Hasil untuk "Visual arts"

Ozlem Ozgür, Mehmet Serdar Büyükpala

Cinematic spaces are defined by their ability to create new spaces through reorganizing physical environments, a process facilitated by cinema. Directors use unique spaces in their films to convey specific themes and emotions. In Pelin Esmer's İşe Yarar Bir Şey (Something Useful, 2017), the train serves as the setting for the film's initial segment, offering views of external lives from within through the window. This prompts individuals to reflect, question their existence, and experience diverse emotional states. The objective of this study, which examines the 2017 film Something Useful, is to analyze the spaces utilized and the spatial experiences of the protagonists at the threshold by examining them through the lenses of Gaston Bachelard's (1994) concepts of home, Stavroz Stavrides's (2010) notion of the threshold, and Michel Foucault's (2008) concept of heterotopia. The train, as an example of heterotopia, facilitates a transition to the protagonists' inner world while observing the external world. This space is characterized by a different experience of time, functioning as a transitional space that is both physical and metaphorical. It is marked by threshold elements, such as glass, which delineate and symbolize the space's function as a conduit between inner and outer realms. The house is an uncanny space for existential inquiries and suicide. It's a mix of cosmos and chaos.

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.

Fayrouz Samir Abdel Baky

Based on the idea of influence and mutual influence in the visual arts, And the effect of this on the enrichment of ideas and maturity of creativity. the research deals with some samples of the textiles of the Wissa Wassef Center, which express the Egyptian environment in sharp flattening of the elements. The applied aspect deals with the idea of merging and mixing the flat and the stereoscopic to achieve a single organic unit These textiles were employed as flat backgrounds for the anthropomorphic human element that merged with it in a state of oneness and transferred with it to a parallel world that mixes the contradictory elements in one unit. The experiment was carried out on 12 panels using oil paint on wooden boards. The researcher used the technique of scraping, deleting, and adding with a knife to the palette, which increased the sense of texture and created confusion between being woven or drawn on a real Wassef textile. The researcher tried to preserve the composition, elements, and colors of the original texture while reducing some of the details that might harm the final design of the painting. The paintings were divided into three groups (pendants - on the edge - coexist). The paintings dealt with the theme of the contemporary woman who is tired and burdened search for moments of calm and tranquility and giving herself the opportunity to contemplate beauty to catch her breath and regain with the virgin nature and her simple creatures. The poses of women in composition were inspired by ancient Egyptian art and the tree of life.

Luana M. Wedekin

Expediente da Revista Palíndromo vol. 14 n. 33 maio-agosto de 2022

Joe Culpepper, Melanie I Stuckey

Ellen Handy

The Harrison Horblit Collection at the Harvard University’s Houghton Library contains a remarkable daguerreotype plate by the Boston firm Southworth & Hawes. It reproduces an engraving after Raphael’s Transfiguration. Whereas reproductive printmaking normally seeks to produce multiples of a unique original, daguerreotype reproductions open a space of ambiguity between the categories of original and reproduction since daguerreotypes are unique objects. Much is lost in this translation, but what is gained? If reproduction of paintings normally renders the singular multiple, what happens when a painting is reproduced as a unique image? Why was this daguerreotype created? Southworth & Hawes specialized in portraits of celebrities and considered themselves artists. Why then did they make a daguerreotype of an engraving of a painting? And why this painting?Their image of an image of an image is at once simply duplicative and a meditation on photography itself – an expanded conception of photography that figures it as spiritual and conceptual practice, as is suggested in other conflations of image reproduction and transfiguration within Southworth & Hawes’ oeuvre as well. The logic of the Southworth & Hawes’ Transfiguration becomes less a conundrum when considered in relation to two of their other images, one of the branded hand of abolitionist Jonathan Walker, the other a self-portrait representing Southworth’s torso as a classical sculpture. Translation, transfiguration, body, soul and image are closely imbricated in all three of these daguerreotypes, each produced during the height of New England Transcendentalism. While Raphael’s Transfiguration epitomizes the intersection of the human and a divine being as Scriptural drama, The Branded Hand and Southworth as a Classical Bust allude to the spiritual realm through representation of the soul’s transcendence of the suffering body rather than direct reference to scripture. The Branded Hand detaches subject from the context of the body as a whole; Walker’s wound appears in the image as the silvery trace of the price paid for his abolitionist conviction. The portrait of Southworth separates an individual man’s identity from the more allegorical presence, while presenting suggestions of sorrow as emblems of spiritual elevation. But beyond this, the transmedial daguerreotype of the print of the Raphael announces itself as visual metonymy; the transfiguration of Christ in the painting also conveys the transfigurative power of the photographic medium itself.

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.

Antonio José Planells de la Maza

El laberinto ha sido tradicionalmente una de las estructuras físicas, psicológicas y simbólicas más relevantes y enigmáticas del mundo cultural occidental. Fértil como marco mítico para la literatura y el cine, apenas se ha explorado su impacto en el diseño de los videojuegos contemporáneos. Por ello, en este artículo exploramos cómo el laberinto, entendido como criterio de diseño físico y mítico, ha inspirado el videojuego tanto desde la perspectiva ludológica e interactiva como desde la visión simbólica de los mundos ludoficcionales. A partir de la herencia del juego analógico y los primeros videojuegos, realizamos una primera delimitación conceptual entre juego unicursal o labyrinth, multicursal o maze y rizomático. Acto seguido, aplicamos las dos primeras figuras al videojuego actual y analizamos las figuras centrales del mito – Teseo, el Minotauro y Ariadna – y su rol en la conformación de viejas y nuevas heroicidades, la concepción de la otredad y el mal y el juego como sendero vital interactivo.

José María Valverde Tercedor

En el presente artículo aporto datos documentales inéditos del retablo mayor levantado, a partir de 1746, en la abadía del Sacro Monte de Granada (España), una institución contrarreformista fundada en 1610. Entre ellos destaca su autoría, al desconocido imaginero Domingo Cabrera, así como la evolución del proceso de su hechura y colocación, y su contextualización histórica. Ésta se enmarca dentro de los conocidos como “defensorios”, los cuales son una serie de textos que tenían como principal función restituir el prestigio del Sacro Monte, puesto en duda a partir de la condena como heréticos de los misteriosos libros plúmbeos que le dieron origen. Asimismo estaban estrechamente ligados a unos nuevos descubrimientos, que acontecieron en la Alcazaba Qadima, del barrio del Albaicín, a mediados del siglo XVIII, impulsados por Luis Francisco de Viana y Bustos, uno de los principales promotores del retablo.

Valentino Catricalà

Bandera

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Deise Quintiliano Pereira

Uma resposta da película ao futuro da cinematografia pode se condensar no intrigante conceito de filmosofia, porquanto representa uma perspectiva original de apreensão do objeto fílmico. Por essa razão, os pressupostos filmosóficos não confrontam o filme-testemunha, isto é, o espectador, necessariamente com fatos reais; mas com sua própria intrínseca realidade fílmica. O cinema pensa. A câmera vê para além das intenções projetadas pelo cineasta. Estamos diante de uma efetiva semiologia cinematográfica na qual os sentidos serão co-construídos com o auxílio do olhar arguto do observador, que será convidado a revisitar um grande sucesso do cinema nacional contemporâneo: o filme O meu nome não é Johnny.

Liliane Louvel

Daniel Belinche

El texto −concebido en el marco de una investigación más amplia acerca de la enseñanza del arte y sus problemas recurrentes denominada Diez formas de arruinar una clase −, aborda, a partir del análisis de un fragmento escénico, la tensión que se suscita entre la adhesión conquistada por la pregnancia del material escogido y la vacancia de claridad respecto de su propósito dentro de una secuencia pedagógica, enfatizando en los recursos provenientes de aquella alteración que, con amplitud, podríamos denominar formal y sus consecuencias semánticas y expresivas.

Charlotte Pylyser

<p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"><span style="font-family: ";Times New Roman";,";serif";; font-size: 12pt; mso-ansi-language: EN-US;" lang="EN-US">Hillary L. Chute, <em><em style="mso-bidi-font-style: normal;"><span style="font-weight: normal; mso-bidi-font-weight: bold;">Graphic Women</span></em></em><em style="mso-bidi-font-style: normal;">: Life Narrative and Contemporary Comics</em>. </span></p><p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"><span style="font-family: ";Times New Roman";,";serif";; font-size: 12pt; mso-ansi-language: EN-US;" lang="EN-US">New York: Columbia UP, 2010</span></p><p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"><span style="font-family: ";Times New Roman";,";serif";; font-size: 12pt; mso-ansi-language: EN-US;" lang="EN-US">Paper, 316 pages, ISBN: 978-0-231-15063-7<strong style="mso-bidi-font-weight: normal;"></strong></span></p>

Evelyn Knowles, Dennis Kerkman

This study investigated students’ attitudes and motivations toward online learning. Students in the online course, Introduction to the Visual Arts, were asked to complete questionnaires administered during the first and last week of the online course. A group of questions on Attitude was asked on both surveys. Questions on Interest, Self-management, and Locus of Control were asked only at the beginning of the course. The end of class survey included questions on Study Process Approach. Students in the study were found to have a strong internal Locus of Control. A significant correlation was found between a more internal locus of control and relying on surface strategies for learning. Another significant result was found on the Attitude pre- and post-course comparison regarding missing interaction with other students and getting more information through an online course. Generally, students’ attitude toward online learning was more positive during the last week of the course than in the first week. The study showed that this online course provided a sufficient amount of student to instructor interaction, a high amount of student to material interaction, and a low amount of student to student interaction.

Justino Fernández

Cecília Sayad

Este artigo contrasta Histoire(s) du cinéma de Jean-Luc Godard e Cabra Marcado Para Morrer de Eduardo Coutinho, estão engajadas com a questão da autoria no cinema. Enquanto a imagem de Godard enfatiza a capacidade que tem um filme de transmitir a visão de mundo pessoal de um artista, a presença de Coutinho na tela funciona menos como um meio de subjetivar a obra do que como um catalizador instigando cetas reações nos "atores" filmados.