904 resultados para Art History, Architecture
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Bibliographical footnotes.
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At head of title: Illustrated handbooks of art history.
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[I] Ancient art.--[II] Medival art.--[III] Renaissance art.--[IV] Modern art.--[V] The spirit of the forms.
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At head of title: Illustrated handbooks of art history.
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Mode of access: Internet.
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Translator's note signed: I. Gonino.
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At head of title: Illustrated handbooks of art history.
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This article explores the deployment of sound in architectural-curatorial and community engagement contexts through the work of PLACE, a multidisciplinary not-for-profit architecture center in Belfast, Northern Ireland. The author, who worked with PLACE and contributed to the projects discussed here, contextualizes architecture centers and their relationship with sound before examining the specific case of sound and sound art in Northern Ireland and case studies of projects delivered by PLACE. Specifically, the article evaluates two sound installation artworks and three community engagement projects for young audiences. As a means of curating urbanism and architecture, sound-art-as-public-art affords useful strategies to examine, describe or critique the environment as alternatives to traditional architecture exhibition formats. Sounds temporality and materiality allow sound art works to exist as temporary sculptural interventions in the urban sphere, with attendant implications for public art procurement and urban acoustics. Rich territories of engagement are opened when using sound in a community participatory context.
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Computer games are significant since they embody our youngsters engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, Educational Immersive Environments (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the game-play experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a classical role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists understanding of DeRe in this time when our identities are becoming increasingly fractured, networked, virtualized and distributed We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular periods in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design signs to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?
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la fin du 19e sicle, lIran commence se transformer radicalement. Ce changement est le rsultat dun processus de mtamorphose socioculturelle, avec le dsir deffacer les mthodes du pass et de recommencer ; une ambition de faire un renouvellement fondamental dans la socit, en bnficiant des grandes ides progressistes de l'Occident moderne. Cette volont sest renforce la suite des premires visites en Europe dtudiants et de Nassereddin Shah, le roi de l'Iran, dans les annes 1870. Dans ce contexte, les Iraniens et leurs gouvernants, considrant leurs infriorits politico-conomiques, ont dcid de remplacer les frustrations internationales par des ides nationalistes et une propagande de suprmatie raciale ou religieuse, notamment concertant l'identit culturelle . Suivant ces tentatives pour rformer les infrastructures sociopolitiques de l'Iran, tous les domaines culturels du pays, incluant larchitecture, ont t modifis, selon les idologies des dirigeants de lIran pendant trois priodes historiques du pays : l'poque Qadjar (ds le rgne de Nassereddin Shah en 1848), l'poque Pahlavi (1925-1979) et l'poque Post-rvolution islamique (1979- jusqu' prsent). L'ide gnrale de notre mmoire est d'tudier le processus de modernisation de l'architecture de l'Iran, de mme que les influences majeures de tous ces changements, concrtiss par des fusions clectiques et des ides pluralistes souvent bases sur la politique. De l, en usant des approches de lhistoire sociale et culturelle de lart, nous analysons des exemples de monuments de l'architecture publique de l'Iran depuis l'entre de l'Iran dans la modernit, pour chacune des trois priodes mentionnes. Cela, afin de comprendre si les architectes iraniens ont trouv de nouvelles conceptions pour oprer un dploiement cratif des principes traditionnels et pour trouver de nouvelles orientations dans le processus gnral de leur volution architecturale. Autrement dit, nous cherchons savoir si l'architecture iranienne, avec tous les changements stylistiques dans le processus de conceptualisation, a pu trouver - depuis l'intervention de la modernit occidentale et de l'architecture moderne - son propre langage de la modernit en architecture.
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Neuroaesthetics is the study of the brains response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily caricature or exaggeration. Exaggerated forms hyperactivate neurons in viewers brains, which in turn produce specific, universal responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally juice) from classical Hindu aesthetics, which he associates with exaggeration. The canonical Sanskrit texts of Bharata Munis Natya Shastra and Abhinavaguptas Abhinavabharati, however, do not support Ramachandrans conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research.
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la fin du 19e sicle, lIran commence se transformer radicalement. Ce changement est le rsultat dun processus de mtamorphose socioculturelle, avec le dsir deffacer les mthodes du pass et de recommencer ; une ambition de faire un renouvellement fondamental dans la socit, en bnficiant des grandes ides progressistes de l'Occident moderne. Cette volont sest renforce la suite des premires visites en Europe dtudiants et de Nassereddin Shah, le roi de l'Iran, dans les annes 1870. Dans ce contexte, les Iraniens et leurs gouvernants, considrant leurs infriorits politico-conomiques, ont dcid de remplacer les frustrations internationales par des ides nationalistes et une propagande de suprmatie raciale ou religieuse, notamment concertant l'identit culturelle . Suivant ces tentatives pour rformer les infrastructures sociopolitiques de l'Iran, tous les domaines culturels du pays, incluant larchitecture, ont t modifis, selon les idologies des dirigeants de lIran pendant trois priodes historiques du pays : l'poque Qadjar (ds le rgne de Nassereddin Shah en 1848), l'poque Pahlavi (1925-1979) et l'poque Post-rvolution islamique (1979- jusqu' prsent). L'ide gnrale de notre mmoire est d'tudier le processus de modernisation de l'architecture de l'Iran, de mme que les influences majeures de tous ces changements, concrtiss par des fusions clectiques et des ides pluralistes souvent bases sur la politique. De l, en usant des approches de lhistoire sociale et culturelle de lart, nous analysons des exemples de monuments de l'architecture publique de l'Iran depuis l'entre de l'Iran dans la modernit, pour chacune des trois priodes mentionnes. Cela, afin de comprendre si les architectes iraniens ont trouv de nouvelles conceptions pour oprer un dploiement cratif des principes traditionnels et pour trouver de nouvelles orientations dans le processus gnral de leur volution architecturale. Autrement dit, nous cherchons savoir si l'architecture iranienne, avec tous les changements stylistiques dans le processus de conceptualisation, a pu trouver - depuis l'intervention de la modernit occidentale et de l'architecture moderne - son propre langage de la modernit en architecture.
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The picturesque aesthetic in the work of Sir John Soane, architect and collector, resonates in the major work of his very personal practice the development of his house museum, now the Soane Museum in Lincolns Inn Fields in London. Soane was actively involved with the debates, practices and proponents of picturesque and classical practices in architecture and landscape and his lectures reveal these influences in the making of The Soane, which was built to contain and present diverse collections of classical and contemporary art and architecture alongside scavenged curiosities. The Soane Museum has been described as a picturesque landscape, where a pictorial style, together with a carefully defined itinerary, has resulted in the apotheosis of the Picturesque interior. Soane also experimented with making mock ruinscapes within gardens, which led him to construct faux architectures alluding to archaeological practices based upon the ruin and the fragment. These ideas framed the making of interior landscapes expressed through spatial juxtapositions of room and corridor furnished with the collected object that characterise The Soane Museum. This paper is a personal journey through the Museum which describes and then reviews aspects of Soanes work in the context of contemporary theories on new museology. It describes the underpinning picturesque practices that Soane employed to exceed the boundaries between interior and exterior landscapes and the collection. It then applies particular picturesque principles drawn from visiting The Soane to a speculative project for a house/landscape museum for the Oratunga historic property in outback South Australia, where the often, normalising effects of conservation practices are reviewed using minimal architectural intervention through a celebration of ruinous states.
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Richly illustrated and beautifully designed, Modern Times - The Untold Story of Modernism in Australia reveals how modernism transformed all aspects of Australian culture across five tumultuous decades from 1917 to 1967. The influence of modernism was far-reaching. "Modern Times" looks at all things modern and as diverse as art, advertising, photography, film, fashion, the body, architecture, interiors, recreational sites such as the new swimming pools and fountains, milk bars and auto culture.Modernism embodied the utopian possibilities of the twentieth century. It transformed Australian cities into complex metropolises and offered access to new cosmopolitan cultures. This is the first time that such diverse material has been brought together in one volume.
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There is a widely held view that architecture is very strongly and even primarily determined by the society and culture rather than geographical, technical, economic or cli-matic factors. This is especially evident in societies where rituals, customs and tradition play a significant role in the design of built forms. One such society was that of Feudal Japan under the rule of samurai warriors. The strictly controlled hierarchical society of Feudal Japan, isolated from the rest of the world for over 250 years, was able to develop the art and architecture borrowed from neighboring older cultures of China and Korea into what is now considered uniquely Japanese. One such architecture is the Sukiya style tea houses where the ritual of tea ceremony took place. This ritual was developed by the tea masters who were Zen monks or the merchants who belonged to the lowest class in the hierarchical feudal society. The Sukiya style developed from 14th to 16th century and became an architectural space that negated all the rules imposed on commoners by the samurai rulers. The tea culture had a major influence on Japanese architecture, the concept of space and aesthetics. It extended into the design of Japanese gardens, clothes, presentation of food, and their manners in day to day life. The focus of this paper is the Japanese ritual of tea ceremony, the architecture of the tea house it inspired, the society responsible for its creation and the culture that promoted its popularity and its continuation into the 21st century.