Los movimientos independentistas y de izquierda en Puerto Rico, colonia estadounidense, vivieron durante el siglo XX una intensa vigilancia y persecución, cuya memoria ha transformado la militancia de generaciones posteriores. Este artículo contrasta imágenes producidas por la vigilancia política con imágenes que la exaltan. De una parte, se examina una instancia de representación del trabajo policíaco en la revista National Geographic; de otra, fotografías hechas a militantes universitarios en la Universidad de Puerto Rico. Haciendo referencia a Walter Benjamin, se analiza esta documentación visual, no como evidencia, sino como fragmentos para una tradición revolucionaria, heredados de un periodo de conflicto social que parecería haberse esfumado. Se estudian las complejidades de una mirada a estas imágenes que las considere en tanto instantáneas de una historia inacabada y contenciosa que demanda un conjunto alterno de inscripciones bajo las fotografías del presente y pasado.
Prof. Duha Mustafa Al-Demerdash, Lecturer / Kariman Ali Beck Abdul Rahman, Demonstrator / Nihal Nabil Youssef
The purpose of this study is to make a contribution to the development of creative fashion culture through the expansion of creative fields in the fashion design area and also the combination of fashion and art techniques, by classifying the cases of Trompe Loeil expressed in modern fashion, and also analyzing its aesthetic characteristics. Conducting the qualitative research through the literature study and the analysis of design cases, The results are as follows: First, based on the preceding research, the types of Trompe Loeil expressed in modern fashion were shown as realistic expression of clothing, movement of daily objects, double images, and application of human body.
Second, the aesthetic characteristics of Trompe Loeil based on its expression types were deconstruction, avant-garde, and amusements. The deconstruction was expressed in the expression type of Trompe Loeil such as freedom of materials using digital printing technique, change in the position of clothes, and movement of daily items using collage technique by collecting objets like daily items or waste. The avant-garde was expressed by switching/overlapping in and out of clothes, intentionally exposing some body parts like breast or torso, displacing body parts, and moving daily items. The amusements was shown by realistically expressing accessories or details of clothes using digital printing technique, or moving daily items such as book and fork.
La disputa por las imágenes y la imaginación es uno de los terrenos más vitales en los que se juegan las prácticas de la resistencia política en la actualidad. Los violentos escenarios de precarización y extractivismo de la vida empobrecen la experiencia y dificultan su recuento y visibilización. Las imágenes parecen condenadas a estar al servicio del espectáculo mediático, a mostrar la victimización o a inundar el espacio visual de evidencias inconsecuentes. Sin embargo, lejos de renunciar a las imágenes por su superficialidad, las prácticas críticas pueden dar cuenta de ellas a través de las tensiones de sus superficies: de las apariencias y el aparecer, de la desaparición, de la conformación de evidencias, de la afectación, de la resonancia, de la fricción. El problema no es tanto que sobren imágenes, sino más bien que se ha debilitado la capacidad de imaginar (Bottici, 2018).
Technological development has caught up in all fields, including the construction sector, and some advantages have emerged, but it has also been accompanied by some problems, such as the problem of energy and climate change. The places of Worship have accompanied this development, some of them were able to perform its role and others were not either because of their lack of commitment to the buildings standards or because they didnot agree with one of the environmental or human factors. What is clear to us is that most of the buildings of the old houses of worship have so far been able to perform their role ably and have not been defeated by the factor of time and climate. It is necessary for us to investigate and analyze these buildings to determine the factors of their sustainability and develope it technologicaly, environmentaly and humanly to produce buildings that can perform their devotional role as they should be.We have concluded by analyzing and evaluating some ancient and modern examples of Islamic and Christian places of Worship ameasurement ruler that combines the principles of architectural sustainability for ancient and modern places of worship and summarized them in the marriage between the basics of architectural design (functional, structural, aesthetic, economic) and the properties of materials (natural, physical, chemical and mechanical) and the sustainability triangle which was deduced from the definition of sustainability, which contains three sides representing(environment, human and technology)
The adult-child binary positions the child in a developmental process toward rationality attained through becoming an adult. The child is not considered a ‘whole human’ or given the status of an ‘individual’ in a social context, as seen in the representations of child and childhood in Malayalam films. This study aims to analyze the post-human identity of children in films focusing on how social and cultural systems are portrayed in the selected films titled Manjadikuru (2008), Keshu (2009), and Philips and the Monkey Pen (2013). The article intends to problematize the inequalities, biases, and lack of agency experienced by the post-human child and argues against awarding humanist identity to the child and childhood(s).
Built on a cross-national sociological research that retraces the genesis of two large-scale urban renewal projects in the urban areas of Lille and Hamburg, this article shows to what extent they might be considered as gentrification policies and as a way to question this analytical category. Even if both—Union and IBA Hamburg—projects imply the social and symbolic triage of firms and populations that are legitimate to occupy the targeted neighbourhoods, the coalitions of actors who try to turn these “problem areas” into symbols of “metropolitan attractiveness” are far from acting in a coherent, omnipotent and unequivocal way. The processes of eviction and of real estate value-creation or -destruction throughout the design and implementation of these large-scale urban projects are the result of the action of these public-private coalitions as well as the consequence of their inaction and their (relative) incapacity to actually govern people and capital flows. Therefore, the (in)capacities of local governments to remove populations and businesses from these districts or to enhance the market and symbolic value of these spaces depends on the social and economic embeddedness of these policies.
Aesthetics of cities. City planning and beautifying, Urban groups. The city. Urban sociology
The work of the German architect Hermann Eduard Maertens (1823-1898), and in particular his research on the Optische-Maassstab, results in a scientific, geometric tool, which was largely considered by urban planners and designers in the 20th century, to link the physiology of vision to the visual harmony of architecture. Based on the concept that distancing is an implicit, unaware consequence of beholder’s specific visual intents, the Optical Scale proposes a triad of angles, to be measured on the vertical plane, through which analyzing or designing become a function of sight. The authors conjecture that some of the arbitrary features of his tool may be attributed to a specific interest in early results of photography of architecture as, although Maertens apparently ignored it, both his approach and photographs share a direct derivation from the tradition of architectural representation.
The article, which aims to place itself in the space of encounter between theatre studies and Sound Studies, develops the analysis of the sound recordings, found in the archives of the Teatro Nazionale in Genoa, of four takes of I due gemelli veneziani (directed by Luigi Squarzina, starring Alberto Lionello) that cover the entire life of the production (1963-1978). By enhancing the documentary specificity of the sound materials and introducing elements of electroacoustic analysis, the study aims to discuss the performance as an object of dynamics of continuity and alteration – with particular attention to the progressive transformations in relation to the response of the different types of audience – with particular interest in Lionello’s voice, the acoustically most emblematic element. A technical analysis allows us to appreciate the rhythmic, timbre and prosodic diversification with which the actor characterises the two characters he plays and to verify his metamorphosis over the years. The case study of I due gemelli turns out to be particularly suitable to demonstrate the potentiality of materials usually neglected, especially with regard to “traditional” performances and to highlight the consequences of the text’s embodiment in the actor’s body over a long period of time: these objectives allow to open a new front concerning the use of sound sources within the strand, long pursued by ORMETE Research Group, concerning the creation and enhancement of oral sources for Performance Studies.
Lena Porsmo Stoveland, Tine Frøysaker, Maartje Stols-Witlox
et al.
Abstract Low-risk removal of embedded surface soiling on delicate heritage objects can require novel alternatives to traditional cleaning systems. Edvard Munch’s monumental Aula paintings (1911–16) have a long history of exposure to atmospheric pollution and cleaning campaigns that have compromised the appearance and the condition of these important artworks. Soiling removal from porous and water-sensitive, unvarnished oil paintings continues to be a major conservation challenge. This paper presents the approach and results of research into the effect and efficiency of three novel systems used for soiling removal: soft particle blasting, CO2-snow blasting, and Nanorestore Gel® Dry and Peggy series hydrogels. Cleaning tests were performed on accelerated-aged and artificially soiled mock-ups consisting of unvarnished oil paint and chalk-glue grounds. Visual and analytical assessment (magnification using a light microscope and scanning electron microscope, as well as colour- and gloss measurement) was carried out before and after mock-up cleaning tests and the results were compared to those obtained using the dry polyurethane sponges employed in the most recent Aula surface cleaning campaign (2009–11). Although the results varied, the Nanorestore Gel® series proved promising with respect to improved soiling removal efficiency, and reduced pigment loss for the water-sensitive surfaces evaluated, compared to dry sponges.
Pierpaolo D'Agostino, Raffaele Merone, Francesco Pugliese
<p>Nowadays, the implementation of complementary virtual approaches to the in situ visit of archaeological sites is a preeminent topic in the field of the fruition of cultural heritage, even more today following the pandemic restrictions.</p><p>The aim of this work is thus to present a comprehensive framework for the fruition and the digital knowledge of the archaeological traces composing the Augustan Aqueduct, the Aqua Augusta Campaniae and its terminal reservoir, the Piscina Mirabilis in Bacoli (Italy). This model aims to be not only informative, but also as both a tool supporting learners and an archive gathering the information collected during the research activities. The traces composing the route of the Augustan Aqueduct are not completely accessible to public visitors, being the Roman infrastructure built almost entirely underground, across tuffaceous banks. </p><p>Within the framework of this work, specific attention was thus paid to the communication language to be adopted for all the implemented digital tools. The vision was to conceive the framework as a complementary instrument of the physical visit, capable of providing exclusively the information that cannot be learnt directly in situ. The tool was based on the development of an applied game working in a virtual environment, as well as applications running in augmented reality (AR). The instrumental workflow was based on the interface of different commercial software and apps, such as Rhinoceros3D for 3D modelling, Augment for the augmented reality and Unreal Engine for game engines.</p><p>DOI: https://doi.org/10.20365/disegnarecon.27.2021.18</p>
Изучая древние цивилизации, мы видим, что первобытный человек жил в гармонии с природой и уважал ее творения. Живопись, скульптура, архитектурные элементы и все изощренные формы искусства черпают вдохновение из природы, воплощают любовь к ней, восхищение ею и этику ее сохранения. Экодуховность возникает из осознания космичности мира, и ее популярность сегодня растет в связи с необходимостью пересмотреть отношения человека с природой, которая деградирует в ходе нарастающего экологического кризиса, изменения климата, глобального потепления. Буддизм, одна из древнейших мировых религий, подчеркивал ценность не только живых существ, но и их жизненного пространства. Картины танка используются для продвижения и усвоения идей буддизма среди учеников и монахов для описания исторических событий, иллюстрирования мифов, связанных с божествами, и описания полезных этно-биологических аспектов лекарственных растений и животных. Экодуховные элементы постоянно присутствовали в картинах танка и широко использовались в них, чтобы привить мысль о сохранении природы. На танка мы видим деревья, лианы, кусты, травы множество животных, таких как лошади, олени, слоны, львы, тигры, павлины и т. д. Все это демонстрирует глубокие связи между человеком и всеми творениями природы, и поэтому новое прочтение танка может помочь в выявлении пробелов современной человеческой цивилизации. В данной статье рассматривается экодуховная символика в картинах танка.
In pre-Islamic Iran, narration (Naqqali) was considered as one of the varieties of storytelling, sometime accompanied by music. After Islam's dominance in Iran, narration was one of the few artistic and performative genres that were left out of religious restrictions, and as the only performance form for which ban there was no reason, it managed to combine all playing methods of its time. Picture narration is in the category of traditional plays and is a combination of various arts such as play, poetry-literature, music, singing and painting. This art was performed in two ways: a closed courtyard (coffee house, in banquet narration: mansions); the method by which the screen was hanged or installed on the wall, and open air (squares, passages, fields, etc.) in which scroll screen opened up to the audience slowly, or the second screen of the so-called covering was removed from the preinstalled screen. The images presented in most of these works are imaginary and poetic spatial visualization. This state gives mysterious expression to the natural elements of an image. Although the natural elements in these images are not always symbolic, the depth of these works cannot be realized without familiarizing with literary setting, as well as paying attention to the ancient traditions of the image in Iranian painting. Given the performance’s function, these images have their own effects, not a narrative-related component that has the task of facilitating the comprehension of the text for the audience, but the narration’s subject has been a means for the artist to speak with the linguistic image to the audience. The painter always tries to reveal objects in accordance with his sense of imagination and draws loyal to the original style of dimension processing in Iranian art. In most of these images, the perspective has been created in accordance with the importance and dignity of the individuals; in such a way that the painter, regardless of the temporal and spatial dimension may create events. In the field picture narration, the visual environment and the physical environment are consistent; picture narrator chooses the physical environment according to the environment, hence the two spaces become indivisible. The picture narrator, by masking some of the imprinted forms on the screen, and by placing himself as one of the visual forms against the central narrative forms, changes the proportion of the visual elements of the screen according to his narration. Thus, the spectator's viewing angles, escaping point and horizon line are challenged, and the visual quality of the spectator interacts with the infinite moving objects in the constant screen. Picture narrator combines the role of the profile on the screen with the actual image of the environment in an improvised manner. In this way of narration, the screen is no longer merely the screen of the original painting, but a visionary screen in which perspective, that screen, narrator and spectator are included. This paper examines the action and interaction of the visual and performative elements of field picture narrating, which covers all visual and performative elements, the environment, and in particular, the audience as a perspective, and creates an integrated universe in the making of a world. This space separates the environmental elements from their everyday function and interacts with the visual elements of the screen as well as the performative elements. The creation of this multidimensional space is not merely based on a naturalistic illusion about the actual distances between the represented elements, but it also depends on the dimension, the role (image), the scale of the narration and the performance’s dimension in the environment, and a large number of linkages which place the spectator as the other dimension in it. In this way, this method brings brilliant results and has created a unique way of performing the picture narrating. This article seeks to answer the following questions: what relationship exists between the narrator and the audience with the painting’s screen? how is the screen's relationship with the environment and how can the pre-painted screen be different in each performance? Therefore, using the descriptive-analytical method and with library sources and documentary information gathering techniques, we will study the samples. The result of the research shows that the narrator, with skill in improvisation, identifies the role of the profile on the screen with the actual image in the environment. This is not a mere scroll of the original painting, but his screen is a perspective that includes the screen, the narrator and the spectator.
This article uses a contemporary and revelatory case study to explore the relationship between three conversations in the innovation literature: design thinking, creativity in strategy and, the emerging area of art-thinking. Businesses are increasingly operating in a VUCA environment where they need to design better experiences for their customers and better outcomes for their firm and the Arts are no exception. Innovation, or more correctly growth through innovation, is a top priority for business and although there is no single, unifying blueprint for success at innovation, design thinking is the process that is receiving most attention and getting most traction. Design thinking teaches businesses to think with the creativity and intuition of a designer; to show a deep understanding of; and have empathy with the user. But design thinking has limitations. By placing the consumer at the very heart of the innovation process, design thinking can often lead to more incremental than radical ideas. Now there is a new perspective emerging, art-thinking, in which the objective is not to design a journey from current scenario; A to improved position: B. Art thinking requires the creation of B and spends more time in the open ended, problem space, staking out possibilities and looking for uncontested space. In Dublin, we examine a case of the oldest, largest and most prestigious fine art gallery and studio where most of the country’s best-known and successful visual artists both make, exhibit and sell their art. Graphic Studio Dublin is primarily a printmaking studio, established by artists over 60 years ago. It has facilities for woodblock, lino-print, silkscreen, intaglio and carborundum etching spread over four floors of a centrally located studio where the artists have access 24/7. But two years ago it found itself on the brink of collapse having borrowed heavily to invest in new facilities during the period of Ireland’s economic collapse. Its loans were sold to a vulture-fund who were about to foreclose in a move that would have seen a generation of Irish Artists displaced. A new board of directors was empaneled and they introduced some art thinking principles to bring the organisation back from the brink. They used an art-thinking mindset and design thinking tools to restore the fortunes of this venerable, artist-led institution and it worked.
This study aims to compare the effectiveness of grammar and Arabic rhetoric in analyzing phonetic phenomena, and to show the different ways that both rhetoricians and text scholars follow in analysis with a descriptive-analytical approach. In this field, the focus is on defining the phonetic phenomena common to Arabic rhetoric and the syntax of the text, and identifying the points of agreement and divergence between them when analyzing literary texts, within the framework of analyzing an eloquent literary text and a great book, Nahj al-Balaghah.
History of scholarship and learning. The humanities, Arts in general
В начале XX века виды искусства идут по пути их наибольшего сближения. Особенно тесно начинают взаимодействовать литература и изобразительное искусство. Но формы и степень этих взаимодействий различны. Практически все поэты испытали влияние новой французской живописи, итальянских футуристических экспериментов. Для одних изображение явилось поводом к созданию литературного произведения. Для других – в соавторстве с художниками стал возможен близкий к идентичному «перевод» текстов из одной знаковой системы в другую. В отдельных же случаях можно говорить о синкретичной природе творчества одного автора, когда рисунки поэта приближают к пониманию его поэзии, высвечивают живописные качества отдельных поэтических образов, обнажают способы их создания и приемы, близкие к изобразительным. Такая поэтика была свойственна Елене Генриховне Гуро (1877-1913 гг.).
This article is about bridges that existed in the past and currently used by residents and guests in Lutsk. Here are shown the rich history of bridges in Lutsk, and the importance of the existence of these structures in city. The main waterway is the river Stir now. About the river Glushets is resembled only a street with the same name. The article is a reviewed of archival documents, sometimes very modest, is used as a backdrop for modern bridges in Lutsk.