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1
Chaberski, Mateusz. "Thomas Shadwell’s the Virtuoso as an Assemblage Laboratory. A View from Installation Art." Art History & Criticism 13, no. 1 (December 1, 2017): 111–22. http://dx.doi.org/10.1515/mik-2017-0008.
Повний текст джерелаАнотація:
Summary The contemporary landscape of performing arts becomes more and more populated by hybrid genres or “artistic installations” (Rebentisch) which fuse traditional artistic, theatrical and performance practices with scientific procedures, political activism and designing new technologies (e.g. bioart, technoart, digital art and site-specific performance). In this context, theatre texts can no longer be perceived as autopoietic means of solely artistic expression but become part of an assemblage of different discourses and practices. As contemporary assemblage theory contends (DeLanda), assemblages are relational entities which change dramatically depending on relations between its different human and nonhuman elements and various contexts in which they function. Taking the contemporary installation art as a vantage point, this paper aims to analyse a Restoration comedy The Virtuoso (1676) by Thomas Shadwell in an assemblage of theatrical, scientific and political discourses and practices of Early Modern England. Staged in Dorset Gardens theatre in London, the play mobilised a plethora of discourses of science (the status of experimental philosophy institutionalized in 1660 as the Royal Society), politics (Restoration of the monarchy under Charles II) and gender (the infamous heac vir or effeminate man). Drawing on contemporary new materialism, the paper focuses predominantly on Shadwell’s use of the laboratory as a site of emerging assemblages rather than objective matters of fact. In this context, the play itself becomes an assemblage laboratory where new ways of thinking and being are being forged and constantly negotiated.
2
Constantino, Valerie. "Instinct Extinct: The Great Pacific Flyway." Leonardo 52, no. 1 (February 2019): 5–11. http://dx.doi.org/10.1162/leon_a_01599.
Повний текст джерелаАнотація:
This article, or artist’s inquiry, was written in concert with the exhibition Instinct Extinct: The Great Pacific Flyway. Beginning with introductions to bird migration, the concept of global flyways and the history of conservation, the text considers the poetics of art-making relative to academic research. Areas of artistic exploration include a map depicting California’s changing waterscape, video portraits of people of the flyway and assemblages of invented and found avian artifacts. The article concludes with a review of current environmental conditions affecting migratory birds and some reflective passages.
3
Rubin, Joshua D. "Assembling emergence: making art and selling gas in Bulawayo." Africa 89, no. 3 (July 16, 2019): 479–98. http://dx.doi.org/10.1017/s0001972019000482.
Повний текст джерелаАнотація:
AbstractThis article is an ethnographic investigation of the labours of making art and selling liquid petroleum gas (LPG) in Bulawayo, Zimbabwe. It locates these activities within a shared social world, centred on one of Bulawayo's major art galleries, and it demonstrates that artists and LPG dealers use similar strategies to respond to the political conditions of life in the city. This article frames these conditions as unpredictable, insofar as they change frequently and crystallize in unexpected forms, and it argues that both groups are attempting to act within these conditions and shape them into emergent assemblages. In adopting this term ‘assemblage’, which has been elaborated theoretically by Gilles Deleuze, Félix Guattari and their many interlocutors, this article emphasizes both the mutability and the unpredictability of these formations. The artists who work in the gallery, for their part, make their art by assembling their chosen media. The processes by which they choose their media constitute assemblages as well, in that artists have to adapt their artistic visions to the materials that Zimbabwe's market can provide. Street dealers in gas also produce emergent assemblages against the backdrop of unpredictability. If they want to make natural gas available to consumers, dealers must shepherd their medium through an always emergent process of distribution. They participate in transnational networks of trade, but they also theorize innovative strategies of procurement, develop circuits of trust and loyalty, and conjure up visions of a predatory state. Like artists, they use their work to construct dynamic representations of the world around them. Artists may produce images, and dealers circulate gas, but this article shows that conceptualizing these practices in terms of ‘assemblages’ calls their commonalities into view. In doing so, it also demonstrates that these practices complicate easy distinctions between aesthetics, economics and politics.
4
Amiryan, T. N. "The Peculiarity of the Visual Autofiction of Sergei Parajanov." Critique and Semiotics 37, no. 2 (2019): 47–63. http://dx.doi.org/10.25205/2307-1737-2019-2-47-63.
Повний текст джерелаАнотація:
In this article, a number of works by Sergei Parajanov are considered within the context of such type of writing and movement in fiction and arts as autofiction. The objective of this article is to identify various types of autofictionality, common in both Parajanov's feature films (“Shadows of Forgotten Ancestors”, “The Color of Pomegranates”, “Kyiv Frescoes”), and his performative projects, collages, assemblages, scenarios (“The Confession”), the epistolary text corpus, etc. The analysis of Parajanov’s artistic heritage through the prism of visual autofiction contributes to a more precise definition of the place and significance of the filmmaker’s works in the world artistic culture of the second half of the 20th century.
5
Hemment, Drew. "Reordering the Assemblages of the Digital through Art and Open Prototyping." Leonardo 53, no. 5 (October 2020): 529–36. http://dx.doi.org/10.1162/leon_a_01861.
Повний текст джерелаАнотація:
Open prototyping is presented as a conceptual and methodological framework for artistic practice and public participation that bridges the space between technology and society and contributes to city and technology innovation. Such practices can make ideas about the future tangible and realize different configurations of infrastructures, data, situations and people. Many works here are boundary objects, taking place in grey zones between disciplines and sectors. The article may thus deepen understanding at the fault lines between art and innovation and ways in which art can shape the direction of technology development.
6
Auson, Kuai Shen. "Tactical Ant Media: Amplifying the Invertebrate Aesthetics of Ants Using Transversality as an Artistic Process." Society & Animals 27, no. 7 (December 11, 2019): 678–96. http://dx.doi.org/10.1163/15685306-00001842.
Повний текст джерелаАнотація:
AbstractThis article examines creative practice-led research that uses transversality as an artistic process to generate ant-human relations. From the artistic perspective, transversality can materialize audiovisual performances with ants by employing technologies of visual and acoustic amplification; these are electronic assemblages made with piezoelectric sensors, computer vision, and infrared thermography, which reveal imperceptible qualities of ant behaviors. Whereas the concept of transversality remains active in philosophical discourses concerning human subjectivity, it has not been explored in artistic technological mediations that seek relational ties with nonhuman beings. The analysis that follows argues that ants are transversal beings whose movements cross boundaries affecting organisms and materializing ecological and multispecies relations. These relations can be amplified using electronic media in order to reveal the invertebrate aesthetics of ants as a different way to understand their social lives, and as an alternative passage for representing their sensorial capacities.
7
Koenderink, Jan, and Andrea van Doorn. "Assemblage and Icon in Perception and Art." Art & Perception 1, no. 1-2 (2013): 5–18. http://dx.doi.org/10.1163/22134913-00002007.
Повний текст джерелаАнотація:
In The Problem of Form (1893), the German sculptor Adolf Hildebrand distinguishes categorically between perception obtained from multiple fixations or vantage points (G.: Bewegungsvorstellungen; we call these ‘assemblages’), and from purely ‘iconic’ imagery (G.: Fernbilder). Only the latter he considers properly ‘artistic’. Hildebrand finds the reason for this ontological distinction in the microgenesis of visual awareness. What to make of this? We analyze the various ‘modes of seeing’ in some detail. The conceptual issues involved are fundamental, and relevant to both vision science and the visual arts.
8
Klein, Michael. "Debussy's L'Isle joyeuse as Territorial Assemblage." 19th-Century Music 31, no. 1 (2007): 028–52. http://dx.doi.org/10.1525/ncm.2007.31.1.028.
Повний текст джерелаАнотація:
This article develops what Deleuze and Guattari call an assemblage around Debussy's L'Isle joyeuse in order to account for its signifying power in terms of territory, time, and desire. An assemblage is a multiplicity that territorializes natural, cultural, biological, and artistic phenomena in search of objectives that are fueled by desire. In this article, the assemblage around L'Isle joyeuse begins with a study of the interpretive aporias concerning time and place in Watteau's Le Pelerinage a l'Isle Cithere, a putative inspiration for Debussy's piano piece. After a discussion of the parallels between Watteau's Cythera paintings and Debussy's L'Isle joyeuse, the article turns to the problem of apotheosis in the latter work, using Chopin's Barcarolle as an intertext. The article turns next to Debussy's compatriot, Bergson, whose early philosophical writing conceives of time as duration, freed from spatial metaphors. From the Bergsonian perspective, we can hear Debussy's piano piece as a musical correlate to a conception of time far from the linearity of space. The article concludes with a discussion of Deleuze and Guattari's A Thousand Plateaus with particular emphasis on their ideas about chaos and ecstasy, illustrating how the desire and fulfillment in L'Isle joyeuse renew themselves as they participate in assemblages.
9
Tomenchuk, John, and Peter L. Storck. "Two Newly Recognized Paleoindian Tool Types: Single- and Double-Scribe Compass Gravers and Coring Gravers." American Antiquity 62, no. 3 (July 1997): 508–22. http://dx.doi.org/10.2307/282168.
Повний текст джерелаАнотація:
A small collection of gravers from the Fisher site, an Early Paleoindian (Parkhill complex) site in Ontario estimated to date between 10,400 and 11,000 years B.P., produced two previously unrecognized tool types: single- and double-scribe compass and coring gravers. Experimental use-wear studies on replicated tools confirm that the compass and coring gravers were probably used on organic materials for engraving single or concentric circles, cutting thin disks, and boring holes. Although not identified as such, the compass graver occurs widely in North American Paleoindian assemblages and, judging from the presence and context of similar tools in the Eurasian Upper Paleolithic and Siberian Neolithic, may represent a specialized tool designed to express decorative, artistic, or symbolic aspects of Paleoindian culture. Together with other tools in Paleoindian assemblages, the new tool types promise to contribute to comparative studies concerned with the origin, development, and spread of Paleoindian cultures.
10
Zagorska, Ilga, Lembi Lõugas, Harald Lübke, John Meadows, Paul Pettitt, Aija Macāne, and Valdis Bērziņš. "East meets west in the 6th millennium: Mesolithic osseous tools and art from Sise on the Latvian seaboard." Praehistorische Zeitschrift 96, no. 1 (June 1, 2021): 1–18. http://dx.doi.org/10.1515/pz-2021-0003.
Повний текст джерелаАнотація:
Abstract A collection of 141 bone and antler tools and debitage pieces recovered from the River Užava at the village of Sise constitutes the largest Mesolithic osseous assemblage in western Latvia. Radiocarbon dating of 12 pieces suggests that most of this collection dates from the 6th millennium calBC. We present a general analysis, highlighting typical and unique tool forms, ornamented and sculpted pieces, and assess the corpus in a wider geographical context. Predominant in this rich and diverse collection are heavy duty antler tools: various forms of adzes, axes and hammers as well as sleeves, made either from shed antler or antler of hunted animals. They include two pieces classifiable as T-axes. Spear- and arrowheads as well as daggers are also present, along with chisels, wedges, awls and other tools. Artistic representations include five sculpted and engraved objects. The heavy duty red deer antler tools have parallels in the region south of the Baltic Sea, whereas the bone projectile forms are familiar from Kunda and Narva Culture sites of the East Baltic; the closest similarity is with osseous assemblages from coastal western Lithuania.
11
Kodalak, Gökhan. "Affective Aesthetics beneath Art and Architecture: Deleuze, Francis Bacon and Vogelkop Bowerbirds." Deleuze and Guattari Studies 12, no. 3 (August 2018): 402–27. http://dx.doi.org/10.3366/dlgs.2018.0318.
Повний текст джерелаАнотація:
There is an aesthetic undercurrent traversing Deleuze's philosophy along confluent trajectories of Baruch Spinoza and Friedrich Nietzsche, which harbours untapped potentials and far-reaching consequences for contemporary discussions of art and architecture. According to this subterranean stream, aesthetic experience is generated, neither in ready-made mental faculties of a subject, nor in essential qualities of an object, but through affective interactions of a relational field. A cartographic inquiry of affective aesthetics constitutes the subject matter of this paper, beginning with a philosophical elaboration that connects aesthetic theories of Spinoza, Nietzsche and Deleuze, evolving via a comparative analysis of aesthetic processes specific to Francis Bacon's artistic assemblages and Vogelkop bowerbirds' architectural constructs, and concluding with the possibility of a non-anthropocentric aesthetics.
12
Inomata, Takeshi, Daniela Triadan, Erick Ponciano, Estela Pinto, Richard E. Terry, and Markus Eberl. "Domestic and Political Lives of Classic Maya Elites: The Excavation of Rapidly Abandoned Structures at Aguateca, Guatemala." Latin American Antiquity 13, no. 3 (September 2002): 305–30. http://dx.doi.org/10.2307/972113.
Повний текст джерелаАнотація:
The Aguateca Archaeological Project conducted extensive excavations of elite residences at the Maya center of Aguateca, which was attacked by enemies and abandoned rapidly at the end of the Classic period. Burned buildings contained rich floor assemblages, providing extraordinary information on the domestic and political lives of Classic Maya elites. Each elite residence served for a wide range of domestic work, including the storage, preparation, and consumption of food, with a relatively clear division of male and female spaces. These patterns suggest that each of the excavated elite residences was occupied by a relatively small group, which constituted an important economic and social unit. In addition, elite residences were arenas where crucial processes of the operation of the polity and court unfolded through political gatherings, artistic production, and displays of power.
13
Cohen, Matthew A. "Ugly little angels: deliberately uneven construction quality in the Basilica of San Lorenzo in Florence." Architectural Research Quarterly 11, no. 3-4 (December 2007): 276–89. http://dx.doi.org/10.1017/s1359135500000774.
Повний текст джерелаАнотація:
Upon entering the basilica of San Lorenzo in Florence one is immediately impressed by the nave arcades, those rhythmic, monumental assemblages of columns, entablature blocks and arches that in the first half of the fifteenth century established a benchmark of elegance and refinement for all subsequent architecture of the Renaissance [1]. Cool, orderly and restful yet, like springs coiled in compression, full of energy, the nave arcades are works of tremendous artistic power. By functioning so strongly as complete compositions, the nave arcades suppress the individuality of their component parts: viewed from ground level, the repeated bays all appear to be identical, even though when viewed up close the capitals and other carved details betray notably uneven levels of quality in both design and execution. This variation in quality constitutes a rich and largely untapped source of evidence pertaining to the construction history and original meaning of this pivotal work in the history of architecture.
14
Golańska, Dorota. "Bodily collisions: Toward a new materialist account of memorial art." Memory Studies 13, no. 1 (November 23, 2017): 74–89. http://dx.doi.org/10.1177/1750698017741928.
Повний текст джерелаАнотація:
The major objective of this article is to elaborate on the new materialist philosophical framework as a useful analytical perspective for approaching contemporary artistic memorials. The Memorial to the Murdered Jews of Europe (designed by Eisenman, 2005) and The Garden of Exile (designed by Libeskind, 2001), both situated in Berlin, serve as illustrative examples for theoretical investigations developed in this contribution. Relying on Deleuze and Guattari’s definition of art, the article argues that these sites heighten our awareness of materials, compositional structures, or the process of encountering the work. By weaving together the representable (narrative/symbolic/semiotic) and the unrepresentable (traumatic/bodily/material), the sites deny a purely representational logic, producing instead intensive singular events that are never fixed or unwavering. The memorial character of these sites is therefore always emergent and contingent on the complex dynamic material-semiotic assemblages of different bodies. As such, it only exists in the encounter. Relation is its onto-epistemology.
15
Stapleton, Paul, and Tom Davis. "Ambiguous Devices: Improvisation, agency, touch and feedthrough in distributed music performance." Organised Sound 26, no. 1 (April 2021): 52–64. http://dx.doi.org/10.1017/s1355771821000054.
Повний текст джерелаАнотація:
This article documents the processes behind our distributed musical instrument, Ambiguous Devices. The project is motivated by our mutual desire to explore disruptive forms of networked musical interactions in an attempt to challenge and extend our practices as improvisers and instrument makers. We begin by describing the early design stage of our performance ecosystem, followed by a technical description of how the system functions with examples from our public performances and installations. We then situate our work within a genealogy of human–machine improvisation, while highlighting specific values that continue to motivate our artistic approach. These practical accounts inform our discussion of tactility, proximity, effort, friction and other attributes that have shaped our strategies for designing musical interactions. The positive role of ambiguity is elaborated in relation to distributed agency. Finally, we employ the concept of ‘feedthrough’ as a way of understanding the co-constitutive behaviour of communication networks, assemblages and performers.
16
Graves, Ph.D, P. Nelson. "ELAnatsui, Visual Arts and Intersection with Knowledge." World Journal of Education and Humanities 2, no. 3 (May 20, 2020): p71. http://dx.doi.org/10.22158/wjeh.v2n3p71.
Повний текст джерелаАнотація:
“Natural synthesis” compartmentalized the black art world. This essay unravels how with folkloric gleeEL Anatsui, in a “selective critiquing and re-evaluation of self” dared to “wriggle out” of that quagmire. Thusly, reactivating the dynamic terrain that lives and is animated from within the soul of artists, he forged a new path of creativity. With reappraisals of the intellectual dynamics that forged the artistic substance of the post 1960s; empirical analysis and the engagement of storytelling mechanisms, this essay unreels that artistry. Anatsui, in spite of his accademisisation and art practice, threads a detour to cloth making craft traditions, particularly the Kente weave and its autography; for inspiration. Hence, the “vital and enabling” intellectual paradigm “resumptions, disappearances, and repetitions” makes possible an intersection with arcane knowledge, while the “uniting representation” of the synthesis in the appropriation of Memory and Interview grounds the contexts within which each artwork is experienced. EL’s “non-fixed forms” make visible the temerity of new shapes and forms forged directly from the wellsprings and fecundity of African roots as exemplars of the art of the new dawn (Ben Shahn, 1965:53).A deconstruction of EL’s artworks reveals the groundings of his discourses on assemblages of “Forgotten Biography” and the engagement of “mythopoeia imagination” (Marina Paolo Banchetti-Robino, 2011) in the recalibration of personal expression in language and imageries that inflect spiritual ties to ancestry and the reality of memory. This is sufficient basis for the historical narration of the intersection of visual arts and knowledge.
17
CHAMETZKY, PETER. "ARTISTS AS AVATARS." Modern Intellectual History 11, no. 1 (March 5, 2014): 237–52. http://dx.doi.org/10.1017/s1479244313000413.
Повний текст джерелаАнотація:
Are artists crazy? Are creators more likely to be mad, or madder, than the rest of us? Does mental distress deepen artistic vision? Correlate to genius? Is the drive to fashion a personal pictorial or plastic universe pathological? Bettina Gockel's hefty Tübingen Habilitationsschrift, “The Pathologizing of the Artist: Artist Legends in Modernity,” documents the significant amount of mental energy expended exploring these and related questions from the mid-nineteenth century into the 1920s. Matthew Biro's The Dada Cyborg argues that the Dadaists’ montages, assemblages, and raucous agitational activities in the public sphere of World War I-era Berlin indicate modernity's disruption of stable subject positions and suggest instead hybrid, “cyborgian” identities. These included challenges to normative notions of sanity, but also to those of gender, ethnicity, race, and national and political allegiance. James van Dyke's study of the Weimar- and Nazi-era career of painter Franz Radziwill, a World War I veteran and self-taught reactionary modernist realist, provides a detailed case study of an artist whom one might, in retrospect, suspect of a degree of grandiosity and careerism bordering on the pathological, but who was driven by a complex of motivations as political as they were personal.
18
Boyd, Carolyn E., Amanda M. Castañeda, and Charles W. Koenig. "A Reassessment of Red Linear Pictographs in the Lower Pecos Canyonlands of Texas." American Antiquity 78, no. 3 (July 2013): 456–82. http://dx.doi.org/10.7183/0002-7316.78.3.456.
Повний текст джерелаАнотація:
AbstractRed Linear is one of four presently defined prehistoric pictograph styles in the Lower Pecos Canyonlands of southwest Texas and Coahuila, Mexico. Based on interpretation of images and two experimental radiocarbon dates, the style was presumed to have been brought into the region by intrusive bison hunters around 1280 B.P. This would place production of Red Linear after the large, polychromatic Pecos River style paintings (4200–2750 B.P.). However, during a recent rock art recording project we identified Red Linear overlain by presumed older Pecos River style. This prompted our re-examination of Red Linear through analysis of 444 figures from 12 sites. We produced a list of diagnostic attributes for Red Linear and documented stratigraphie relationships through macro- and microscopic field analysis. We identified 38 examples of Red Linear under Pecos River figures, thus inverting the relative chronology for the two styles and forcing a reconsideration of previous assumptions regarding the culture that produced the art. This paper demonstrates the potential afforded by analysis of rock art assemblages to reveal inter- and intrasite patterning of attributes and provide insight into relative chronologies. Further, it cautions against the use of variation in artistic style as a marker for ethnicity.
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Browning, Joseph. "Assembled Landscapes." Journal of Musicology 33, no. 1 (January 1, 2016): 70–91. http://dx.doi.org/10.1525/jm.2016.33.1.70.
Повний текст джерелаАнотація:
This article examines the folding together of music and landscape in some recent albums featuring the shakuhachi, a Japanese bamboo flute that today animates an active and international music scene. Through analysis of the texts, images, and sounds on these albums, I explore the re-imagining of the shakuhachi’s musical geography as the instrument reaches new players and places in Europe, Australia, and North America. Using recordings that incorporate environmental sounds alongside the shakuhachi, I examine ideas about the perceived authenticity of particular sounds, performance spaces, and recording aesthetics. These recordings unsettle our thinking about the relationship between music and landscape in several ways. First they document performers’ connections with particular sites, yet complicate any notion that the shakuhachi is related to a single place or nation, signalling a distinctly contemporary sense of place. Second, the centrality of mediation in these artistic projects makes technology crucial to the production of the natural and renders the naturalness of the shakuhachi audible in new ways. Third, the use of environmental sounds provokes questions about agency and the boundaries between human and non-human sound-making. By treating these albums as assemblages of material, social, technological, and natural elements, I reveal the lively and complex character of otherwise everyday musical objects.
20
Tedone, Gaia. "Forging Strategic Alliances." Journal of Science and Technology of the Arts 11, no. 2 (December 29, 2019): 41–49. http://dx.doi.org/10.7559/citarj.v11i2.662.
Повний текст джерелаАнотація:
Under conditions of so-called “Platform Capitalism”, software and algorithms undertake the important task of designing the interaction amongst online users and establishing criteria of relevance for content. As such, they operate as curatorial agents of platforms’ content, establishing what is there to see, know and consume. This state of affairs calls for a revision of the traditional role of the (human) curator who is confronted with an online environment characterised by the unprecedented collision of commercial, aesthetic, cultural and political interests. The question of what kind of relationship the curator shall create with the algorithm then becomes crucial: is this a relationship of antagonism, resistance or alliance? How do these two curatorial agents influence each other? In this article, I analyse a cluster of hybrid artistic and curatorial experiments (including my own curatorial work) that foregrounds online platforms as discrete modes of socio-technical assemblages that curate particular forms of connectivity amongst networks of users, data layers and technical infrastructures. By doing so, I argue for the forging of strategic alliances between human and machinic curators as a strategy to channel new forms of creativity and cooperation under conditions of “Platform Capitalism” and to operationalise human-algorithmic curation as a political and aesthetic practice within the networked culture.
21
Canales, Carlos, Paulo Padilla-Petry, and Luispe Gutiérrez. "El no-saber en las cartografías sobre nuestro aprender como investigadores: una mirada post-cualitativa." Educatio Siglo XXI 37, no. 2 Jul-Oct (July 15, 2019): 49–66. http://dx.doi.org/10.6018/educatio.387011.
Повний текст джерелаАнотація:
Partimos de un proyecto sobre cómo aprenden los docentes a partir de la creación de cartografías sobre sus escenarios de aprendizaje, los tránsitos y la relación dentro-fuera de la escuela/instituto. Antes de empezar nuestra investigación con el profesorado de educación infantil, primaria y secundaria, nuestro grupo de investigación empezó construyendo sus propias cartografías. Éstas son entendidas como una metodología de investigación narrativa y artística que nos ha permitido explorar intersticios, desplazamientos, trayectorias inestables, maneras de saber, montajes y enredos a través de los cuales los profesores siguen sus caminos de aprendizaje. El proceso de construcción de la cartografía sobre cómo, dónde y porqué aprendemos a ser investigadores nos obligó a cambiar el foco de la investigación. También nos obligó a cambiar la lente con la que miramos y el ángulo desde el que observamos. Investigarse para posteriormente investigar partiendo de metodologías artísticas: un paradigma que coloca al investigador en una posición de inseguridad y fragilidad. En el artículo partimos desde una posición de no-saber para realizar una revisión y estudio sobre la construcción de nuestras propias cartografías. Por otro lado, intentamos dar cuenta de muestras del proceso de cuestionamiento epistemológico, ontológico, ético y metodológico que parten de nuestro acercamiento a postulados de investigación post-cualitativos. The starting point of this article is a project about how teachers learn using cartographies to represent their learning scenarios, their transits and the relations of schools with what is outside them. Before beginning our research with kindergarten, primary and secondary school teachers, our group built their own cartographies. They are understood as an investigation methodology that is both narrative and artistic and allows us to explore interstices, displacements, unstable trajectories, forms of knowing, assemblages and plots which teachers use for learning. The process of building cartographies about how, where and why we learn how to be researchers made us change the focus of our research. It also made us change the lens through which we look and the angle from which we observe. We did research about ourselves with a view to inquiring through artistic methods. This paradigm puts the researcher in a position of fragility and insecurity. In the article we situated ourselves in an unknown position with a view to reviewing and studying the process of building our cartographies. On the other hand, we tried to explain samples of our epistemological, ontological, ethical and methodological processes which stemmed from post-qualitative investigation assumptions.
22
Harrison, Rodney. "Archaeologies ‘now’. Creative interventions in the present for the future." Archaeological Dialogues 18, no. 2 (October 26, 2011): 180–96. http://dx.doi.org/10.1017/s1380203811000250.
Повний текст джерелаАнотація:
I thank the commentators for their thoughtful and articulate responses, in which they have quite rightly exposed several inconsistencies and queried or expanded on a number of points that I did not have the time or space to develop in the original piece. In doing so, they raise the important issue of regional variations in the ways in which archaeology is conceived, practised and perceived by its practitioners and publics, which also significantly extends and complicates the original discussion. Rather than comment on specific points, almost all of which are relevant and well made, I want to focus on four linked themes which I think are reflected in different ways across all five comments. These are the relationship of archaeology to modernism and modernity, the value of the archaeological production of a sense of the ‘uncanny’ as an active intervention in the quotidian present, the surface/depth dichotomy, and the question of archaeological methodology in relation to an archaeology in and of the present. In doing so, I hope to provide some important clarification regarding what I mean when I use the terms ‘archaeology in and of the present’, ‘surfaces’ and ‘assemblages’, as well as to take up Ian Russell's challenge to approach more critically the use of artistic metaphors to emphasize the affective qualities and creative possibilities of archaeological practice. Before I move on to do this, I think it is helpful to discuss briefly the circumstances under which this paper was written and its place within a broader emergent programme of research and writing to give some context to what follows.
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Kyriakou, Athanasia. "EXCEPTIONAL BURIALS AT THE SANCTUARY OF EUKLEIA AT AEGAE (VERGINA): THE GOLD OAK WREATH." Annual of the British School at Athens 109 (November 2014): 251–85. http://dx.doi.org/10.1017/s0068245414000082.
Повний текст джерелаАнотація:
This article focuses on a recent find from the archaeological site of Vergina, which is identified as the old capital of the Macedonian kingdom, Aegae. In the surroundings of a sanctuary three burials were discovered with outstanding components. One of them, a gold oak wreath, constitutes the object of investigation. At the outset of the study the excavation site and the data of the discovery of the burials are outlined. Then the wreath is analytically presented in terms of typology, technology, craftsmanship and style. In order to incorporate it in a network of precious artefacts, the other four oak wreaths found in Macedonia and dated to the fourth centurybcare described and all of them are compared in the search for similarities or differences. Through this procedure three of them, all from Vergina, emerge as belonging to the same artistic tradition and possibly the same place of production.Then the issue of different contexts is addressed. First of all, the burial in question and the particularities of the other two burials with oak wreaths from Vergina are examined, resulting in the articulation of a pattern. The next step comprises a general sketch of the meaning of wreaths in antiquity both in life and in death, while a subsequent brief consideration of funerary assemblages from the same period and region lays emphasis on the symbolic significance of these head ornaments in their contexts. Attention is also drawn to the plant that the wreath imitates, which is connected to Zeus. In this framework the oldest known oak wreath, that of ‘Philip II’, is evaluated mainly by examining politics as reflected on coinage. The power of such symbols as applied to other members of the same family is put forward. Another level of approach, the evaluation of the wider territorial context, offers insights into the decision to deposit the burial in the area of anintra murossanctuary in the old and venerated capital of the kingdom.When the results of the study are combined, a working hypothesis emerges that would consider the burial containing the gold wreath as connected to a member of the ruling family. Research turns to the literary evidence and from this it appears that there is a possibility that the burial is that of the illegitimate murdered son of Alexander the Great.The concluding section refers briefly to episodes in the cultural biography of the wreath. In the meantime, until further and holistic study of the three burials and the construction where they were discovered is carried out, the gold oak wreath forms part of exhibitions on various themes as a representative of the assemblages.
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MANTA, Adina. "DEMYSTIFYING CREATIVITY: AN ASSEMBLAGE PERSPECTIVE TOWARDS ARTISTIC CREATIVITY." Creativity Studies 11, no. 1 (April 20, 2018): 85–101. http://dx.doi.org/10.3846/cs.2018.542.
Повний текст джерелаАнотація:
Common understandings of creativity reduce it to a flash of insight or to a personal characteristic of a highly-gifted person. This paper develops an alternative way of understanding creativity departing from a series of interviews with local painters by conceptualizing creativity as a process of articulating and getting caught up in a “meshwork” of materials, places, spaces and social encounters. Using assemblage theoretical framework, my perspective examines how different elements (both human and non-human) are brought together in flows of connections. Looking at the art world this paper takes into account also the materiality of the creative process and inquiry into how the materiality of working materials (paint, coal, brushes etc.) and the materiality of the space affect and are affected in the creativity assemblage. As such, departing from an anthropocentric perspective on artistic creativity, that takes only in consideration the meanings attributed by people (especially the artist) to forms, social uses and trajectories of artistic objects.
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Varova, Natal’ya L. "The Phenomenon of World Image in Fine Arts." Review of Omsk State Pedagogical University. Humanitarian research, no. 30 (2021): 14–17. http://dx.doi.org/10.36809/2309-9380-2021-30-14-17.
Повний текст джерелаАнотація:
The article shows that the basis of the achievements of the Modern Times art is the formation of the idea of the world in the mind of the artist. The attractor, the assemblage point of the phenomenon is the completeness of the experience of the multidimensional composition of being. The phenomenon of the image of the world is formed in voluntary acts of self-awareness throughout the artist’s life. In the creative process, the development of an ideal artistic image and the creation of a material form of its embodiment occur in relation to the phenomenon of the image of the world.
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Zhyrov, Vasyl. "Assemblage as Art Technique in Contemporary Art." ART Space, no. 3 (2018): 73–75. http://dx.doi.org/10.28925/2519-4135.4.2018.3.12.
Повний текст джерелаАнотація:
In this article the content of the notions of “collage” and “аssemblage” is covered. The characteristic to аssemblage as a style of painting is given . Stylization of an artistic image through аssemblage is analysed.
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Martínez Campos, Carmen. "El arte reciclado de David Kemp: assemblages y esculturas comprometidos con su entorno . The recycled art of David Kemp: environmentally engaged assemblages and sculptures." De Arte. Revista de Historia del Arte, no. 14 (November 29, 2015): 221. http://dx.doi.org/10.18002/da.v0i14.1664.
Повний текст джерелаАнотація:
<p>Un breve recorrido por el arte del siglo XX nos permite descubrir que la presencia de objetos encontrados y materiales de desecho ha estado intrínsecamente vinculada a algunos de los cambios más influyentes en el devenir del arte, desde el <em>collage</em> hasta las nuevas corrientes de posguerra, como el <em>Happening</em> o el <em>Land Art</em>, así como a una creciente conciencia ecológica por parte de los artistas. Al hilo de este contexto, el presente artículo se propone analizar la obra de David Kemp, escultor y artista del <em>assemblage</em>, estableciendo relaciones con estos precedentes. La heterogeneidad de su producción artística se hace eco de todos ellos, reflejando no sólo un interés por el entorno y el medioambiente, sino una profunda confianza en el poder transformador del arte sobre la sociedad, propia del artista comprometido con su tiempo. <strong> </strong></p> <p><strong> </strong></p><p>A brief tour around the 20th Century art work lead us to discover the presence of found objects and waste materials has been deeply bound to some of the most influential changes in Art from collage to new post war art movements, such as the so-called Happening or Land Art. Both hand-in-hand have set up roots for an increased environmental conscience on the artist mind. This article analyses David Kemp's art work, as a sculptor and artist of the assemblage, and looks at the established relations between his work and his precedents. The heterogeneity of his art work production reflects not only the influences of those named tendencies, highlighting his great interest on the surroundings and the environment, but also his belief in the transforming power of art, proper of committed modern artist of his time.</p>
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Jankowska-Andrzejewska, Maria. "Malarstwo materii w Polsce. Na marginesach odwilżowej "nowoczesności"." Artium Quaestiones, no. 27 (September 8, 2018): 197–247. http://dx.doi.org/10.14746/aq.2016.27.8.
Повний текст джерелаАнотація:
The painting of the matter was an important component of Polish art of the “thaw” period and the 1960s. So far Polish art historians have usually interpreted works made of non-traditional substances by Polish artists as examples of inspiration by Western art and a tendency to abandon the painting as such. Scholars and critics stressed the relief qualities of art objects and their impact on the spectator through the surface texture and the properties of the material used, often incorporated into a picture directly from reality and provoking specific associations. Such an approach did justice only to some such works, e.g., those painted with paints mixed with nonpainterly substances, with the mud effects of the palette, characteristic of French art (Aleksander Kobzdej, Jan Lebenstein), or abandoning traditional materials to challenge the painting as such (Jan Ziemski, Włodzimierz Borowski, Jerzy Rosołowicz). Thus far the reflection on the painting of the matter seems inadequate to the works in which paint was eliminated in favor of other materials and substances combined with painterly activities. Those unspecific substances and materials were often distributed on flat surfaces and composed in terms of basic division of the pictorial field, its main axes, relations to the edges, etc. Such “paintings made of matter” are interesting examples of the “thaw” art, which have not been interpreted as paintings, escaping chronological and other criteria of art history. Ambiguously called the “painting of the matter,” they occupied the margins of the critical discourse. The inadequacy of the terms adopted to describe them resulted in ignoring many works, while others have been included in the history of Polish art only in some aspects. So far no one has addressed the basic question of different artistic responses to the problem of searching for the limits of the painting, and related attempts to enhance the painterly idiom which was at the same time disrupted in a number of ways. The author analyzes works selected from the set of about three hundred items found in thirteen Polish museums. Regardless of the individual differences, the paintings by Jadwiga Maziarska, Bronisław Kierzkowski, Adam Marczyński, Teresa Rudowicz, and Krystyn Zieliński exemplify the combination of non-traditional substances and surface composition. Paradoxically, the decision to abandon paint did not make those artists deny the superior role of the surface, which resulted in the creation of works oscillating among painting, relief, and sculpture, close to collages or assemblages, yet quite specific. Their works either exploited the conditions offered by the framed flat surface or brought into play new, autonomous surfaces.
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Filipović, Andrija. "Musica inhumana: Towards the posthumanistic ethical and aesthetical paradigm in music." New Sound, no. 42 (2013): 86–101. http://dx.doi.org/10.5937/newso1342086f.
Повний текст джерелаАнотація:
This paper deals with the analysis of noise music by the Japanese artist Merz-bow, especially emphasizing the posthumanistic ethical and aesthetical paradigm as his artistic and political project. This project, or assemblage, has several aspects, three being particularly important: "musical" system (acoustic material, creator, listener), visual and textual material (album covers, articles and interviews), and the attitude towards the non-human (machines, animals, nature in general). These three aspects are a particular assemblage that enables the critique of the "everyday body" and the contemporary society, by creating special aesthetics of existence and lines of flight, an aesthetics which, ultimately, removes the human subject and replaces it with an (in)organic multiplicity.
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Lytvynenko, Anatoliy. "TEISINIAI POŽIŪRIAI APIBRĖŽIANT PRIVATUMO IR VIEŠOJO INTERESO PUSIAUSVYRĄ." Teisė 102, no. 102 (March 29, 2017): 164. http://dx.doi.org/10.15388/teise.2017.102.10525.
Повний текст джерелаАнотація:
The article encompasses a narrow topic in media law, namely the problem of utilization of personal data by media personnell, informational agencies as well as broadcasting enterprises. Since conventional personal data maintenance procedures expounded in appropriate data protection acts are almost explicitly exempt for journalistic, artistic or literary purposes, the issue of preserving a proper equipoise between the right to one’s privacy and the freedom of speech remains a crucial topic for analysis and theory assemblage.
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Chaverdi, Alireza Askari. "Post-Achaemenid Legacy of the Persian Gulf Hinterland." Ancient Civilizations from Scythia to Siberia 23, no. 1 (July 13, 2017): 127–50. http://dx.doi.org/10.1163/15700577-12341312.
Повний текст джерелаАнотація:
The archaeological site of Tomb-e Bot, located in the Mohr County of southern Fars Province, is a major settlement of Arsacid and Sasanid date. The site was selected for detailed investigation from among the 76 sites recorded by the general survey of southern Fars region to provide answers to outstanding questions on ancient Iran, in particular during the period from the Achaemenids to the Sasanids. The survey team systematically collected all visible architectural remains, including capitals with volutes and addorsed animal protomes as well as surface ceramics and attempted to draw and register the whole assemblage of finds. Documenting and analyzing the assemblage revealed that centuries after the Achaemenid demise the Persepolis artistic legacy had run on at the site in religious beliefs and among the local groups, from the Seleucid and Arsacid periods up to the rise of the Sasanids.
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Asavei, Maria Alina. "“Call the witness”: Romani Holocaust related art in Austria and Marika Schmiedt’s will to memory." Memory Studies 13, no. 1 (November 19, 2017): 107–23. http://dx.doi.org/10.1177/1750698017741929.
Повний текст джерелаАнотація:
Both academic and popular culture discourses are inhabited by statements that “pathologize” the ways Roma remember the Holocaust and other traumatic events. Against these claims, this article’s main aim is to explore contemporary artistic production from Austria which fosters “Roma will to memory” within an assemblage of political practices and discourses. To this end, I will explore Marika Schmiedt’s body of artistic memory work from 1999 to 2015, relying on a critical visual approach. The impetus for this exploration is Slawomir Kapralski’s assertion that the actual cases of active remembering and commemoration among Roma and Sinti would render the traditional approach to Roma as “people without memory and history” inaccurate. As this case study shows, there is no such a thing as “Roma indifference to recollection,” but rather, the testimony about the traumatic past is silenced or obstructed by the lack of the infrastructure, the bureaucracy of the archives, and the strategic forgetting politics.
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Umney, Darren. "Every House on Langland Road – the production of archival, architectural and artistic spaces." cultural geographies 25, no. 1 (September 1, 2017): 229–38. http://dx.doi.org/10.1177/1474474017726558.
Повний текст джерелаАнотація:
This article describes an Arts Council England project, undertaken by the author and a photographer, to examine spatial and temporal relations between an art project, its subject and its audience. The project explored and documented the architecture of a modernist 1970s housing estate, Netherfield, designed by a group of four architects for the new city of Milton Keynes. The estate has not aged well and the visual remnants of what had been an ambitious and idiosyncratic housing scheme were to be photographed and juxtaposed with the original architectural drawings. The photographic process contributed to a more complex series of perspectives which included the archival history of the estate and its surrounding new city, the people who live there and my own reflections on a council estate childhood. In turn, these perspectives are set out in this article in terms of the spatial and temporal realms in which they are, and continue to be, produced. Loosely conceived in terms of Lefebvre’s production of space triad, these realms are traced through the estate’s historical narrative from plans to buildings which then converge in the eventual art work. The gallery is seen as an assemblage of multiple connections drawn between various productions of archival, architectural and artistic spaces.
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Niziołek, Katarzyna. "ASSEMBLAGE OF MEMORY: ON THE STRUCTURE, PROCESS AND CREATIVITY IN COLLECTIVE MEMORY." Creativity Studies 14, no. 1 (June 23, 2021): 271–94. http://dx.doi.org/10.3846/cs.2021.12290.
Повний текст джерелаАнотація:
The article is aimed at presenting and discussing the theoretical concept of assemblage of memory inspired by and grounded in the creative work done in connection with social research within the framework of participatory theatre. Based on three projects of this kind that I have collaborated on over the last couple of years, all taking memory as their theme, The Method of National Constellations (2014–2016), Prayer: A Common Theatre (2016–2017), and Bieżenki (2018), the concept draws both on artistic, and sociological thinking. An assemblage of memory could be roughly described as a product of creativity, which is constructed using “found” materials, such as stories, images, emotions, behaviours, objects, people even, to compose a new meaningful entity. This is congruent with what became to be known as the assemblage theory, started by Gilles Deleuze and Félix Guattari, who suggested that social phenomena, such as collective memory, one could add, should be viewed as dynamic and heterogeneous arrangements of a variety of elements, material and immaterial, natural and artificial, human and non-human, that are dependent on the connections between them rather than their intrinsic qualities. Thus, an assemblage of memory cannot be accessed through text-oriented methodologies that still seem to predominate the humanities (with its focus on the witness and testimony), but requires innovative, creative procedures, which, as exemplified by the above mentioned theatrical projects, are capable of revealing its structure and dynamics.
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Jovicevic, Jasna. "Flow Vertical: Composing and Improvising Original Music Inspired by Bodily Sound Vibrations." Leonardo Music Journal 29 (December 2019): 78–82. http://dx.doi.org/10.1162/lmj_a_01068.
Повний текст джерелаАнотація:
This text analyzes the process of composing and improvising the musical experiment Flow Vertical. This artistic exploration for chamber orchestra responds to a theory of biosignals, incorporating a putative sonic mapping of “inaudible” sound vibration of the author’s biofield as understood to be measured by an SCIO device. The interpretation and represent ation of measured frequencies influenced the creation of an “assemblage,” the system of interconnected human and nonhuman agents within the piece. The artist applied an original eight-week-long method of creation, investigating how this idea of body vibration and a specific yogic routine could aesthetically affect music.
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Pankau, Joanna. "Artywistyczne praktyki mapowania przeciw kryzysom. W stronę miejskiej potencjalności." Przegląd Kulturoznawczy, no. 4 (46) (2020): 444–60. http://dx.doi.org/10.4467/20843860pk.20.039.12843.
Повний текст джерелаАнотація:
The article focuses on the artistic-activist practicies of mapping urban crises, asking about their critical and transformational potential. Artivistic mapping – combining artistic practices with a form of political activism – is recognized in context of extracting inequalities in monitoring crisis areas, as well as the city’s transformational capabilities. Looking at the involvement of artists and activists in mapping projects is combined with the question of the potential for anti-crisis action – shaping political perceptions and stimulating alternative practical responses to generated urban problems. The following issues are addressed: (1) counter-mapping and the relationship of artistic practices with critical cartography, (2) the development of activist mapping forms – maptivism and crisis mapping, and (3) references to the interests of new urban ontologies, in particular the on-epistemological dimension of urban mapping assemblage, binding issues of updating and the potential of cities. Mapping is recognized in the critical-activating dimension as a form of cognition oriented on creative experimentation and interference in existing reality. Because of this, it is an interesting and prolific area for practical consideration of the form of ‘engagement policy’ through ‘research of potentiality’. It is worth considering in what sense the practices of artistic and activist crisis mapping can be a “turning point” – opening “a window to new ways of seeing and imagining” (K. Dovey, M. Ristic). It is primarily a field for asking questions about transformational mapping possibilities – perceiving the city as a place of “radical potentiality” (C. McFarlane). In order to illustrate the problem more clearly, the last part of the work analyzes the anti-gentrification activities in the San Francisco Bay Area, in particular the mapping practices undertaken by Anti-Eviction Mapping Project.
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Priddy, David W. "The aesthetic integrity of the book of Job: Job’s literary integrity." Review & Expositor 114, no. 2 (May 2017): 183–89. http://dx.doi.org/10.1177/0034637317701089.
Повний текст джерелаАнотація:
At present, the book of Job appears less as a single book and more as an assemblage of disparate materials. In this article, I assess the hermeneutical values of modern scholarship that sustain such a judgment and propose an alternative means of envisioning the literary integrity of the Joban drama. Imagery is not merely an artistic vehicle for abstract meaning but a poetic and cognitive device that links together dissonant speeches and genres. I demonstrate the significance of a hermeneutics of poetry by examining Eliphaz’s first speech and Job’s response, as well as other structurally troubling places. Thus, reappraising the function of imagery demonstrates a graphic coherence and, therefore, a greater intelligibility to the book of Job.
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Denisova, Zarina Mukhriddinovna. "Intonation and genre montage in the compositions of Alfred Schnittke." Человек и культура, no. 1 (January 2020): 26–34. http://dx.doi.org/10.25136/2409-8744.2020.1.31469.
Повний текст джерелаАнотація:
The subject of this research is the works of the prominent national composer Alfred Schnittke. The analysis of musical compositions demonstrated that one of the dominant technique of their thematic development consists in the intonation and genre montage, and dramaturgy is structured as a peculiar intertwinement of imagery-thematic lines, each of which is formed as an assemblage of themes referred to the same genre. The main principle for this research served the principle of historicism as one of the fundamental within national musicology, which views an artistic phenomenon in unity of transformation of traditions and modern trends. The scientific novelty consists in determination of the leading principle of musical compositions of A. Schnittke – the principle of “generalization through the genre”, presented as an intonation and genre montage. In conclusions formulated in the article, the author summarizes and systematizes the results of study: combining different genres in a single sound space, the composer interprets them as so-called intonation-semantic signs formed in the process of prolonged historical-cultural development, generating valid content, and at the same time, in its intertwinement, creating an individual artistic view of the world.
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Miranda, Carlos Eduardo Albuquerque, and Luiz Gustavo Gasparini Costa Ferreira. "Cinema e HQs: poéticas de fronteira na sala de aula." REVISTA INTERSABERES 15, no. 36 (November 10, 2020): 913–35. http://dx.doi.org/10.22169/revint.v15i36.2003.
Повний текст джерелаАнотація:
RESUMO Este texto é a partilha de uma pesquisa-intervenção com oficinas de cinema expandido e HQs em uma escola particular da cidade de Itatiba. A pesquisa-intervenção foi realizada pelo pesquisador-professor da escola, conforme a metodologia da pesquisa cartográfica em instituições escolares. O objetivo foi convidar um comum capaz de inventar uma comunidade de criação e estabelecer um comum do dissenso na escola, para embaraçar a partilha do sensível e ensejar outros lugares políticos aos seres humanos e inumanos. Convidar significa promover e aproveitar os encontros humanos e não humanos dos agenciamentos coletivos de enunciação e agenciamentos maquínicos de desejo. As oficinas de cinema expandido compõem com as HQs uma produção de poéticas de fronteira. A arte na escola propicia o risco de uma comunidade de multiplicidades e pluralidades, quando torna inoperante o comum identitário e permite outro comum, aberto para novos usos e significados da sala-de-aula, do tempo livre, das atividades escolares e da própria arte; além das cesuras, das interdições e dos limites. O método cartográfico evita dualismos entre teoria e prática, objetividade e subjetividade e sujeito e objeto. A exposição do texto procurou alinhar conceitos, relatos da experiência e produção e análise dos dados. Na segunda parte do texto, entrelaçamos a preocupação com a invenção de uma abordagem crítica de obras artísticas produzidas na escola com a necessidade de uma política de narratividade oblíqua e transversal das poéticas de fronteira e com procedimento de desmontagem narrativa que permite atiçar o que insiste e resiste como força de criação. Palavras-chave: História em Quadrinhos; Cinema, Escola; Educação; Comunidade; Cartografia. ABSTRACT This text is the sharing of an intervention research with expanded cinema workshops and comic books in a private school in the city of Itatiba. The intervention research was carried out by the school's researcher / teacher, according to the methodology of cartographic research in school institutions. The objective was to invite a commoner capable of inventing a creative community and to establish a commoner of dissent in the school, to embarrass the sharing of the sensitive and to give other political places to human beings and inhumane beings. Inviting means promoting and taking advantage of the human and non-human encounters that the collective enunciation assemblages and desire machinic assemblages. The expanded cinema workshops compose with the comics a production of border poetics. Art at school creates the risk of a community of multiplicities and pluralities when the common identity becomes inoperative and allows or another common open to new uses and meanings of the classroom, free time, school activities and art itself, also, of caesura’s, interdictions, and limits. The cartographic method avoids dualisms between theory and practice, objectivity, and subjectivity and subject and object. The text presentation sought to aggregate concepts, experience reports and data production and analysis. In the second part of the text, we intertwine the concern with the invention of a critical approach to artistic works produced at school with the need for an oblique and transversal narrative policy of border poetics and with a narrative disassembly procedure that allows to stoke what insists / resists as a force of creation. Keywords: Comics; Cinema; School; Education; Community; Cartography. RESUMEN Este texto es el intercambio entre una investigación-intervención, talleres de cine expandido y cómics en una escuela privada en la ciudad de Itatiba. La investigación-intervención fue realizada por el investigador / profesor de la escuela, de acuerdo con la metodología de investigación cartográfica en instituciones escolares. El objetivo fue invitar a un común capaz de inventar una comunidad de creación y establecer un común del disenso en la escuela, para confundir la división de lo sensible y ofrecer otros lugares políticos a los seres humanos y seres inhumanos. Invitar significa promover y aprovechar los encuentros humanos y no humanos de los agenciamientos colectivos de enunciación y agenciamiento maquínico de deseo. Los talleres de cine expandido componen con los cómics una producción de poética fronteriza. El arte en la escuela crea el riesgo de una comunidad de multiplicidades y pluralidades cuando vuelve inoperante el común identitario y permite un otro común abierto a nuevos usos y significados del aula, del tiempo libre, de las actividades escolares y del propio arte; además de las fisuras, de las interdicciones, y de los límites. El método cartográfico evita los dualismos entre teoría y práctica, objetividad y subjetividad y sujeto y objeto. La presentación del texto trató de ajustar conceptos, informes de experiencia y producción y análisis de datos. En la segunda parte del texto, entrelazamos la preocupación por la invención de un enfoque crítico de las obras artísticas producidas en la escuela con la necesidad de una política narrativa oblicua y transversal de las poéticas fronterizas y con un procedimiento de desmontaje narrativo que permita avivar lo que insiste y resiste como fuerza de creación. Palabras-clave: Cómics; Cine; Escuela; Educación; Comunidad; Cartografía.
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Scrivano, Gaggero, and Volpe. "Paint Relics on Middle Age Building Stones as Proxies of Commercial Routes and Artistic Exchanges: A Multi-Analytical Investigation." Minerals 9, no. 11 (October 28, 2019): 663. http://dx.doi.org/10.3390/min9110663.
Повний текст джерелаАнотація:
Fifty-four pieces out of 356 marble pieces deriving from the decorative and architectonic apparatus of the medieval monastic complex of S. Francesco of Castelletto (Genoa, Italy) preserve traces of varicolored paint layers. Microscopic samples of green, blue, red, pink, white, and yellow paint relics were collected by scalpel and analyzed by means of Scanning Electron Microscope coupled with Energy Dispersive Spectroscopy (SEM-EDS), µ-Raman, and Fourier Transform Infra-Red Spectroscopy with Attenuated Total Reflection (FTIR-ATR), to characterize pigments and binders. The combined results from the different techniques allowed verification that stone decoration in Genoa during the Middle Ages encompassed a calcite groundwork and the use of a mixture of oils and proteins (probably egg) to apply pigments. The assemblage of impurities within the pigment has been correlated with the provenance sites along the commercial continental (Hungary and France) and maritime (Sardinia, Cyprus, or Veneto) routes between the 13th and 15th centuries. Moreover, the investigation of the painted layer improved the characterization of the decorative techniques in use in Genoa during the Middle Ages.
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Luterbacher, Samuel. "Surfaces for Reflection: Nanban Lacquer in the Iberian World." Journal of Early Modern History 23, no. 2-3 (May 28, 2019): 152–90. http://dx.doi.org/10.1163/15700658-12342638.
Повний текст джерелаАнотація:
Abstract In response to the arrival of Iberian traders and missionaries on the Japanese archipelago in the sixteenth century, local craftsmen developed a unique type of lacquer, called today Nanban, for European export. They adapted traditional techniques to produce chests, writing desks, reliquaries and oratories for this new peripatetic clientele. This paper will explore the assimilation of East Asian lacquered objects within the Iberian world, treating the physical and ontological transformations that occurred as they travelled throughout the vast Iberian mercantile empire in the Indo-Pacific. The very portability of such lacquered objects engendered new realms of artistic experimentation. Like the layered quality of lacquer itself, these mobile works served as vehicles of material assemblage and hermeneutic accumulation, gathering new receptions and identities as they traveled through these Pacific networks and beyond.
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Martynov, Vladimir. "Critical’ Philosophy of Culture: Actual Contexts and Assemblage Point." Ideas and Ideals 12, no. 3-2 (September 23, 2020): 260–89. http://dx.doi.org/10.17212/2075-0862-2020-12.3.2-260-289.
Повний текст джерелаАнотація:
The annual outbursts of controversy surrounding the presentation of the main film awards of the planet in the last few years (primarily around the Oscars) are important for cultural philosophy because they are indicators of tectonic shifts in the paradigm of modern cultural knowledge. The concept of ‘high’ culture is increasingly losing its ontological significance. Criticism fell upon this concept almost a hundred years ago, but so far this has been a fact of ‘high’ theory. Today, the denial of a ‘high’ culture has become the reality of mass communication. The pressure, which used to be a problem only for academic classrooms, has become an order of magnitude greater. This is the line on which we need a clear accounting of the results, the balance of pro et contra. The answer of the ‘critical’ philosophy is understandable in principle: the contradictions between the ‘high’ and ‘low’ cultures are not an insoluble conflict. The axiom of the death of a ‘high’ culture is incorrect. The modern theory of ‘high’ culture is possible. But its construction is cumbersome and not fast. You need to start by protecting the ‘high’ culture from reproach for violence. The assemblage point of radical criticism of the ‘high’ culture is W. Benjamin’s treatise “A Work of Art in the Era of Its Technical Reproducibility”. Therefore, the defense of ‘high’ culture cannot but begin with an answer to W. Benjamin. At the same time, thinking specifically about this small treatise, we need a careful analysis of the whole structure, the words of Benjamin as a whole. And this word is peculiar. It is thoroughly public and political. Benjamin’s treatise is not a theoretical reflection. This is a manifesto, more precisely, two manifestos. The first is the manifesto of the new Marxism. The second is the manifesto of the artistic avant-garde. Benjamin saw the possibility of synthesizing these two ideologies and gave his model. It turned out, firstly, unfounded, and secondly, it was dangerous. It is dangerous because culture is the main barrier that holds back the advent of utopia. Having destroyed this barrier, we find ourselves defenseless against utopia.
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Balakrishnan, Vinod, Vishaka Venkat, and Muthukumar Manickam. "Virality in the environment of political cartoons: when history intersects representation." European Journal of Humour Research 7, no. 2 (July 28, 2019): 137. http://dx.doi.org/10.7592/ejhr2019.7.2.balakrishnan.
Повний текст джерелаАнотація:
The context for the paper is the inclusion of a 64-year old cartoon in the Political Science textbook that caused an uproar in the Indian parliament in 2012. The controversy draws attention to the two-facedness of any political cartoon which is an artistic representation of a historical event. It is, hence, ambivalent by being an expression of artistic freedom as well as a humorous comment on history where the axis of representation intersects the axis of history. The representation of the Dalit icon, Ambedkar, was objectionable to the political party espousing the Dalit cause which, through its leader, Tirumavalavan, raised the issue in parliament. The paper posits that the reaction was an event that was hitherto dormant and that it erupted on account of elements that fed its potential for virality in the environment, thereby, turning it into a fact. To this end, the paper revives interest in the imitation theory of the French sociologist, Gabriel Tarde, who, incidentally, was an intellectual influence on Ambedkar. Moreover, it employs Zeno Vendler’s distinction between an “event” and a "fact”, the Deleuzian idea of “assemblage,” and the idea of “conceptual metaphor” as laid out by Lakoff and Johnson. The paper reads the vicissitudes of the cartoon in order to theorize the elements that cause virality in a communicative environment.
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Demchenko, Alexander I. "The Great Saratov Triad of the Early 20th Century." ICONI, no. 3 (2019): 52–64. http://dx.doi.org/10.33779/2658-4824.2019.3.052-064.
Повний текст джерелаАнотація:
Saratov is justifiably called one of the most significant centers of the artistic culture of the Russian Near-Volga Region. When analyzing the condition of that domain of the plastic arts represented by painting and graphics, it is necessary to state that during the course of the entire 19th century (not to mention the previous century) the figures of the artists were merely episodic: Jean Baptiste Savin, a Frenchman in his origin (famous for his portraits and watercolors), watercolor painter Maria Zhukova, Andrei Godin (who was the first teacher of Mikhail Vrubel) and Feodor Vassiliev (the first instructor of Victor Borisov-Musatov), portraitists and church painters Lev Igorev and Nikolai Rossov. For the most part, the artists who worked beyond the confines of Saratov were its natives, who were veritably well-known artists – Vassily Zhuravlev and Alexei Kharlamov. The high flourishing of painting in Saratov at the end of the 19th and the beginning of the 20th century was prepared by the activities of Hector Baracchi, originally from Italy, and graduate from the St. Petersburg Academy of the Arts Vassily Konovalov. They exerted a decisive influence on the local artistic school, the main representatives of which were Victor Borisov-Musatov, Pavel Kuznetsov, Piotr Utkin, Alexander Savinov, Kuzma Petrov-Vodkin (a native of Khvalynsk), as well as sculptor Alexander Matveyev. However, there were three names which have become the most “celebrated” for Saratov, which led the brilliant assemblage of remarkable artists pertaining to the visual arts and were in the vanguard of the so-called era of “cultural boom,” as the high artistic accomplishments of the late 19th and early 20th century are sometimes referred to. They are Victor Borisov-Musatov, Pavel Kuznetsov and Kuzma Petrov-Vodkin. The present essay is devoted to them.
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Chaîné, Francine. "Collage, Assemblage, Bricolage ou La Mise en Scène Dans l'Installation-Vidéo." Theatre Research in Canada 18, no. 1 (January 1997): 42–58. http://dx.doi.org/10.3138/tric.18.1.42.
Повний текст джерелаАнотація:
Les arts visuels ont été source d'inspiration pour les arts de la scène en particulier à cause de la performance. Oeuvre éclatée, la performance laisse place à l'artiste qui devient le centre de sa production, l'objet même de son travail. Ce dernier, agissant en général comme maître d'oeuvre, organise les divers éléments visuels, matériels, sonores, textuels, etc., dans l'espace de représentation. Bien que fascinante par son aspect fugace et éphémère, voire événementiel, la performance a été quelque peu mise à l'écart par plusieurs artistes qui sont revenus, vers le milieu des années '80, à un art d'objets (peinture, sculpture, photo, etc.). À cette même époque, l'installation a pris un essor considérable dans la pratique artistique québécoise et canadienne. Il ne s'agissait plus de présenter une seule oeuvre isolée ou présentée en série, mais plutôt de mettre en relation, dans un espace donné, divers éléments qui formaient un tout. L'installation fait appel à différents genres, qu'il s'agisse de la peinture, de la sculpture, de la photographie, etc. En fait, l'installation est l'art de l'hybride par excellence. Autant la performance a nourri les arts de la scène autant l'installation, qui plus est, l'installation-vidéo, fait appel au théâtre, et plus précisément à une mise en scène, par le dispositif à l'intérieur duquel le spectateur doit circuler pour en saisir le sens. Dans notre exposé, nous présenterons l'installation-vidéo en lien avec trois notions: le collage, fonctionnant par ajouts ou par petites touches, voire par transparence (les images télé). L'assemblage, la deuxième notion, opère dans la mise en relation des divers éléments matériels qui composent l'installation. Enfin, le bricolage ou la reconstruction de l'installation, se fait par le parcours du spectateur dans l'espace. Pour illustrer notre propos, nous présenterons l'une de nos productions ainsi que celle d'une autre artiste montréalaise.
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Fedorenko, Larysa. "BRECHT’S THEATER: GENRE DIVERSITY AND BASIC CONCEPTS." Philological Review, no. 1 (May 31, 2021): 196–204. http://dx.doi.org/10.31499/2415-8828.1.2021.232741.
Повний текст джерелаАнотація:
The article is devoted to the drama of Bertolt Brecht (1898–1956), the peculiarities of its genre palette and analysis of the main factors of the playwright's artistic method. To achieve this goal, the following research methods were used: descriptive; matching method; literary analysis and synthesis. The Brecht Theater is represented by genre varieties of theatrical forms: expressionist drama, musical, opera, operetta, Lehrstück, epic and dialectic theater. The article proves that dialectics is the ideological soil and the conceptual core of the Brecht Theater. The dialectic poetics of a playwright should be understood as the method of analysis and argumentation presented by the Hegelian triad: thesis – antithesis – synthesis. In accordance with the dialectical concept, the Brecht theater puts in the center primarily the principle of contradiction, aimed at a multifaceted understanding of phenomena, overcoming a frozen, ossified way of thinking. The study defines the key concepts and principles of creating the drama of Bertolt Brecht, namely the «alienation effect» (Verfremdungseffekt) and assemblage (composition). The principle of the «alienation effect» is that a familiar phenomenon appears in the theater from an unexpected perspective, and therefore requires awareness of the viewer’s novelty. The means of this is the constant violation of theatrical illusion, the reality of what is happening on stage. The assemblage stipulates that the theatrical action is not a homogeneous system, but is a «made», «constructed» plane of various heterogeneous «materials»: dialogical discourse is interrupted by lyro-epic components (songs); in the musical plan, which is designed in the same style, jazz elements are suddenly «mounted», actors exchange roles during the performance, elements of the cinema «penetrate» the event plane, the causal course of the events depicted is interrupted by the demonstration of banners or posters with provocative appeals. The prospects for further research are the literary analysis of post-Brecht theater, that is, drama, which appeared as an imitation or negation of the dramatic principles of Brecht's theater.
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Medvedev, V. E., and I. V. Filatova. "A Multidisciplinary Study of Finds from Suchu Island (1973 Season, Excavation II, Dwelling 1)." Archaeology, Ethnology & Anthropology of Eurasia 48, no. 2 (June 26, 2020): 3–13. http://dx.doi.org/10.17746/1563-0110.2020.48.2.003-013.
Повний текст джерелаАнотація:
We analyze new finds from a Neolithic dwelling 1 from excavation II at the Suchu Island, on the Amur River. We analyzed an assemblage of 3788 lithics and ceramics, along with field records housed at the Institute of Archaeology and Ethnography of SB RAS. The article continues the series of publications in this journal, outlining the findings at Suchu—one of the key Neolithic sites in Northeast Asia. Dwelling 1 is a 0.8-meter-deep round semi-underground structure dug into the sandy loam. In its center, there was a hearth, and walls lacked ledges. On the floor, numerous pits from posts that had supported the roof were found. The stratigraphic and horizontal position of finds was registered; artifacts were analyzed through morphological typology, petrographic and X-ray analysis, and microscopy. Our analysis reveals hunting, fishing, and butchering tools, those for processing stone, wood, and bone, those for plant processing, and digging tools. Various sedimentary and igneous rocks were used as raw material. In terms of cultural chronology, standard pottery was mostly attributed to the Lower Amur cultures (Malyshevo and Voznesenovskoye), while some was apparently manufactured by immigrants. Principal technological, constructive, morphological, decorative, and functional characteristics of each ceramic type were assessed. Unusual artistic and ritual items clustered in dwelling 1 of the Malyshevo type (late 5th to early 4th millennia BC) are suggestive of a domestic shrine.
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Monsma, Brad, та ブラッド モンスマ. "Resilience: Assemblage and Agency at the Echigo-Tsumari Triennale (レジリエンス (可能性): 越後妻有トリエンナーレ における集合体と主体)". Culture and Dialogue 5, № 1 (3 серпня 2017): 46–61. http://dx.doi.org/10.1163/24683949-12340025.
Повний текст джерелаАнотація:
I will consider the Echigo-Tsumari Art Triennale in Niigata, Japan as an “agentic assemblage” (Jane Bennett) that moves beyond the conception of “land” or “site” as an inert stage for human artistic intentions. The festival functions as the distributed agency of an assemblage including rice fields, river corridors, rural villages and villagers, landslides, heavy snowfall and art objects. This view suggests a fractal causality in which art is conceived within a network of human and nonhuman activity. As artistic practice, the Triennale makes visible webs of relationships that move beyond notions of site specificity or socio-ecological restoration. From a New Materialist perspective, the festival’s interaction within a mosaic satoyama landscape becomes a visible representation of an evolution of art away from exclusively anthropocentric intentionality. This view suggests deeper readings of the festival’s practice, particular artworks, and of the emphasis on performative food production and consumption – the mutual transformation of material bodies. 私は、人間のアート製作という目的のための単なる舞台として「土地」や「場」を捉えるのではなく、「行為主の集合体」（ベネット）という観点から越後妻有トリエンナーレ（新潟県、日本）について考察する。この トリエンナーレは田圃、河川回路、地方の村と村人、がけ崩れ、大量の降雪とアートを含み込むひとつの集合体の分散的な行為体として機能している。この見方はフラクタルな因果関係を思わせ、その因果関係のなかでアートは人間及び人間以外のモノによる活動のネットワークとして理解される。 アート実践として、このトリエンナーレはサイト・スペシフィック性あるいは社会やエコロジーの回復といった考え方をさらに越えていくような関係性の網目を、眼に見える形にしている。ニュー・マテリアリズムの見地からすれば、このトリエンナーレのモザイク的な里山風景のなかでの相互作用は、過度に人間中心主義的な意図性から離れていくアートの進化を明瞭に表している。このように見ることで、越後妻有トリエンナーレの実践、個々の作品、そしてパフォーマンス的な食物生産と消費の強調−−−−物質的なもの同士の相互の変形−−−−をより深く解釈できるのである。 This article is in Japanese.
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Peers, Danielle, and Lindsay Eales. "Moving Materiality: People, Tools, and this Thing Called Disability." Art/Research International: A Transdisciplinary Journal 2, no. 2 (August 23, 2017): 101. http://dx.doi.org/10.18432/r2js8w.
Повний текст джерелаАнотація:
This body is wheelchair-bound. Not in the sense of the ableist idiom, but literally: bound to a nine-pound titanium frame through Velcro and ratchet straps ripped from snowboards. This wheelchair is body-bound, bound to the flick of a hip against strapping, pulling through plastic and metal and rubber and gravity and wood, into a tilt onto one wheel. This metal, this flesh, this materiality is bound, too, by rhythm and soundscape: chairs crashing; prodding questions; polite onlookers, silent; the percussive thud of wheels on uneven terrain. It is bound to the gaze of audience and reader and performer and lover. It is bound with the discourses of (dis)ability, in(ter)dependence, materiality and boundedness. This essay too, is wheelchair-body-bound. It is bound to explorations of previous works on the practices, discourses, and materialities of the wheelchair. It is bound by the authors’ personal narratives of living, playing, moving and thinking with, in and through various wheelchairs and other technologies of (im)mobility. It is bound through critical artistic engagement: bound with thinking and, literally, dancing through the ways that flesh-chair-discourse-power bind in the form of a subject, or an articulation, or an assemblage. Finally, this essay is bound through an unabashed and unbounded passion for the exploration of the local, specific, strategic, accidental, and creative ways that one may remake or even re-imagine the bonding of their tools, communities, ideas, bodies, and mobilities.
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Crandell, Otis. "An overview of the knapped stone economy at the Tărtăria site (Romania)." Journal of Lithic Studies 3, no. 2 (September 15, 2016): 181–207. http://dx.doi.org/10.2218/jls.v3i2.1309.
Повний текст джерелаАнотація:
This study focused on sourcing the lithic artefacts from the Tărtăria site in the Transylvanian Basin. The objective was to establish a model of the procurement patterns of the population at the settlement. This site is located along the middle region of the Mureș River and has several habitation levels belonging to the Vinča A, Vinča B, Vinča-Turdaș (or Vinča C), Petrești and Coțofeni cultures (Middle Neolithic to Chalcolithic). Most of the results of this study are based on analysis of the artefacts from Iuliu Paul’s excavation in 1989. This knapped artefacts from the Tărtăria site were categorised by tool type, signs of usage and retouch, and probably geographic origin. The sources of the artefact materials were predicted based on macroscopic and petrographic analyses (polarized light optical microscopy).
The lithics appear to be made from the same types of materials found at other contemporary sites in the area. As with other sites, the most common imported material is obsidian, followed by Moldavian flint. Balkan flints represent only a small part of the assemblage. Of the local material, the vast majority is chert, likely local Trascău Mts. chert, which represents over half of the pieces in the assemblage. Although the site is closer to sources of jasper in the Metaliferi Mts. than some other Neotlihic and Chalcolithic sites down river, very few of the artefacts were made from jasper. (This may be due to an economic connection with nearby and contemporary, quarrying activity at the Piatra Tomii site.)
Obsidian is used almost exclusively for blades and flakes. The same is true for Moldavian flint, although scrapers were not uncommon. Cores and scrapers are more common among local material than among imported material. The percentages of each artefact type seem to remain relatively similar for each culture (i.e. with the progress of time). This shows that people were still using the same general types of tools.
The percentages of the different materials varies over time though. During the Vinča A and Vinča B phrases, local materials represent approximately 30% of the assemblage and imported materials represent c. 70%. After the Vinča B phase (i.e. entering into the Chalcolithic), the emphasis switches to local sources (representing c. 87%) while imported drop to c. 13%.
Two important observations can be made from this study. Firstly, with the possible exception of Balkan flint, the imported materials came from outside of the territories of the cultures at this site. This indicates that areas of similar artistic style (the main characteristic used to define culture areas) do not in fact match areas of economic interaction. This further supports the need for a redefining of cultures and cultural territories. Secondly, although the inhabitants during the Late Neolithic and Chalcolithic used imported materials (especially obsidian), local materials became more and more predominant over time, possibly due to the introduction and continually increasing value of copper or increased self-sufficiency. The fact that this shift in material usage occurs most drastically during the transition to the Chalcolithic supports this idea.