Hasil untuk "Fine Arts"

Manischa Eichwalder

“Embracing the otherness” is a phrase that is borrowed from Morehshin Allahyari’s virtual reality artwork She Who Sees the Unknown: Kabous, the Right Witness, and the Left Witness (2019). In this article, I am using this phrase to question the figuration of self and other as staged by Allahyari in her work. By deploying an overwhelming effect of immersion specific to the technological features of VR, Allahyari establishes a physical as well as an emo- tional relationship to the other. But instead of encouraging a sense of closeness, which is likely to be connected to the idea of “embracing otherness” as well as to the vision of VR as “empathy machine,” this immersive experience has the opposite effect. I argue that it weirdly plays with the appropriative mechanisms of othering, unsettles the viewer’s sovereignty, and thus initiates a rather “strange encounter.” In this sense, I will examine Allahyari’s use of VR’s immersiveness as a “body hack” and elaborate how I read her artwork as a critical commentary on the debate of the transformative potential of VR as “empathy machine.” Cover caption: Morehshin Allahyari, She Who Sees the Unknown: Kabous, The Right Witness, and The Left Witness, snapshots from VR video, commissioned by The Shed, image courtesy of the artist, 2019.

Nistorac Andreea, Ailenei Eugen Constantin, Isopescu Dorina Nicolina et al.

The ecological footprint of residential buildings has seen a significant increase due to the permanent desire to improve comfort and aesthetics. The construction and rehabilitation of the existing building stock in accordance with the European standards known as “passive house”, implies the minimization of external energy consumption. Thus, the thermal insulation materials used to reduce heat transfer play an essential role in the effort to reduce the environmental footprint generated by residential buildings. Hemp is an important candidate for making heat-insulating materials. Hemp stems find their use as basic fibres inside non-woven materials used to produce heat-insulating materials with applications in the field of construction or composite materials. The energy balance between the amount of energy saved and that of obtaining heat-insulating materials, as well as the type of raw materials used for their manufacture, is a critical factor for achieving the goal of reducing ecological impact.

Yitong Niu, Linqian Jiao, Andrei Korneev

With the increase of harmful substances and greenhouse gases that need to be discharged from the traditional thermal power in industrial production in China, the phenomenon of climate warming is becoming more and more prominent. Clean energy will continue to increase in China's future energy consumption structure and market share, hydropower, nuclear power, and other energy as China's main clean energy, the future in China still has a huge market development and use of space. The new policies further adopted by the central bank of China include: continuously optimizing the structure of reasonable credit fund allocation and risk fund application for electric power enterprises to enhance the return rate of assets of electric power enterprises; continuously supporting the development of smart grid and strengthening the linkage between network and electric power; reasonably and categorically guiding the source of clean utilization of electric power, actively supporting large hydropower generation and solar and nuclear power generation, and investing funds in a controlled manner to support large thermal power generation, promote the upgrading of the thermal power generation industry structure, cautiously guide funds into large biomass power generation, wind power generation and small and medium-sized micro-hydro power, strictly control small and medium-sized thermal power, as soon as possible to withdraw from the implementation of the national preferential policies for small and medium-sized power industry management system, energy conservation and reduction of harmful emissions of environmental gases of enterprises is not possible to meet the standards and there are financial risks business efficiency situation Small and medium-sized electric power enterprises that continue to seriously deteriorate.

Tatiana Perin Pacheco, Gabriel de Andrade Junqueira Filho

Este artigo, escrito a quatro mãos, trata de dois temas intrinsecamente articulados, a saber, os meandros da criação da disciplina EDU 03142 Educação e Cinema no curso de Licenciatura em Pedagogia da FACED-UFRGS e uma pesquisa de mestrado sobre as primeiras edições desta disciplina no novo currículo deste curso de Pedagogia. Tensionando educação e arte nas relações entre os sujeitos, seja durante o processo de criação da referida disciplina, na Comissão de Graduação, seja nas primeiras edições de oferta da disciplina aos alunos, se apresenta como uma provocação e um desafio sobre as contribuições do cinema e do audiovisual para a formação docente, para a produção sensível e intelectual do conhecimento.

Antje Krause-Wahl

This article examines the photographs of artist Jimmy DeSana, who documented New York subcultures in the 1970s and experimented with materials and color in the 1980s. DeSana’s photographic interest in fetish cultures will be contextualized in the philosophical discourse of the 1970s, in which transgressive sexual practices were used to reveal and subvert power structures. To this end, I will locate the visual politics of the photographs in their publishing contexts: the magazine Semiotext(e), edited by philosopher Sylvère Lotringer, and FILE Megazine, edited by the artist group General Idea. Both magazines queered with their visual politics the strategies that determined the representation of subjects. I argue that DeSana’s material stagings and photographic processes intertwine bodies, their surfaces, and the surrounding space in order to reflect on image rhetorics and subject formations of mass media and create an alternative in which to image other ways of being and relating.

Giuseppe Bonaccorso

Nel solco della consuetudine dei “treni bianchi” che conducevano gli ammalati verso i principali santuari mariani quali Lourdes e Loreto, nel 1943 il Vaticano aveva commissionato a Vittorio De Sica la direzione di un film che trattasse dei viaggi dei pellegrini nella basilica lauretana. La pellicola, intitolata La porta del cielo, a causa degli eventi bellici dovette subire riduzioni, soprattutto per ciò che concerne la ripresa delle scene da girare a Loreto, tanto che la chiesa della Santa Casa fu riprodotta all’interno del perimetro extra-territoriale di San Paolo fuori le Mura. Le riprese, iniziate il I marzo 1944, vennero così realizzate integralmente a Roma e terminate poco dopo l’entrata delle truppe americane in città il 4 giugno.  Qui De Sica anticipa le tematiche del neorealismo, sviluppate poi nel dopoguerra insieme a Cesare Zavattini, entrando nelle sottili pieghe delle problematiche quotidiane dei malati (e dei loro accompagnatori) in viaggio verso il santuario. La produzione inserì nei registri delle comparse oltre quattrocento persone, includendo ebrei, ricercati politici, renitenti alla leva, che così riuscirono ad evitare i rastrellamenti e, dopo l’arrivo degli americani, tornarono ad abbracciare nuovamente la città.   Following the custom of the “white trains” that led the sick towards the main Marian sanctuaries such as Lourdes and Loreto, in 1943 the Vatican had commissioned Vittorio De Sica to direct a film dealing with pilgrims’ journeys to the Lauretan basilica. The film, entitled La porta del cielo (The Gate of Heaven), due to the war events had to be changed, especially in regards to the scenes to be shot in Loreto, so the Santa Casa was reproduced within the extra-territorial perimeter of San Paolo fuori le mura. Filming, which began on March 1st 1944, was thus carried out entirely in Rome and ends shortly after the entry of American troops into the city on June 4th. Here De Sica anticipates the themes of neorealism, developed after the war with Cesare Zavattini, entering the daily problems of the sick (and of their companions) travelling towards the sanctuary. The production includes over four hundred people in the registers of extras, including Jews, political dissidents, draft dodgers, who thus managed to avoid round-ups and, after the arrival of the Americans, return to embrace the city again.

Lara Schrijver

Walter Benjamin’s famous 1935 essay ‘The Work of Art in the Age of Mechanical Reproduction’ addresses the authenticity of a work of art as something beyond the merely material and technical. Benjamin constructs a broader notion of authenticity that includes ‘the life of things’ and is related to new techniques in artistic production. This broader sense of authenticity is used here to explore how it may help us to understand architecture in the age of digital reproduction. Two aspects of authenticity in Benjamin’s article are discussed: process reproduction and image  reproduction. In process reproduction, authenticity is transformed through the mediation of technical procedures. Benjamin’s analysis of photography and film is a seminal version of how the digital age raises new questions through tools and techniques such as programs, coding and algorithms. The work of Kees Christiaanse in collaboration with Ludger Hovestadt provides an example of an increasingly algorithmic approach to urban planning. In image reproduction, the question of authenticity revolves around the increasing proliferation of images. In this context, the Wangjing soho complex by Zaha Hadid and its apparent imitation by a Chinese developer proves illuminating. These projects show aspects of the changing conditions of the digital age, in which new techniques of realization may transform current notions of authenticity.

Micol Rispoli

The term innovation is commonly considered synonymous with improvement. This particularly happens in liberal societies, whose economic dynamics are expressed both in the production of objects and in the design of new services. This meaning in fact has emerged in a productive and social context in which high technology is able to produce increasingly sophisticated instruments and devices that, although requiring a very high level of scientific knowledge, are offered for mass consumption. Moreover, most of the users can only partially understand their functioning.Today innovation seems to be a permanent imperative both at the level of companies and industries, and at the level of institutions, that widely use this term when reforming their services. However, even though the term is mostly used to feed the vicious circle of consumerism, it could also refer to shared design processes and practices capable of promoting unprecedented methods of social construction.

Mauricius Martins Farina

A Revista Visuais, desde o seu primeiro número, tem aberto espaço para textos que procurem apresentar as experiências da arte, suas histórias, suas questões teóricas ou metodologias críticas. Nossa missão implica-se em contribuir para uma articulação de pensamentos críticos, ensaísticos sobre a arte e os artistas, sobre suas metodologias e relatos dessas experiências complexas que podem se oferecer cercadas pela moldura do texto e da imagem.

Siepan Khalil, Pakinam Zeid

The VOC (Verenigde Oost-Indische Compagnie) was both the absolutist and the pacifier as it sought to colonize Sunda Kelapa through the displacement of indigenous population, architecture, and regimen; the VOC was deployed catalyst to the marking of a golden era, roughly spanning the 17th century through which architecture, trade, science, and military boomed, marking Jakarta a resilient harbour to the world's finest trades. Batavia, modern day Jakarta, welded a myriad of names, endorsing its irrefutable paramount; one of which, "Queen of the East", paraphrased an allusion to its urban beauty. Until its last derogatory stages, before the Dutch surrendered to the Japanese, the name Batavia ricocheted across the globe, as reverberation to its resilience, urban beauty, varsity of cultures, and robust trade as the Dutch East India Company. The VOC has, unequivocally, paved the road of prominence for the glorious city of Jakarta, manifesting a discourse of exalt. Analysing the egress and relinquishment of the Dutch Empire and its appurtenant colony, delineating the urban tableau, a prevalent architectural resplendence. The unravelling of holistic fabric through which urban planning, architectonics, politics and sociology interweave, meandering the gradual transition of the Dutch East Indies, yearning subordinate to Jakarta; the unwavering proclaimed prerogative.

Alexandre de Avila Lerípio

Entrevista do prof. Alexandre de Ávila Lerípio

Eliane Constantinou, Letícia Bettio Machado, Adriana Luckei Rodrigues

Este trabalho apresenta a produção parcial da pesquisa Habitação de Interesse Social: interação entre escala arquitetônica e urbana, que objetiva investigar a produção de projetos de Habitação de Interesse Social Contemporânea, realizada através de concursos e/ou parcerias público privadas. A seleção dos projetos foi realizada a partir de um conjunto amostral de vinte e cinco escritórios eleitos em 2010 como a “nova geração da arquitetura brasileira”. Neste estudo analisa-se as propostas desenvolvidas pelos escritórios Arquitetos Associados, Yuri Vital - propostas independentes de habitação horizontal - e os escritórios UNA Arquitetos e Grupo SP - propostas verticalizadas para o concurso Habita Sampa. As discrepâncias do arranjo formal das unidades habitacionais, bem como suas relações com os espaços condominiais e público sugerem percepções ambientais distintas. Analisar, comparativamente, como as tipologias habitacionais respondem aos problemas de projeto impostos por distintos contextos, e inferir a respeito da potencialidade de socialização gerada a partir das diferentes configurações espaciais representam o objetivo central desta investigação. A análise se desenvolve a partir de pesquisa bibliográfica, documental e análise gráfico-textual gerada através do redesenho dos projetos e da simulação de percursos a partir dos 3D gerados. Como resultado deste estudo, foram identificados padrões de urbanidade, habitabilidade e estratégias humanizadoras de acordo com as diferentes tipologias. Finalizando, esta pesquisa tem por intuito entender, através da investigação espacial, recursos de projeto que potencializem percepções positivas no sentido de lugar para os usuários.

Caterina Pocaterra

Marina Vicelja-Matijašić

Prima Yustana

Elephant’s manifestation in the shape of Majapahit’s terracotta more interesting with aesthetic approach. The artifact is an discovery of archeologists’ in Trowulan which is estimated as a city center of Majapahit Kingdom. Many manifestations of the elephant are interested to be observed. Many findings, so far, will be observed especially from art. To increase the accuracy in the analysis process, data searching is conducted to the relief on Hindu and Buddha temples, so, hopefully, it can be understood the background why the animal appears in the Indonesian art and, especially, why there is also the manifestation of the animal in the shape of terracotta in Trowulan. Elephant manifestation in terracotta is considered to have many functions and symbolical meanings in religion. Terracotta has been known as an ancient human creation. The using of terracotta in Indonesia achieved its triumph in the classic period which was 13–15 century A.D., along with the golden age of Majapahit Kingdom. The materials in the research use the basic of aesthetics and iconography sciences because the artifact has art shape structure related to beauty and aesthetics. To find out the functions and the meanings in the relation religious activities, the discussions are focused in terracotta artifact manifested in statue and other things so iconographic science very supports to find out what meaning exist in the elephant manifestation. Elephant, in its shape, is manifested realistic and deformatif. Both manifestations have the background of the belief from Trowulan society in Majapahit period, which had Hindu and Buddha in their religion. In the period, elephant was considered to have symbol of strength, virility and wisdom. Besides that, elephant was also the vehicle of God Indra, named Airavata. Elephant is also the symbol of Budha’s birth story (Jataka). Elephant was also considered as God, called Shri-gaja. The last, elephant was also considered as a symbol of social status and fertility because elephant was a king’s pet and was used for war,so only the rich persons were able to have the animal. Keywords: Elephant, Majapahit’s terracotta, function and meaning.

Maria Pia Fontana, Miguel Mayorga, Margarita Roa

In Le Corbusier’s work the threshold is represented like a revealing and enigmatic space that define the relations of the limit or boundary, the separation and the union between the buildings and the urban spaces, and the space that defines, qualifies and characterises the minimum condition of urbanity of any work of architecture, irrespective of its use or scale. Through an analysis of the draws based on the study of the six notebooks of The Voyage d’Orient (1911), and of the study of the urban settings visited, we verified that the threshold is, for Le Corbusier, a space or sequence of spaces organised under the idea of “plan” of variable thickness or extension, that includes both criteria and guidelines of order as well as solutions for managing the limits or boundaries in architecture, as well as its relation with space and the involvement with its surroundings, that is to say, we have also focused on highlighting how the architecture in itself, attends to an order that as well as being articulated and unitary, is extended by means of doors, frames, courtyards, terraces, sheds and exterior spaces, that incorporate both the nearby urban landscape as well as the distant cityscape.

Arnaldo Daraya Contier

Intelectuais modernistas dos mais diferenciados matizes políticos conceberam a pesquisa do folclore como fonte de inspiração do artista culto. Guardadas certas especificidades, o mesmo se deu com Mário de Andrade, autor preocupado com a construção de um discurso sobre a identidade cultural fundamentado numa idéia de brasilidade. Seu modernismo nacionalista repensou os significados do "popular" e do "erudito", sem abandonar os diálogos com as tendências estéticas européias. palavras-chave: Mário de Andrade; identidade cultural; música erudita.

P. Niell

Amanda Gluibizzi

T. Corby