huge contributions to allowing the growth of humanism to be shown in works of art that challenges traditional thinking. During the stage where financial power is mostly held by kings and political leaders, the success of the Medici in the Medici bank allows them to support artists who are in need for support. By stabilizing peace in Florence, it provided chances for artists under Medici support to receive a positive environment for art creation. The peaceful Florence also brought in more artists from other places to investigate into the rising humanism possibilities; hence, Florence under Medici control became an important art center.
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Petra Johnson. "A montage of small movements". Arts & Communication 1, n.º 1 (20 de abril de 2023): 399. http://dx.doi.org/10.36922/ac.399.
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In 2016, I was invited by musician/composer B6 to devise a participatory work for the recently opened art space Reformer art in Hunan Lu, Shanghai. I had been intrigued by a question posed by human geographer Nigel Thrift: What happens if we look on kindness as a technology rather than an emotion; a way of producing generosity in the body, a positive affective swirl? If we produce maps of spaces in new sensory registers like geographies of kindness, might these “geographies. then leak out into the wider world?”...1 An observation by Mark Twain on the dynamics of rivers, guided my approach to distinguish three motions while exploring kindness in the built environment: turbulences (random acts of kindness), ripples (the effect on us when watching and relating such acts), and finally currents (reassuring myself and my companions that acts of kindness are part of a human undercurrent). With generous technical support from the team, I was able to install a large, circular map that covered a 20-min walking radius of the neighborhood. A projection of wandering ripples programmed to light up the locations where my walking companions had identified an act of kindness slowly changed the focus and purpose of the map toward emphasizing ephemeral moments, moments that energize our affective landscape. As signs of ongoing processes, these moments were not part of determinant systems; instead, they were undeclared yet consequential actions. During Chinese New Year 2017, I revisited the locations that had hosted acts of kindness back in November 2016 and from these reflections – A reading with my feet – The following transcript for a meditative film essay on movement and how it agitates the air; on environments and the incipient; on kindness as technology and kindness as an emotion, emerged. See https://vimeo.com/215920711.
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Mawadah, Ilma Maretiana y Bagus Wahyu Setyawan. "MAKNA YANG TERKANDUNG DALAM GERAKAN TARI GANDHONG SEBAGAI BUDAYA KHAS KABUPATEN TRENGGALEK". Acintya : Jurnal Penelitian Seni Budaya 14, n.º 1 (22 de junio de 2022): 66–75. http://dx.doi.org/10.33153/acy.v14i1.4335.
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Culture can give a sense of identity to group members. One of the things that is born from culture is art. Art can be used as an icon or identity of a region. Like in Trenggalek which has the art of Gandhong Dance which is a typical culture of the area. Culture, especially art, usually arises because of the background events. From this statement, researchers are interested in examining more deeply the origins and meanings contained in the series of movements in each stage of the Gandhong Dance. The method used is descriptive qualitative with data collection techniques through interviews and documentation studies. From the research that has been done, Gandhong Dance is an art that was born in Bangun Village, Munjungan District, Trenggalek Regency which tells about the activities carried out by farmers. This dance has four acts in the show, each act has its own meaning and is sequential from one act to another so that it resembles a storyline. The series of motions in act one tell the events of clearing land, the series of motions in act two tell the events of cultivating land, planting, weeding, and harvesting. The series of motions in the third act tells the events of the arrival of pests that attack the plants, and the series of motions in the last act tells of the farmers who kill and repel pest. Keyword: Meaning, Movement, Gandhong Dance, Culture, Trenggalek.
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Chun Fung, Lee. "How is art political? The political construction in the discourse of art activism in Hong Kong". Journal of Contemporary Chinese Art 8, n.º 1 (1 de julio de 2021): 13–31. http://dx.doi.org/10.1386/jcca_00035_1.
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With the radicalization of activism in Hong Kong in the past decade, it has become increasingly common for artists to engage in the political situation through their creative work; the discussion of art and activism has also become popular and the term ‘art activism’ is usually used to describe such practices, referring it with a new political imagination of art. This article takes the discussion of such practices through the concept of art activism as a complex dynamic of discursive practice. It reflects the ways in which politics are constructed through the discourse of art activism, and how such a concept contributes to its political dynamics in social movements. This article attempts to analyse the changing trajectory of the discourse of art activism and to explore how different actors discuss its confrontational relationship in different contexts. Hence, what kind of politics does this concept refer to? This article suggests that the discourse of art activism has been influenced by the theory of New Social Movements in the West, in which the construction of collective emotions and identities are emphasized. It has become a key element in the political composition of art activism, and provided a new impetus to the dynamics of social movement, but at the same time imposed certain limitations later on. This article takes such a review as an attempt to outline the political construction of the discourse of art activism in Hong Kong, tracing its dynamics and changing trajectories, hence the heterogeneous elements in the discourse of art activism that may provide an alternative perspective in deconstructing its boundaries.
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Schultz, Deborah. "Art and Place: Crossing Borders in the Work of Perejaume". Arts 11, n.º 1 (15 de febrero de 2022): 35. http://dx.doi.org/10.3390/arts11010035.
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In a sequence of drawings from the mid-1990s, the Catalan artist Perejaume (b. 1957) visualizes the migration of art movements across geographical and political borders. In doing so, the artist offers visual forms for intangible journeys through time and space. In sharp contrast to earlier concepts of the development of art, from Vasari’s cyclical model of rise and fall to Alfred H. Barr’s linear ‘Development of Cubism and Abstract Art’, Perejaume’s drawings offer a less definitive, more suggestive, visualization of the migration of art movements. By locating his drawings in specific landscapes, the artist gives a sense of the complex spatial relations between art and place. Within his wider practice, Perejaume crosses many borders. Artist, poet, writer and performer, he works in an extensive range of styles and mediums. This paper explores Perejaume’s representations of the migration of art movements, proposing them as alternative visual and conceptual models for the shape of art history.
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Anak Agung Gede Angga Mahaputra, Ni Made Ruastiti y Ida Ayu Wimba Ruspawati. "The Ngerebeg dance: A discovery of dance tourism in Tegallalang, Bali". International Journal of Scholarly Research in Multidisciplinary Studies 2, n.º 2 (30 de junio de 2023): 030–37. http://dx.doi.org/10.56781/ijsrms.2023.2.2.0059.
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The purpose of this study is to announce the ngerebeg dance. The people of Tegallalang have the ngerebeg tradition, which is sacred in a traditional ceremony at Duur Bingin Temple. Unlike the ngerebeg dance, it is known as a new dance that is profane. The problems: 1) What is the form of the ngerebeg dance in the Tegallalang?. This problem is solved by using the R&D method. All data was collected through observation, interviews, focus group discussions, and literature studies. All data were analyzed qualitatively from the perspective of art studies. The output of this research then becomes an interpretive review in the process of developing research results that are tested and applied through the process of creating a new dance. It was then socialized with the Tegallalang people so that it would be institutionalized immediately. The results showed that the ngerebeg dance as a discovery in Tegallalang, this dance was performed by 10 dancers using tree branches, caru ceremonies, hoes, caping, bodag, tempeh, sickle, farmer's clothes, farmer's pants, body water colors, coconut leaves, palm leaf fronds, lelontek, flags and penjor to dance for 30 minutes with tree-patterned movements, animal-patterned movements, populist-patterned movements, broken movements, transitional movements, sitting movements accompanied by silence, sanghyang dance movements, wong samar patterned movements, worship movements to wong samar, the movement had a ceremonial ritual motif, the ngerebeg procession patterned movement, the farmer's movement and the mother's movement had the motif of carrying ceremony materials.
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Patsiaouras, Georgios, Anastasia Veneti y William Green. "Marketing, art and voices of dissent". Marketing Theory 18, n.º 1 (14 de agosto de 2017): 75–100. http://dx.doi.org/10.1177/1470593117724609.
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Limited research exists around the interrelationships between protest camps and marketing practices. In this article, we focus on the 2014 Hong Kong protest camps as a context where artistic work was innovatively developed and imaginatively promoted to draw global attention. Collecting and analysing empirical data from the Umbrella Movement, our findings explore the interrelationships between arts marketing technologies and the creativity and artistic expression of the protest camps so as to inform, update and rethink arts marketing theory itself. We discuss how protesters used public space to employ inventive methods of audience engagement, participation and co-creation of artwork, together with media art projects which aimed not only to promote their collective aims but also to educate and inform citizens. While some studies have already examined the function of arts marketing beyond traditional and established artistic institutions, our findings offer novel insights into the promotional techniques of protest art within the occupied space of a social movement. Finally, we suggest avenues for future research around the artwork of social movements that could highlight creative and political aspects of (arts) marketing theory.
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Lee, Seon Young y Yoonai Han. "When art meets monsters: Mapping art activism and anti-gentrification movements in Seoul". City, Culture and Society 21 (junio de 2020): 100292. http://dx.doi.org/10.1016/j.ccs.2019.100292.
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Marsan, Nur Sekreningsih y Mia Juliana Siregar. "Menghidupkan Identitas Kepulauan Riau Melalui Seni Tari Tradisional". Gondang: Jurnal Seni dan Budaya 5, n.º 1 (6 de abril de 2021): 40. http://dx.doi.org/10.24114/gondang.v5i1.20964.
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This article was created with the aim of seeing the extent of the identity of Riau Islands through the art of dance known in the community and trying to revive the identity of traditional dance through documentation of the dance movement itself. Thus, the problem in this research is focused on traditional dance movements that are indeed the identity of Riau Islands identifiers, namely malay dance movements. This research was conducted by exploring the roots of the dance from art actors directly through interviews and documenting them. Through the collection of dance movement information is then documented so that it can be seen or read by all people. So that traditional dance as the identity of Riau Islands is well documented. Based on the results of the rersponden assessment, 61% stated that knowing and knowing the traditional dance of Riau Islands, the rest stated that less knowing the traditional dance. Art performances can only be enjoyed on certain occasions. To overcome this, one way to bring traditional dance identity to life is to gather information related to traditional dances and document them in the form of photos, videos and books, increasing the frequency of dance performances.
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Jati Putra, Komang Guntur, I. Wayan Karja y Ni Made Purnami Utami. "Women's Body Movement As A Source Of Inspiration For The Creation Of Painting Art". CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, n.º 2 (24 de octubre de 2022): 52–58. http://dx.doi.org/10.59997/citakara.v2i2.1842.
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This independent study TA thesis raised the theme of women's body movements as a source of inspiration for the creation of painting, starting from an idea about the illustration of women's body movements which always have its own meaning in each of its beautiful forms. From this, it gives rise to the urge to present a visualization of female body movements by combining certain techniques and references to achieve the desired goals and meanings. The problem faced is how to visually process women's body movements to represent ideas so that the embodiment of the work looks attractive. The purpose and benefits are to provide a new reflection and elevate the existence of women's body movements which are full of use in various lessons for everyone. To answer what is the purpose of this work, the method of creation uses exploration, improvisation, and formation. By arranging elements of art, and going through the exploration, improvisation, and formation stages, as well as combining them with ideas and ideas, 6 works were created entitled: 1) "lonely", 2) "Doesn't care", 3) "Ballet dancers", 4) Fire dance”, 5) “tired”, 6) “Lie down” In the embodiment of the work, the author will use some technical references from other artists. By combining impressionist techniques and expressionist techniques using tile paint, acrylic in the visualization of beautiful works of art, and combined with the response of a brush that resembles cloth as in the catalog of painter Ida Bagus Indra to represent a movement, it is expected to produce quality works and become author's identity.
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Wongso, Martin y Wirawan Istiono. "Learn Muay Thai Basic Movement in Virtual Reality and Sattolo Shuffle Algorithm". International Journal of Science, Technology & Management 4, n.º 2 (13 de marzo de 2023): 341–49. http://dx.doi.org/10.46729/ijstm.v4i2.759.
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Muay Thai is a martial art from Thailand that uses punches and various clinching movements. Muay Thai is one martial art whose popularity is growing and is in great demand, including in Indonesia. However, very few people still know the basics of this Muay Thai martial art. Therefore, a media that can introduce Muay Thai martial arts is needed. In this study, to introduce the basic movements of Muay Thai martial arts, Virtual Reality technology is used, which aims to make it easier for users to understand and practice basic Muay Thai movements correctly. In this study, the method used to design virtual reality games is the Sattolo Shuffle algorithm which functions to generate unique and different randomized Muay Thai movement animation results. To measure the level of user acceptance of learning Muay Thai using VR technology, the GUESS method is used. From the result of GUESS method, it was found the user acceptance rate is 83.84%, which means the user is "satisfied" with the application that has been made to learn basic Muay Thai. Based on this level of acceptance, it can be concluded, that the virtual reality game introducing Muay Thai using the sattolo shuffle algorithm can be used as an alternative tool to learn basic Muay Thai.
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Nash, Adam. "Art imitates the Digital". Lumina 11, n.º 2 (30 de agosto de 2017): 110–25. http://dx.doi.org/10.34019/1981-4070.2017.v11.21441.
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Where is art in the digital era? This essay identifies the digital as an abstract, formal system. Since art has always relied on formal, abstract systems to carry and deliver itself, what are the implications for art in the digital era? Is the digital a site for art, or is it the other way around? Can there be digital art? Identifying limit and boundary problems as the crucial existential problems for the digital, the essay shows that art has always concerned itself with such problems. This prompts the question as to whether it is possible that human existence and art become the same thing in the digital. Because the digital is currently primarily manipulated in the service of globalist economics, this is clearly not (yet) the case, so what does this mean for art? The essay then briefly examines the self-declared movements of dada, post-digital and post-internet art, concluding that these movements are not capable of questioning the digital as digital, before going on to examine some artists whose practice may be providing guiding lights toward a genuinely digital art.
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Goryunov, Vasiliy, Tatjana Konjkova, Vera Murgul y Nikolay Vatin. "William Richard Lethaby – Architecture, Mysticism and Myth". Applied Mechanics and Materials 725-726 (enero de 2015): 1084–89. http://dx.doi.org/10.4028/www.scientific.net/amm.725-726.1084.
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This article deals with the art of a prominent English architect and architectural theorist - William Richard Lethaby. His theoretical outlook on architecture has been considered herein. His fundamental outlook – the book ‘Architecture, Mysticism, and Myth’ - has been analyzed. His innovative outlook, as well as the concept development regarding study of art in the 20th century described in this book, has been highlighted. The Lethaby’s relations with English movements ‘Art and Craft’ and ‘Aesthetic Movement’ have been indicated. Different outlooks on architecture supported by Lethaby and other leading theorists-rationalists in the mid-19th have been also distinguished.
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Plys, Kristin. "The Poetry of Resistance: Poetry as Solidarity in Postcolonial Anti-Authoritarian Movements in Islamicate South Asia". Theory, Culture & Society 37, n.º 7-8 (18 de febrero de 2020): 295–313. http://dx.doi.org/10.1177/0263276419882735.
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During India’s Emergency, anti-state poetry of a decidedly amateurish quality proliferated. Anti-Emergency poetry did little to bring about the restoration of democracy, nor could it have reasonably been mistaken for great art. So what was the purpose of writing resistance poetry if it was not meant to directly influence politics nor to be great art? Poetry as politics has a long history in the Islamicate world, dating back to the pre-Islamic Arabian Peninsula. While until the 19th century Islamicate poetry was tied to the Caliphates who employed poets to extol the virtues of the ruling classes, after the so-called ‘Rise of the West’ Islamicate poetry became associated instead with anti-colonial and anti-state movements across the Islamicate world from Morocco to Indonesia and from Central Asia to the Indian Ocean. In this essay, I argue that the utility of resistance poetry in anti-state movements in South Asia has been to build solidarity among social movement participants. The sociology of social movements has long placed emphasis on the role of affective bonds and solidarity building for predicting social movement success, and poetry, in the Islamicate context especially, I argue, does exactly that. By circulating poems, social movement participants inform the reader that resistance and opposition exist, they inspire participants and would-be participants and calm fears that participants might have, especially in moments of political repression. These poems generate emotional and cultural bonds among social movement participants by linking anti-state movements to the centuries-old tradition of Islamicate poetry, thereby fostering solidarity and providing a firm basis for collective action.
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Wale, Instr Kamal. "Expressionism in Susan Glaspell's Trifle". ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 219, n.º 1 (8 de noviembre de 2018): 25–38. http://dx.doi.org/10.36473/ujhss.v219i1.498.
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The main purpose of this research paper is to show how Expressionism is influential to postwar American literature, especially to the one-act play entitled Trifles (1916) written by Susan Glaspell (1876-1948). America witnessed a new period of special culture and art during the second half of the twentieth century, especially after the second world war. The traditional forms of art have failed to satisfy the wishes and aspirations of the new artists who deliberately look for new forms to express their attitudes towards the new state of life to be lived after grave wars that have caused humanity great losses on many and various levels. Thus, they have felt the need to break away with the existing traditional modes of expression. Hence, there appears new dramatic movements like existentialism, surrealism and Expressionism. The latter movement advocates the expression of the enthusiastic emotional state of the artist reacting to the anxieties of the modern world. The title one-act play Trifles can be regarded as a very well example illustrating the aims of this new movement and anticipating its appearance.
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Qur'aniyah, Desnatia Munzilatul, Muhammad Jazuli y Wahyu Lestari. "The Characters’ Values of Barongan Turonggo Laras Arts in Kendal Regency". Jurnal Seni Tari 12, n.º 1 (26 de julio de 2023): 62–74. http://dx.doi.org/10.15294/jst.v12i1.62032.
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Barongan art is folk art that has been adhered to people's lives. Its presence is used as entertainment. Barongan art not only functions as entertainment but contains character values in the elements of the performance. The purpose of this research is to describe the form and character values of barongan turonggo laras art performance. The method used in the research is a qualitative method with phenomenological, ethical, and emic approaches. The data collection techniques used are observation, interviews, and documentation. The data validity technique used is the triangulation technique. The data were analyzed using the stages of data reduction, presentation, and conclusion. The results show that the barongan turonggo laras art developed in Galih Village, Gemuh District, Kendal Regency has eight characters’ values, namely: 1) Religious, 2) Honesty, 3) Tolerance, 4) Hard work, 5) Creativity, 6) Love for the country, 7) Responsibility, and 8) Cooperation. The cultivation of character values in barongan turonggo laras art can be analyzed through performance elements consisting of movement, dancers, dance music, makeup, fashion, time, place, stage, sound, lighting, properties, and audience. For example, it provides an understanding to members and the community about the values contained in the elements of the barongan turonggo laras art performance, such as the values contained in movements have a religious value shown in sembahan movements and the floor pattern elements contain the value of tolerance that occurs between fellow dancers.