scholarly journals gazing hands and blind spots: galileo as draftsman

2001 ◽  
Vol 14 (s1) ◽  
pp. 153-192 ◽  
Author(s):  
horst bredekamp
Keyword(s):  
Visual Arts ◽  
The People ◽  
Blind Spots

the article deals with the interrelation between galileo and the visual arts. it presents a couple of drawings from the hand of galileo and confronts them with viviani's report that galileo had not only wanted to become an artist in his youth but stayed close to the field of visual arts throughout his lifetime. in the ambiance of these drawings the famous moon watercolors are not in the dark. they represent a very acute and reasonable tool to convince the people who trusted images more than words. the article ends with panofsky's argument that it was galileo's anti-mannerist notion of art that evoked a repulsion of kepler's ellipses. it tries to show that it was again an aesthetical prejudice that hindered einstein from accepting panofsky's theory.

Gazing Hands and Blind Spots: Galileo as Draftsman

2000 ◽  
Vol 13 (3-4) ◽  
pp. 423-462 ◽  
Author(s):  
Horst Bredekamp
Keyword(s):  
Visual Arts ◽  
The People ◽  
Blind Spots

The ArgumentThe article deals with the interrelation between Galileo and the visual arts. It presents a couple of drawings from the hand of Galileo and confronts them with Viviani's report that Galileo had not only wanted to become an artist in his youth but stayed close to the field of visual arts throughout his lifetime. In the ambiance of these drawings the famous moon watercolors are not in the dark. They represent a very acute and reasonable tool to convince the people who trusted images more than words. The article ends with Panofsky's argument that it was Galileo's anti-Mannerist notion of art that evoked a repulsion of Kepler's ellipses. It tries to show that it was again an aesthetical prejudice that hindered Einstein from accepting Panofsky's theory.

Of the Akan people: Colour and design education in Ghana

2020 ◽  
Vol 16 (3) ◽  
pp. 399-416 ◽  
Author(s):  
Patrique deGraft-Yankson
Keyword(s):  
Visual Arts ◽  
Visual Communication ◽  
Design Education ◽  
Proper Understanding ◽  
The People ◽  
Arts Curriculum ◽  
Education In Ghana ◽  
Visual Arts Curriculum ◽  
Design Experience

This article digests some of the general ideas that constitute the concept of colour among the Akan people of Ghana and how their proper understanding and desirable consideration will enhance effective visual communication in the Ghanaian visual arts curriculum. The investigation, which involved a number of conversations with knowledgeable personalities in the teaching and speaking of the Akan language, sought to bring out the perceptions, beliefs and functions of colour among the people. The outcome of the study pointed to how colour resides deeply within the traditional lives of the Akan people, not only as aesthetical experience but also as an ‘object’ of cultural and spiritual signification. The study therefore recommends a proper understanding of and conscious respect to the perceptions and meanings of colour among contemporary Akan designers and design educators to improve the design experience of teachers, learners and practitioners.

Creatively Engaging the Political

2018 ◽  
Author(s):  
Caron E. Gentry
Keyword(s):  
Visual Arts ◽  
Spoken Word ◽  
The Political ◽  
Power Structures ◽  
Christian Realism ◽  
Alternative Perspective ◽  
The People ◽  
Per Se ◽  
The Absolute ◽  
Do So

This chapter establishes feminist Christian realism in IR as focused upon addressing power structures and articulating a rigorous creative response to anxiety. A creative response to injustice recognizes not just the ability of love to operate in political contexts but the absolute need for it to do so. Creativity has been reduced to an egotistical proposition, glorifying human ingenuity and genius. It tends to focus on the people who are well recognized and therefore set apart from the rest of population for their contributions to society: whether this is written or spoken word, music, visual arts, or inventions. There is an alternative perspective on creativity, one that is not located within human ingenuity per se but rather on relationships, community, and agape—one that is cognizant of mutual vulnerability.

Islamic Art and Architecture in The Encyclopaedia of Islam, 2nd ed.

1994 ◽  
Vol 28 (2) ◽  
pp. 158-162
Author(s):  
Sheila S. Blair ◽  
Jonathan M. Bloom
Keyword(s):  
Visual Arts ◽  
Late Summer ◽  
Islamic Art ◽  
Islamic Culture ◽  
Islamic History ◽  
The People ◽  
History Of ◽  
Islamic Civilization ◽  
Art And Architecture ◽  
Reference Tool

The second edition of The Encyclopaedia of Islam (EI/2), published since 1954 by E.J. Brill in Leiden, is well known as an unparalleled scholarly reference for the history and culture of the Islamic lands. By late summer 1994, the Encyclopaedia had reached the entry Riḍā Shāh in the middle of the eighth volume. The volumes, each approximately 1000 pages long, are lodes of information about the people, places, events and ideas of Islamic history and thought; but simply by handling the volumes, a reader would never realize that the visual arts were an important component of Islamic culture. There are very few illustrations, none of them in color. Even to the most unsophisticated eye, EI/2 is a dense, ponderous, and user-antagonistic reference tool. Nevertheless, it is a useful resource for the history of art and architecture in the Islamic lands, particularly to those who already know something about Islamic civilization, although the reader must be an experienced miner to discover the ore-bearing strata.

Feminist Criminology and the Visual

2016 ◽  
Author(s):  
Kathryn Henne ◽  
Rita Shah
Keyword(s):  
Visual Studies ◽  
Feminist Studies ◽  
Power Relationships ◽  
Cultural Dynamics ◽  
Criminological Inquiry ◽  
The People ◽  
Gender Biases ◽  
Feminist Criminology ◽  
Alternative Approaches ◽  
Blind Spots

In response to the limitations of mainstream criminology, feminist and visual criminology offer alternative approaches to the study of crime, deviance, justice institutions, and the people implicated by them. Although feminist and visual lines of criminological inquiry have distinct foci and analytical strengths, they both illuminate disciplinary blind spots. Feminist criminology responds to criminology’s embedded gender biases, while visual criminology challenges criminology’s reliance on text and numbers. They offer approaches to redress criminology’s general lack of attention to the broader cultural dynamics that inform crime, both as a category and as a practice. Unpacking the visual through a feminist criminological lens is an emergent critical project, one that brings together and extends existing feminist and visual criminological practices. Combining feminist criminology and visual studies offers new possibilities in the areas of theory and methodology. Doing so also lends to new modes through which to query gendered power relationships embedded in the images of crime, deviance, and culture. Moreover, such an approach provides alternative lenses for illuminating the constitutive relationships between visuality, crime, and society, many of which exceed mainstream criminological framings. It brings together interdisciplinary perspectives from feminist studies and visual studies rarely engaged by mainstream criminology. Thus, a feminist visual criminology, as an extension of feminist criminology’s deconstructivist aims, has the potential to pose significant—arguably foundational—critiques of mainstream criminology.

Korean Composers in Profile

Tempo ◽  
1995 ◽  
pp. 15-21 ◽  
Author(s):  
David Babcock
Keyword(s):  
Visual Arts ◽  
Traditional Music ◽  
Music Making ◽  
The Arts ◽  
The People ◽  
Korean Composers ◽  
History Of ◽  
The Republic ◽  
The Many ◽  
The City

Ancient, ornately carved palaces in the midst of a megalopolis, the spirituality of delicate green Koryo celadon, an archaic traditional music as pungent (and delicious) as kimchi – once experienced, never forgotten. Add to these the city of Kyongju, called the ‘museum without walls’, the many reminders of a long history of suffering under Japanese oppression and the uninterrupted excellence of its poetry and visual arts, and one begins to feel Korea's special quality. The country is prosperous; education in all fields, including the arts, is given high priority. Contemporary life is vibrant and intense; the people possess a seemingly boundless capacity for hard work as well as for celebration, festivity, ceremony and mourning – and for music-making. Hardly surprising, then, that the compositional scene in the Republic of South Korea is booming, to say the least.

Canadian art archives: working to preserve Ontario’s visual art records

1999 ◽  
Vol 24 (2) ◽  
pp. 31-34
Author(s):  
Tina Meale
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Documentary Evidence ◽  
The Arts ◽  
The People ◽  
Canadian Art ◽  
Arts Community

How can the Ontario archival community best provide comprehensive documentary evidence of activities in the visual arts? A strategy for preserving the documentation needs to co-ordinate the efforts not only of the various collecting repositories in the province, but also of the people within the arts community who are generating records of their activities. Attempts already being made by Ontario archivists to ensure visual arts records are acquired and retained could be enhanced by improved education of everyone concerned.

“How-To” Make Art in Communist China: Professionalizing Amateur Artists

2019 ◽  
pp. 223-247
Author(s):  
Vivian Y. Li
Keyword(s):  
Visual Arts ◽  
Institutional Management ◽  
The Public ◽  
The Arts ◽  
The People ◽  
Public Nature ◽  
Communist China ◽  
Professional Artists ◽  
Ideological Tensions

This article explores the prominent role of the amateur artist in the conception of communist visual culture in China during the Maoist years (1949–1976). Focusing on two groups of amateur art manuals for the promotion of producing visual arts and meishuzi by the nonartists of the general public, this study reveals the dynamic process of changing authorship and the public nature of the amateur arts in the People’s Republic. In offering detailed explanations of core artistic concepts, techniques, and model examples, the manuals reflect an institutional management of the amateur artists and their creative impulses. Authored by professional artists, but intended for amateurs, the manuals speak of ideological tensions at play in the communist effort of bringing the arts to the people.

Review Essay

2017 ◽  
Vol 51 (1) ◽  
pp. 66-70
Author(s):  
Michal Raizen
Keyword(s):  
Visual Arts ◽  
Film Studies ◽  
Middle Eastern ◽  
Melting Pot ◽  
Plastic Arts ◽  
Conflict Zone ◽  
Literature History ◽  
Critical Intervention ◽  
Systemic Practices ◽  
Blind Spots

The field of Middle Eastern Studies has seen a recent spate of publications that offer a timely and nuanced look at the intersection of language, ideology, and visual representation in Israel-Palestine. Scholars of cultural studies, comparative literature, history, film studies, and the visual arts will appreciate the breadth of perspective offered by a combined reading of Lital Levy's Poetic Trespass: Writing between Hebrew and Arabic in Israel/Palestine, Gil Z. Hochberg's Visual Occupations: Violence and Visibility in a Conflict Zone, and Yaron Shemer's Identity, Place, and Subversion in Contemporary Mizrahi Cinema in Israel. This cluster of studies, taken as a whole, offers a coherent critical intervention into the politics of a literary and visual field marked by silences, lacunas, blind spots, and elisions. Poetic Trespass sketches the contours of a Hebrew literary landscape inhabited by a tacit Arabic presence. With a purview that extends to literature, cinema, and the plastic arts, Visual Occupations probes the tension between systemic practices of concealment and strategic modes of lending visibility. Identity, Place, and Subversion, a powerfully articulated analysis of Mizrahi cinema, interrogates the notion that ethnic difference has become irrelevant in the context of a contemporary Israeli melting pot.

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