Hasil untuk "Visual arts"

Anna Arkhipova, Pavel Hok, Pavel Hok et al.

Creativity has been consensually defined as an ability to produce novel and original ideas/works, a definition shared both by the general public and among scholars. Since creativity is one of the most important and unique cognitive constructs seen in human beings, ways to enhance creativity have fascinated researchers across a broad range of human knowledge domains - from the arts and the humanities to science and technology. The functional process of creativity has been actively discussed not only in psychology, but also in neuroscience, where research is uncovering its neural correlates. A great amount of neuroimaging research has focused on describing anatomical and functional adaptations in the brain following various types of cognitive learning and training, e.g., classes of visual art or music composition, courses of drawing, calligraphy or playing musical instruments. A consistent underlying mechanism of domain-specific creativity has not yet been revealed due to difficulties in defining creativity or due to lack of generalizability across different modalities. On the other hand, recent studies suggest that there is a relationship between domain-general creativity and functional connectivity in particular brain networks. In this review, we discuss whether there is evidence for brain plasticity induced by training in creativity and associated behavioral changes, as well as whether the observed brain changes are consistent with the studies of neurobiological underpinnings of creativity and the changes induced by cognitive training.

Andrea Siervo

En tiempos donde lo digital impregna cada aspecto de nuestra vida y donde la velocidad parece regir nuestra relación con el mundo, mi práctica artística apuesta por la pausa, la repetición y el contacto directo con el material. Es una investigación sobre lo siempre cambiante, donde la estabilidad y fluidez coexisten. Esta inclinación no nace de un rechazo a lo digital, sino de una profunda necesidad de equilibrio.

Tumelo Rasedile

Entrepreneurship education has become increasingly important worldwide, including for graduates in South Africa. Like their counterparts in other emerging economies, South African graduates face challenges in starting their businesses. This study focused on Graphic Design graduates at the Tshwane University of Technology (TUT), who encountered difficulties in establishing their design businesses. The research aimed to develop an entrepreneurship education framework for the Integrated Communication Design (ICD) programme at Tshwane University of Technology. A qualitative method was used along with an interpretivism research philosophy to examine small and micrographic design businesses in Tshwane’s central business district. In this article, twelve participants were chosen through purposive sampling. Four main themes were revealed in this article namely, core entrepreneurial skills, curriculum challenges in practical education, challenges faced by graphic design graduates, and strategies for improving business performance. These findings informed the proposed framework for entrepreneurial education for Tshwane University of Technology. The study identified ten key challenges for graphic design graduates, such as a lack of contracts, mentorship, and financial support, difficulties in hiring skilled staff, limited business knowledge, reliance on government contracts, excessive subcontracting, brand recognition issues, cash flow problems, and corruption. The study concluded by emphasising the urgent need for a shift in graphic design education, particularly in South Africa. It is recommended that graphic design educational institutions and the government join hands in finding ways to sponsor these entrepreneurs financially and non-financially to make their transition into the corporate world as smooth as possible.

Francisco José Fortuño Bernier

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.

Almudena Martín Martínez

The subjects discussed in the article are the curious use of the term creativity by neoliberalism, how this has had an effect on educational policies in recent years, and how this effect can be counteracted by suggesting an option in a critical educational model. We characterize the concept of creativity applying a multidisciplinary approach with an analytical foundation that diverges with the perceptions coined by the business speech in the latest decades. Because of this disparity, we question the manner in which pedagogy ought to use creativity for the best development of students’ critical capacity, which allows them to criticize the strategies and the objectives of their learning process, as well as willingly animate their subjectivity and foment their critical thought. In relation to the methodology, for all the phases of this documentary research project, we have worked with a bibliographical review of sources which, due to their concrete theme and academic impact, are more relevant for the idea and purposes.

Renato Bermúdez Dini, Edwin Culp-Morando

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).

Rona Reesa Kurian, Preeti Navaneeth

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).

Angelo Pietro Desole

The article focuses on the representation of striptease in Italy in the late 50s. While the unveiling of the female body became more and more pervasive - in posters, in magazines, in theaters, in cinematography - Italian moralists sought strategies to contain the phenomenon. At the same time, many courts issued acquittal sentences which, in fact, liberalized striptease. At the center of the dispute was not female nudity (which had been showed since at least a decade) but rather the rules of behavior of women, disputed between the will to control and the desire to look. In both cases, considered as an object of the male will.

Alexandre Araujo Bispo

Yêdamaria: a cor sem rancor. Alexandre Araujo Bispo

Fabio Colonnese, Marco Carpiceci

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.

Jesús Algovi González Villegas

Obra en vídeo, que se muestra de manera circular (en loop). Se trata de la grabación de una acción sobre una pieza escultórica, realizada en cera con la palabra ACCIÓN. La obra inicia su “cremación”, a modo de vela múltiple hasta su total desaparición (cámara acelerada o time-lapse), que luego vuelve a sur­gir de sus cenizas hasta formarse y completarse de nuevo. Es una metáfora visual de la propia vida, del resurgir, como ave fénix, que a menudo nos toca experimentar a lo largo de nuestra existencia. Esta pieza ha estado expuesta en sendas individuales en la Galería Weber-Lutgen de Sevilla (“Game Over”, 2018) y en la Feria Internacional de arte contemporáneo CHINA CHENGDU INTERNATIONAL ARTWORK EXPO (República Popular China, 2015). Presentada en el I CONGRESO VIRTUAL INTERNACIONAL CIVARTES 2020.

Mara Rúbia Sant'Anna

Formalidade

Andrea Giordano

The city of Padua is surveyed by technicians coordinated by Giovanni Valle, who elaborates, draws and ‘amends’, under the direction of Simone Stratico –whose role has not yet been clarified [1]– a map that was engraved in Rome, within 1784, by Giovanni Volpato. For technical reasons the huge surface of the drawing is transfered on 20 copper plates of various sizes [Ghironi, Mazzi 1985] becoming, in its original edition, one of the most important and famous maps of the city. Realized according to precise criteria of geometric measurement, it can be considered, therefore, a punctual record of the urban condition of Padua in the 18th century [Zaggia 2009]. For this reason, the map plays a role of great historical importance since it crystallizes the forma urbis of Padua before the wide nineteenth and twentieth century transformations (read more).

Leila Galehdaran, Reza Pourzarrin

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.

Meghan Kozal

Artist Portfolio

Laura Busetta

Jonas Mekas turned ninety on 25 December 2012, and the sixty-year career of the Lithuanian-born artist, poet and filmmaker has been at the centre of several events, talks, screenings and exhibitions organised in London and Paris. The Centre Pompidou in Paris and the BFI Southbank in London both presented screenings of Mekas’s older and recent works, and the London Serpentine Gallery programmed a series of seminars and films, coinciding with a central solo show on the life and work of the filmmaker. The Serpentine Gallery presents different elements of the filmmaker’s personal story—such as photographs, printed stills, videos, writing, documents, a selection of poems translated from the Lithuanian, a display of Bolex cameras and even a copy of Mekas’s passport—which are put together in an extensive collage.

Dimitri Cervo

Tema para filme IV

Daniela Linck Diefenthäler

O seguinte artigo deriva da pesquisa: “Eram muitas casas – provocando o imaginário infantil”, que venho desenvolvendo em minha dissertação de Mestrado, na qual busco investigar como as crianças estão construindo seus imaginários mediados pela cultura visual. Tal estudo se configura através de uma pesquisa que utiliza alguns pressupostos etnográficos, bem como uma investigação sobre os artefatos visuais endereçados à infância, aportes teóricos dos Estudos da Cultura Visual e dos Estudos Pós-estruturalistas em Educação. Minha discussão aqui é em relação aos artefatos visuais a que as crianças têm acesso. Para tanto julguei pertinente realizar uma pesquisa visual acerca da imagem da casa presente em artefatos culturais direcionados à infância como livros e filmes infantis, brinquedos, desenhos animados, imagens dos livros para colorir, algumas casas na história da arte, casas de animais, dentre outros, pois entendo que suas construções visuais são baseadas nos referentes culturais com que elas convivem.

Luc Vancheri

Abstract (E): Chris Marker films the last moments of Andrei Tarkovski’s life for the collection<br />Cinéma, de notre temps. Une jounée d’Andrei Arsenevitch is neither a portrait nor a visual study, but<br />rather a work of mirroring and reflection. The film is profoundly amicable. It shows, through a series<br />of poetic figures, the strange bonds between man and his images. They do not look like him, but<br />instead are implicit resemblances, correlating fiction and life, forms of idleness that feed all genuine<br />inspiration.<br />Abstract (F): C’est pour la collection Cinéma, de notre temps, que Chris Marker filme les derniers<br />moments de la vie d’Andrei Tarkovski. Ni portrait ni étude visuelle, Une journée d’Andrei Arsenevitch<br />est plus sûrement une oeuvre en miroir, profondément amicale, qui compose selon une série de figures<br />poétiques l’étrange relation qui relie un homme à ses images. Elles ne lui ressemblent pas, elles font<br />de l’implicite ressemblance qui met en contact la fiction et la vie, la forme d’un désoeuvrement qui<br />nourrit toute inspiration véritable.

Alberto Dallal

Aún antes de la profesionalización de las diversas actividades dancísticas, la composición coreográfica desempeñó un papel fundamental en todos los fenómenos dancísticos. En el México prehispánico, la tarea coreográfica estuvo en manos de los sacerdotes, quienes imprimieron el sentido ritual y altamente simbólico que, todavía en la actualidad, tienen las danzas indígenas. La conquista española, a su vez, no hizo sino encauzar tales prácticas en un marco cristiano.