Hasil untuk "Fine Arts"

Raymond Montpetit

Nicolas Siron

What is the color of the sea? Blue, of course. Yet, in ancient Greece, the sea is purple like wine. In medieval manuscripts and European paintings, on the contrary, the waves regularly appear in different shades of green. The coloring of the sea is thus an expression of the representations of a society and varies as much as the conceptions that are linked to it. The textual and iconographic documentation of several societies of the past shows that the color attributed to the waves integrates in fact a whole set of varied characteristics: luminosity, texture, emotions, designation, social values and standards. All these features make it possible to reconsider the relationship of the Western World to the sea: the blue sea is the horizon of tourists’ expectation and influences our imagination in such a way as to transform our seaside territories and our activities that are practiced there.

Jorge Tárrago Mingo

¿Qué entendemos por masa en arquitectura? ¿Estamos seguros de referirnos a la misma cosa? La polisemia que se le atribuye dentro y fuera de la disciplina hace que convenga aclararlo para evitar algunos equívocos, o acaso para aumentar más la confusión. Los diccionarios definen en sus primeras acepciones a la masa como la magnitud física que expresa la cantidad de materia de un cuerpo. Masa es distinto de peso. No son sinónimos, aunque nuestro uso común tienda a convertirlos en tales. Por masa también se entiende algo que se aplica en gran cantidad: producción en masa, cultura de masas, destrucción masiva, y también hormigón en masa, vivienda en masa. Este texto repasa brevemente algunos episodios históricos y propone unas notas breves sobre la cantidad de materia –lo sólido y lo ligero– en arquitectura, descubriendo una acepción olvidada pero más ajustada y convincente de lo que la masa significa para la arquitectura.

Alisson Ramos de Souza

Trata-se de estabelecer um confronto entre duas concepções do chamado material musical e seu desenvolvimento na história da música, a saber, aquelas de Theodor Adorno e Jean-François Lyotard. A “tendência de material”, devido a um processo de racionalização crescente, sobretudo a partir do dodecafonismo de Schoenberg e as incursões serialistas, conflui para um processo de dessensibilização e apagamento da expressividade subjetiva, culminando em seu fetichismo, ou seja, como se o material ganhasse vida própria. Entretanto, algo parece escapar a essa dessensibilização: o gesto, a intensidade, o não-ligado, os quais não se reduzem a uma dialética do material.

Naomi Simhony

This article examines three exceptional synagogues designed in Israel in the 1960s and 1970s. It aims to explore the tension between these iconic structures and the artworks integrated into them. The investigation of each case study is comprised of a survey of the architecture and interior design, and of ceremonial objects and Jewish art pieces. Against the backdrop of contemporary international trends, the article distinguishes between adopted styles and genuine (i.e., originally conceived) design processes. The case studies reveal a shared tendency to abstract religious symbolism while formulating a new Jewish-national visual canon.

Daniel Navas Carrillo, Blanca Del Espino Hidalgo, Teresa Pérez-Cano

This paper presents the urban vulnerability assessment as a complementary resource in heritage preservation policies, through the analysis of the thirty-nine medium-sized cities that have been listed as Historical Ensemble in Andalusia (Spain). The research seeks to make a sequential approach that addresses, from the general –the conceptual framework on urban vulnerability and the characterization of the analysis sample– to the particular –the analysis of the socio-economic, socio-demographic or residential vulnerability applied to the intermediate scale which has not been in-deep studied yet–. For this, it proposes to adopt the methodology implemented by the Spanish Ministry of Development in the Atlas of Urban Vulnerability, providing a territorial lecture of the results. The study concludes that medium-sized cities do not present a level of vulnerability lower to the largest ones but detecting specific urban weaknesses that should be addressed to improve the response of these cities to heritage preservation.

Diego Alatorre Guzmán

El presente artículo aborda los fundamentos, las reflexiones y los artefactos elaborados durante la búsqueda por integrar interacciones lúdicas al Taller de Innovación Social (TIS) del Centro de Investigaciones de Diseño Industrial de la UNAM. Los cuatro casos presentados se estructuran a partir de dos miradas al diseño: por un lado, el modelo MDA (Mechanics, Dynamics, Aesthetics) desarrollado por Hunicke, LeBlanc y Zubek (2004); por otro, el Círculo de Diseño Social, un modelo propio construido dentro del TIS que toma en cuenta tanto los factores emocionales que permiten generar y transmitir conocimientos como los medios para canalizar la creatividad de los estudiantes. Los artefactos descritos a continuación buscan estimular la motivación intrínseca de diferentes grupos de participantes. El proceso da cuenta de las sinergias que se generaron combinando imaginarios y convirtiendo las mesas de trabajo en espacios convivales que nos permiten aprender de nosotros mismos, de las comunidades con las que interactuamos y de los sistemas en los cuales desarrollamos nuestra práctica.

Priscila Costa Oliveira

Revista Completa

Marina Tkacheva

The International Architectural Drawing Competition "Archigraphics” has become a regular event. In 2019 it was held for the sixth time already. The organizers emphasize that possession of graphic skills is a professional necessity for architects.  `The exhibition opened on October 5, 2019 awarding the finalists. It was held in the Satacomba Gallery, located in an ancient wooden house, an architectural monument of the XIX century, in one of the Arbat alleys.

Ali Fallahzadeh, Geneviève Gamache

An important modern artistic movement of the twentieth century is Piet Mondrian’s Neo-Plastic art and theory. From 1917 to 1944 and concurrent with the creation of his Neo-Plastic paintings, he explained his esthetic principles of Neo-Plasticism in writings, though posteriori to the act of painting. Although a majority of scholars acknowledges a parallel evolution between his paintings and writings, Mondrian’s art is usually analyzed based on his sources of inspiration such as Theosophy, Hegelism, Platonism, and De Stijl. Hence, this paper aims to use Mondrian’s writings, as a stand-alone lens of scrutiny, to examine his esthetic evolution between two groups of paintings in theory and practice. The first group is early Neo-Plastic paintings created between 1919 and 1921, while the second group is mature works painted between 1935 and 1937. This article demonstrates the esthetic development in Mondrian’s thought by showing the degrees of conformity of his art with the fourth and the fifth principles of Neo-Plasticism (written by Mondrian in 1926) in regard to the expression of “equilibrium” and “rhythm” as universal and dynamic. Overall, this article will further the previous discussion on the parallel evolution of Mondrian’s writings and his paintings. This article shows that when it comes to the expression of equilibrium and rhythm, there are more similarities between the fourth and the fifth principles with his early Neo-Plastic compositions (1919–1921). As such, Mondrian deviated, although only slightly, from the content of the fourth and fifth principles in his 1935–1937 compositions.

Johanna Lozoya

En el presente número, Academia XXII explora en su sección temática la multidimensionalidad de la memoria como una herramienta cultural estratégica en la invención, desarrollo y control de valores socioculturales, geopolíticas del poder y discurso. Preguntas anfitrionas como qué papel estratégico juega la memoria en la reorientación de la ciencia y de la tecnología hacia la sostenibilidad medioambiental; cuáles son los límites del discurso científico social sobre la memoria cuando se construye como concepto, materia, proceso e imaginario al interior de los nichos académicos, o quién tienen el derecho de nombrar (le) en virtud de la consolidación geopolítica de valores institucionales y colectivos, han estimulado una reflexión interdisciplinaria que revela preocupaciones compartidas y propuestas estratégicas múltiples.

Julien Alliot

This article will examine the status (and potential porosity) of the border between drama and film, focusing specifically on Samuel Beckett, Harold Pinter and Mike Leigh. These dramatists’ concern for the representation of the invisible and of a lurking menace arising from an Other with enigmatic and equivocal intentions, inspired all three to actively explore the capabilities of both media. How to account for such a desire to cross between stage and screen? What are its results? To what extent do the agonistic tensions that they stage wind up leading the audience to an experience of this unrepresentable and yet so very present Other that informs their artistic creations, especially in the moments of anagnorisis?

نسرين شنوف

From the research on the words of Mrs. Fatima, daughter of Imam Al-Hussein I, I reached the following: 1- The uses of the crowds by Mrs. Fatima bint Imam Al-Hussein I came in agreement with the words of the eloquent Arabs. 2- All plurals were mentioned in the words of Mrs. Fatima, daughter of Imam Al-Hussein I, as a sign of abundance, so the research did not prove the existence of special buildings for the plural of few and many. For the lack or abundance, and the evidence is the coming of the weights of the crushing masses. And the plurals of the masculine and feminine are safe for few and many, in addition to the singular indication in places of linguistic uses of the meaning of the plural.

Thomas Elsaesser

The linguistic diversity of Europe is an important part of its cultural wealth. What are the advantages or disadvantages of this wide spectrum of languages ? When films are shown in different countries they are often dubbed. Yet, good acting requires a symbiosis between the body and gestures, the voice and intonation. As a result, movie enthusiasts want films produced in their language. Like sound, which becomes more and more important when we watch a film, the language, the accent, the pitch and the tone of the voice make up the whole image and they prove to be indispensable to understanding the movie. This article will examine from a larger historical and conceptual context the complicated relationship between an “unbridgeable frontier” and an “essential element.” This text will also question how to develop a new analysis of the cultural wealth of the recent European films by putting forward the notion of a post-national cinema.

Isabel Castro

O fato de se encontrar em alguns locais do mundo referências às canções de embalar leva-me a reflectir sobre o seu valor e ação junto da primeira infância. Os cuidados maternais, implicando um conjunto de atitudes e sentimentos vários, possui universalmente momentos muito próprios, quase únicos, de contato entre a mãe e o seu bebé. Desta maneira, cantar canções de embalar inscreve-se na singularidade desses momentos propiciadores do estabelecimento da ligação entre mãe e a criança. Neste artigo vou centrar-me no estudo da canção de embalar abordando quer a sua antiguidade e difusão por diferentes culturas, quer sobre algumas das características que fazem dela um género musical único com propósitos específicos.

Autores .

Alexius Meinong, Edmund Husserl

J. D. van Dam