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Artículos de revistas sobre el tema "Festival des architectures vives"

Autor: Grafiati
Publicado: 27 de julio de 2024
Última modificación: 31 de julio de 2025

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1

GHERCHANOC, Florence. "Se vêtir pour les dieux. Costumes de fête, beauté et performance rituelle en Grèce ancienne." Archimède. Archéologie et histoire ancienne Archimède n° 9 (December 2022): 99–116. http://dx.doi.org/10.47245/archimede.0009.ds1.15.

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Résumé En croisant textes littéraires et épigraphiques à une documentation iconographique, l’article précise les caractéristiques récurrentes d’un costume rituel. Celui-ci, qualifié parfois de kosmos, est constitué d’étoffes fines fabriquées avec technicité, alliant des couleurs vives et éclatantes et des dessins aussi bien géométriques que figuratifs. La présence comme l’absence d’un tel luxe vestimentaire jouent, ainsi, un rôle fondamental au regard de la simplicité ou de l’ostentation attendues lors des opérations rituelles ; la richesse vestimentaire varie également en fonction de la divin
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2

GHERCHANOC, Florence. "Se vêtir pour les dieux. Costumes de fête, beauté et performance rituelle en Grèce ancienne." Archimède. Archéologie et histoire ancienne Archimède n° 9 (December 2022): 99–116. http://dx.doi.org/10.47245/archimede.0009.ds1.07.

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Résumé En croisant textes littéraires et épigraphiques à une documentation iconographique, l’article précise les caractéristiques récurrentes d’un costume rituel. Celui-ci, qualifié parfois de kosmos, est constitué d’étoffes fines fabriquées avec technicité, alliant des couleurs vives et éclatantes et des dessins aussi bien géométriques que figuratifs. La présence comme l’absence d’un tel luxe vestimentaire jouent, ainsi, un rôle fondamental au regard de la simplicité ou de l’ostentation attendues lors des opérations rituelles ; la richesse vestimentaire varie également en fonction de la divin
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3

Inisan, Victor. "Architectures des festivals in situ : les territoires recomposés du Lyncéus Festival, d’Un festival à Villerville et des Effusions." Horizons/Théâtre, no. 15 (September 1, 2022): 140–53. http://dx.doi.org/10.4000/ht.3914.

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4

Esclapez, Christine. "El festival Architectures Contemporaines: un dispositivo “participativo” o ¿Cómo “re-figurar” el espacio de los cuerpos en la ciudad?" Panambí. Revista de Investigaciones Artísticas, no. 4 (June 30, 2017): 33. http://dx.doi.org/10.22370/panambi.2017.4.831.

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Con el fin de responder a la problemática de las interacciones entre música, sociedad y procesos de subjetivación, se elabora una postura teórica a partir de una situación artística singular. El objetivo de esta contribución es doble. (1) Dar cuenta de una experiencia artística “participativa” conducida hace diez años atrás en el área de Música y Ciencias de la música de la Universidad Aix-Marseille: el festival universitario de jóvenes propuestas artísticas Architectures Contemporaines, creado en el año 2008. (2) Conectar esta situación artística y musical a la problemática de la “re-figuraci
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5

Charitonidou, Marianna. "Exhibitions in France as Symbolic Domination: Images of Postmodernism and Cultural Field in the 1980s." Arts 10, no. 1 (2021): 14. http://dx.doi.org/10.3390/arts10010014.

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The article examines a group of exhibitions that took place in the late seventies and early eighties and are useful for grasping what was at stake regarding the debates on the tensions between modernist and post-modernist architecture. Among the exhibitions that are examined are Europa-America: Architettura urbana, alternative suburbane, curated by Vittorio Gregotti for the Biennale di Venezia in 1976; La Presenza del passato, curated by Paolo Portoghesi for the Biennale di Venezia in 1980; the French version of La presenza del passato—Présence de l’histoire, l’après modernisme—held in the fra
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6

Moore, John E. "Architectures of Festival in Early Modern Europe: Fashioning and Re-Fashioning Urban and Courtly Space. J. R. Mulryne, Krista De Jonge, Pieter Martens, and R. L. M. Morris, eds. European Festival Studies: 1450–1700. London: Routledge, 2018. xxiv + 336 pp. $150." Renaissance Quarterly 72, no. 2 (2019): 595–96. http://dx.doi.org/10.1017/rqx.2019.134.

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7

Murakami, Suminao. "Trends in Disaster Management Measures in Post World War II in Japan." Journal of Disaster Research 1, no. 1 (2006): 73–94. http://dx.doi.org/10.20965/jdr.2006.p0073.

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This review presents historical transformation on urban planning approaches in the Tokyo metropolitan area. Urban areas in Japan have always been threated by urban conflagrations due to the high number of wooden structures. The Tokyo metropolitan area which was previously known as Edo until the Meiji Revolution in 1864. Dramatic changes in power was successful but few urban structure reformation occurred, and Tokyo was damaged by urban conflagrations in the Meiji, Taisho, and Showa Eras. The fervent wishes of Japanese urban planners centered on construction of fireproof urban areas. Such wishe
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8

O’Donnell, Darren. "Home Tours." Canadian Theatre Review 126 (March 2006): 62–63. http://dx.doi.org/10.3138/ctr.126.012.

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Mammalian Diving Reflex’s Social Acupuncture wing induces encounters between strangers in public galleries and theatres. The inaugural project, The Talking Creature, involved inviting audience/participants to a predetermined spot, dispersing, and approaching random strangers to invite them back for an unstructured, unagendaed conversation about whatever (see O’Donnell). It was like a spontaneous cocktail party in the middle of a street, park or gallery populated by people who, for the most part, didn’t know each other. Home Tours extended this dynamic into the homes of strangers by inviting au
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9

Scantlebury, Alethea. "Black Fellas and Rainbow Fellas: Convergence of Cultures at the Aquarius Arts and Lifestyle Festival, Nimbin, 1973." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.923.

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All history of this area and the general talk and all of that is that 1973 was a turning point and the Aquarius Festival is credited with having turned this region around in so many ways, but I think that is a myth ... and I have to honour the truth; and the truth is that old Dicke Donelly came and did a Welcome to Country the night before the festival. (Joseph in Joseph and Hanley)In 1973 the Australian Union of Students (AUS) held the Aquarius Arts and Lifestyle Festival in a small, rural New South Wales town called Nimbin. The festival was seen as the peak expression of Australian countercu
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10

Fraile-Garrido, Patricia, and Inés Martín-Robles. "Transient Transformations: Memory and Identity Lessons from Kumbh Mela." Ra. Revista de Arquitectura, October 14, 2024, 96–109. http://dx.doi.org/10.15581/014.26.96-109.

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The Kumbh Mela, held every twelve years at the confluence of the Ganga and Yamuna rivers in Prayagraj, India, is the largest religious gathering and ephemeral city in the world. This article explores the physical and social dimensions of the festival, drawing parallels with other temporary architectures and paying particular attention to the role of memory. The physical structure of the city, organized into a flexible grid, accommodates millions of pilgrims while preserving spaces for the community and its collective identity. The material memory of the site, layered with historical and spirit
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11

Goldring, Elizabeth. "Architectures of Festival in Early Modern Europe: Fashioning and Re-fashioning Urban and Courtly Space, ed. J.R. Mulryne, Krista de Jonge, Pieter Martens and R.L.M. Morris." English Historical Review, October 10, 2019. http://dx.doi.org/10.1093/ehr/cez323.

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12

Gemeinboeck, Petra. "Something Third, Other." M/C Journal 6, no. 4 (2003). http://dx.doi.org/10.5204/mcj.2241.

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In a networked virtual world, interconnected participants are able to enter a dialogue and to interact with one another; they cannot actually do so, however, with the remote participants, but rather with the interpretation and representation of the data transferred from the remote site(s). The process of the evolving dialogue in such tele-immersive scenarios is complexly interwoven with another liquid, hybrid and oscillating process, that of ‘becoming a subject’. The actual opacity of the individual sites – in that all sources, such as the participants’ appearance, their input and in fact anyt
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13

Castles, Anthony, and Lisa Law. "Whose Heritage." M/C Journal 25, no. 3 (2022). http://dx.doi.org/10.5204/mcj.2893.

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Introduction Over the past two decades the Cairns landscape has transformed from a remote tourist town beside the Great Barrier Reef to an international, tropical city with a new focus on culture and the arts. A number of important urban design projects have enabled this transformation, including key waterfront redevelopments, the addition of a large shopping mall and convention centre, a renovated museum, and now a new performing arts precinct and proposed ‘gallery precinct’ for the people of Cairns to access new art forms and events. Anderson and Law (556) depict recent developments as a kin
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14

"Buchbesprechungen." Zeitschrift für Historische Forschung 46, no. 1 (2019): 83–218. http://dx.doi.org/10.3790/zhf.46.1.83.

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Edelmayer, Friedrich / Gerhard Pfeisinger (Hrsg.), Ozeane. Mythen, Interaktionen und Konflikte (Studien zur Geschichte und Kuktur der iberischen und iberoamerikanischen Länder, 16), Münster 2017, Aschendorff, 336 S. / Abb., € 49,00. (Ruth Schilling, Bremen / Bremerhaven) Jaynes, Jeffrey, Christianity beyond Christendom. The Global Christian Experience on Medieval Mappaemundi and Early Modern World Maps (Wolfenbütteler Forschungen, 149), Wiesbaden 2018, Harrassowitz in Kommission, 483 S. / Abb., € 128,00. (Gerda Brunnlechner, Hagen) Weltecke, Dorothea (Hrsg.), Essen und Fasten. Interreligiöse A
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15

Fedorova, Ksenia. "Mechanisms of Augmentation in Proprioceptive Media Art." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.744.

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Introduction In this article, I explore the phenomenon of augmentation by questioning its representational nature and analyzing aesthetic modes of our interrelationship with the environment. How can senses be augmented and how do they serve as mechanisms of enhancing the feeling of presence? Media art practices offer particularly valuable scenarios of activating such mechanisms, as the employment of digital technology allows them to operate on a more subtle level of perception. Given that these practices are continuously evolving, this analysis cannot claim to be a comprehensive one, but rathe
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