En torno al llamado «arte esquemático-abstracto»: a propósito de unas fechas de Covalanas (Ramales de la Victoria, Cantabria)

[ES] La introducción de técnicas físico-químicas al estudio del grafismo rupestre paleolítico está abriendo nuevos campos de conocimiento sobre los procedimientos técnicos, la cronología y la conservación de los motivos. La utilización de la técnica radiométrica de C14 A.M.S. ha sido aplicada en Covalanas. Las dataciones de época histórica de dos pequeños fragmentos de carbón procedentes de marcas negras sirven para reflexionar en torno al llamado «arte esquemático-abstracto».

Modernist Success in a Postmodern Failure: Jackson Pollock and Abstract Expressionism, the Avant-Garde and the Ascension of Late Capitalism, Art after 1945

It is hard to imagine the magnitude of the events at the end of World War II. The thought produced in the face of a myriad of deaths is almost unfeasible sixty years after the fact, but the energy was integral to the changing social landscape. Because of the country's prominence in and fortitude after the war, the U.S. was left responsible for reshaping and rejuvenating the international landscape that was destroyed by the years of brutal fighting and vile contestation. The American establishment was granted a major opportunity to establish itself amongst the global leaders. Such a grand responsibility must account for the multiplicity of thought that arises in such a decisive moment. In order to align the Abstract Expressionist art movement with the intersection of the intense, multifaceted thought developed during the postwar period, the following will discuss the political, philosophical, economic, and art historical overlap that occurred in the mid to late 1940s in the hopes of illustrating the fertility yet lingering problems associated with the restructuring of the world with America at the helm. In this way, the duration of the Abstract Expressionist moment will be better understood for both its triumphs and downfalls.

A director’s approach to art and religion : o quadro, um musical da Paixão segundo o sr. João (The masterpiece, a musical of The passion according to John): trabalho de projecto

Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Encenação.

Imaging affect : abstraction and the echo of the unknowable

As an artist my primary interest is in the abstract, that is in images of the imageless. I am curious about the emergence of pictorial significance and content from this unknowable space. To speak of the significance of an imageless image is also to speak of its affect. I aim to explore this both theoretically and practically. Theoretically I will explore affect through the late work of Lyotard and his notion of the affect-phrase. This is an under-examined aspect of Lyotard and demarcates a valuable way to look at the origins, impact and ramifications of affect for art. Practically I will apply these understandings to the development of my own creative work which includes both painting and digital work. My studio practice moves towards exploring the unfamiliar through the powerful and restless silence of affect.In this intense space each work or body of work 'leaks' into the next occasioning a sense of borderlessness, or of uncertainty. This interpenetration and co-mingling of conceptual and material terrains combines to present temporal and spatial slippages evident within the works themselves and their making, but it is also evident in bodies of work across the chronology of their making. Through a mapping of my own painting and digital arts practice and the utilisation of Lyotard’s notion of the affect -phrase I aim to describe the action of this ‘charged emptiness’ on creativity and explore and explain its significance on that we call image and its animation of what we call critical discourse.

An investigation into painting's transformation and regeneration through post-photographic intervention in the digital archive

This PhD practice-led research inquiry sets out to examine and describe how the fluid interactions between memory and time can be rendered via the remediation of my painting and the construction of a digital image archive. My abstract digital art and handcrafted practice is informed by Deleuze and Guattari’s rhizomics of becoming. I aim to show that the technological mobility of my creative strategies produce new conditions of artistic possibility through the mobile principles of rhizomic interconnection, multiplicity and diversity. Subsequently through the ongoing modification of past painting I map how emergent forms and ideas open up new and incisive engagements with the experience of a ‘continual present’. The deployment of new media and cross media processes in my art also deterritorialises the modernist notion of painting as a static and two dimensional spatial object. Instead, it shows painting in a postmodern field of dynamic and transformative intermediality through digital formats of still and moving images that re-imagines the relationship between memory, time and creative practice.

Centro Artístico Infantil da Fundação Calouste Gulbenkian contributo para a educação artística em portugal

Dissertação apresentada à Escola Superior de Educação de Lisboa para obtenção do grau de Mestre em Educação Artística

The Indetermination of Senior

The commitments and working requirements of abstract, applied, and art of, economics are assessed within an analogy with the fields of inert matter and life. Abstract economics is the pure logic of the phenomenon. Applied positive economics presupposes many distinct abstract sciences. Art presupposes applied economics and direct knowledge of the specificities which characterize the time-space individuality of the phenomenon. This is an indetermination clearly formulated by Senior and Mill; its connection with institutionalism is discussed. The Ricardian Vice is the habit of ignoring the indetermination; its prevalence in mainstream economics is exemplified, and its causes analyzed.

Building Resonance

Thesis (Master's)--University of Washington, 2016-06

Contribuição do origami para a exploração de conteúdos de geometria no ensino básico: propostas de tarefas

A arte de dobrar papel teve origem na China no século I ou II d.C., e difundiu-se pelo Japão no século VI. Esta arte milenar tem cativado a atenção dos estudiosos ao longo de séculos. Inicialmente ligada ao culto religioso, adoptada posteriormente pelos samurais como entretenimento, é hoje mundialmente aceite como uma arte. Transmitido de mães para filhas durante gerações, foi no século XIX, pela mão do pedagogo Frõebel, introduzido no currículo escolar alemão, sendo desde então considerado por muitos como um instrumento primordial na aquisição de conhecimentos, especialmente na área a geometria e por outros um elemento básico de interdisciplinaridade. Este trabalho pretende demonstrar as potencialidades do Origami como instrumento essencial nas diversas áreas curriculares, especialmente no estudo de conceitos matemáticos, nomeadamente no âmbito da geometria e a sua inclusão no currículo escolar. O uso do Origami na sala de aula inspira curiosidade e motiva a criatividade. ABSTRACT: The art of paper folding arose in China during the first or second century A.D. By the sixth century, it had spread to Japan. This millenary art got the scientific community's attention for centuries. At the beginning, folding was associated with a ceremonial act, later on it was use by Samurais as entertainment, and today it is accepted as an art by all. Transmitted from mothers to children during generations, it was introduced by Frõebel in the German curriculum and since then has been considered by some as an instrument for teaching basic geometry and by others as essential in interdisciplinary concepts. With this work we would like to show the Origami potentialities as an instrument connecting different curriculum areas, especially in mathematics, particularly in geometry and his inclusion in education curriculum. The use of Origami in the classroom helps children to obtain and consolidate basic concepts and inspire curiosity and promote their creativity.

The gentleman's recreation : in four parts, viz. hunting, hawking, fowling, fishing ; wherein those ... exercises are largely treated of, and the terms of art for hunting and hawking more amply enlarged ... : also the method of breeding and managing a hunting-horse: unto which is now annex'd an appendix of choice receipts for the cure of several maladies : whereto is added, a perfect abstract of all the forest-laws, and of every particular act of Parliament since Magna charta ... to which is prefix'd a large sculpture, giving easy directions for blowing the horn : and other sculptures proper to each recreation, /

The "Forest laws" have special t.p.: An abridgment of Manwood's forest law and of all the acts of Parliament ... which related to hunting, hawking, fishing or fowling. London : Printed by H.P. for N.C., 1721.

From Kandinsky to Java (The Use of 20th Century Abstract Art in Learning Programming)

At the University of Worcester we are continually striving to find new approaches to the learning and teaching of programming, to improve the quality of learning and the student experience. Over the past three years we have used the contexts of robotics, computer games, and most recently a study of Abstract Art to this end. This paper discusses our motivation for using Abstract Art as a context, details our principles and methodology, and reports on an evaluation of the student experience. Our basic tenet is that one can view the works of artists such as Kandinsky, Klee and Malevich as Object-Oriented (OO) constructions. Discussion of these works can therefore be used to introduce OO principles, to explore the meaning of classes, methods and attributes and finally to synthesize new works of art through Java code. This research has been conducted during delivery of an “Advanced OOP (Java)” programming module at final-year Undergraduate level, and during a Masters’ OO-Programming (Java) module. This allows a comparative evaluation of novice and experienced programmers’ learning. In this paper, we identify several instructional factors which emerge from our approach, and reflect upon the associated pedagogy. A Catalogue of ArtApplets is provided at the associated web-site.