De la musique et de la peinture : de leurs effets sur les hommes en général et de leur influence sur les moeurs /

Mode of access: Internet.

Post-scriptum à la brochure Comment faut-il encourager les arts? /

Title from caption.

Procès-verbal de la première séance du Jury des arts : nommé par la Convention nationale, et assemblé dans une des salles du Museum, en vertu des décrets des 9 et 25 jours de brumaire, an II de la république française une et indivisible, pour juger les ouvrages de peinture, sculpture et architecture mis au concours pour obtenir le prix.

Final leaf blank.

Die neue Malerei; eine Kulturstudie.

Mode of access: Internet.

Iskusstvo i sot͡s︡ialisticheskiĭ stroĭ.

Mode of access: Internet.

Dell'origine e delle vicende della letteratura, delle scienze e delle arti, e della loro influenza sul presente stato della scoietà /

Mode of access: Internet.

Indivíduo, bairro, família: uma reflexão sobre a comunidade do Bairro da Quinta Grande, Lisboa

O objetivo desta dissertação projetual é relacionar a construção do indivíduo contemporâneo, com a sua vivência em comunidade, e através da prática artística registar esse processo reflexivo. Através da análise de alguns artistas, que trabalham a questão da vivência conjunta, tento esclarecer e evidenciar a ligação que a arte tem na intervenção comunitária. Em três projetos desenvolvidos com os jovens de um bairro social de Lisboa, pretendo que estes reflitam sobre o espaço que ocupam diariamente e qual o papel que este tem no seu desenvolvimento como membros ativos da sociedade. Conceitos como a autoria partilhada, a intervenção comunitária, a arte e a sociedade e a arte como meio de registo etnográfico, são algumas das temáticas que serão abordados ao longo deste trabalho de investigação.

Architectural exhibition : Detroit Architectural Club and the Society of Arts and Crafts under the patronage and in the galleries of the Detroit Museum of Art, May 12 to 23 inclusive.

Includes index.

On medium specificity and discipline crossovers in modern art : An interview with Jacques Ranciére on Medium-Specificity and Discipline Crossovers in Modern Art

Jacques Ranciere's work on aesthetics has received a great deal of attention recently. Given his work has enormous range – taking in art and literature, political theory, historiography, pedagogy and worker's history – Andrew McNamara and Toni Ross (UNSW) seek to explore his wider project in this interview, while showing how it leads to his alternative insights into aesthetics. Rancière sets aside the core suppositions linking the medium to aesthetic judgment, which has informed many definitions of modernism. Rancière is emphatic in freeing aesthetic judgment from issues of medium-specificity. He argues that the idea of autonomy associated with medium-specificity – or 'truth to the medium' – was 'a very late one' in modernism, and that post-medium trends were already evident in early modernism. While not stressing a simple continuity between early modernism and contemporary art, Ranciere nonetheless emphasizes the ethical and political ramifications of maintaining an a-disciplinary stance.

An interview with Jacques Rancière : on medium-specificity and discipline crossovers in modern art

Jacques Rancière's work on aesthetics has received a great deal of attention in recent years. Given his work has enormous range – covering art and literature, political theory, historiography, pedagogy and worker's history – Andrew McNamara and Toni Ross (UNSW) explore his wider critical ambitions in this interview, while showing how it leads to alternative insights into aesthetics. Rancière sets aside the core suppositions linking the medium to aesthetic judgment, which has informed many definitions of modernism. Rancière is emphatic in freeing aesthetic judgment from issues of medium-specificity. He argues that the idea of autonomy associated with medium-specificity – or 'truth to the medium' – was 'a very late one' in modernism, and that post-medium trends were already evident in early modernism. While not stressing a simple continuity between early modernism and contemporary art, Ranciere nonetheless emphasizes the on-going ethical and political ramifications of maintaining an a-disciplinary stance.

Art as an educative and social tool

Since remote times, certain sectors of society have been exposed to inequality and vulnerability, where adequate intervention processes have become conspicuous because of their absence. Nowadays, current societies have the responsibility of contributing, based on their experience and knowledge, with more efficient policies and programs that improve the life quality of the most disadvantaged. It is here where art and its different tools play a very important role, not only on a physical level, but also as an education tool that allows the development of emotional, mental and communicative skills. The aim of this paper is to make clear the potential of art as an instrument of social and educational intervention. It starts by showing worldwide-collected experience related to education and arts, and then, it acquaints the reader with two parallel intervention projects that worked with youths under social vulnerability conditions. These interventions were developed based on a qualitative research (Grounded theory), using as methodology “The Artistic Mediation” with emphasis on body language. This methodology helped researchers to get close to the participants and to know their experiences and emotions. At the same time, it was possible to evidence the positive effects of educative interventions through art. These workshops were based on an artistic methodology especially focused on body language. Data in this work is qualitative, and as such, it permits a special approach to the personal and emotional experiences of the participants; clearly showing the positive effects of the referenced practice on them.

Art, biology and technology. Interdisciplinary relations in the science lab

Bio art, understood as the convergence of the relations between art, biology and technology, constitutes a useful case study to discuss the meaning of interdisciplinarity in the artistic field. This paper explores different discourses around interdisciplinarity in order to challenge certain generic approaches for their ineffectiveness when assessing artistic practices. It is proposed that the analysis of interdisciplinarity must address the singular connections produced in the artistic practice itself, considering the impossibility of reducing the complexity of interdisciplinary dialogues into generic considerations. Taking bioart as a case study, different kinds of relationships between the artist and the lab are identified and analyzed, ranging from the use of the lab as a true atelier and as a resource for materials and techniques, to the rejection of the lab by proposing amateurism as an alternative. estrategias amateur, pasando por su utilización como fuente de técnicas y materiales.

Metaphor and Maltese Art: Explorations in the Temple Period

Temple Period Malta in the 3rd millennium BC saw the production of a range of figurative and decorative art and architecture that implies a richly populated spiritual and cognitive world associated with ritual practice in life and death. The paper explores the potential to categorize the figurative art into distinct groups, and how these various images might represent aspects of the cosmology and social concerns of a prehistoric island society.

Impossible Identification : Contemporary Art, Politics and the Palestinians in Israel

Quel est le sens donné à l’art par la minorité palestinienne d’Israël dans un contexte où l’État se définit uniquement en termes ethno-nationaux et religieux ? Les écrits sur l’art en contextes coloniaux et postcoloniaux ont tendance à considérer l’art comme une ressource de revendication identitaire face à une situation de domination. Autrement dit, l’art est souvent présenté comme un acte politique de reconnaissance à travers l’affirmation d’une contre-identité. Suite à un travail intensif de terrain ethnographique dans la région, cette recherche démontre que pour les artistes palestiniens en Israël, l’aspect politique de l’art ne vient pas de sa capacité à exprimer des revendications identitaires. À travers l’observation des pratiques et l’analyse des discours des artistes, elle remet en question la relation présumée entre l'art et l'identité. Plus concrètement, elle analyse les pratiques d’un groupe d’artistes issus d’une minorité nationale indigène dont le travail artistique constitue une interruption des régimes spatiotemporels d'identification. L’aspect politique du travail des artistes palestiniens en Israël s’exprime à travers un processus de désidentification, un refus de réduire l’art à des catégories identitaires dominantes. Les œuvres de ces artistes permettent l’expression d’une rupture esthétique, manifestant un « ayant lieu » politique qui se trouve entre l'art et le non-art. Il s’agit d’un espace qui permet la rupture de l’ordre sensible de la société israélienne à travers l’affirmation et la vérification d’une égalité qui existe déjà.