Creating Art

2021 ◽  
pp. 69-86
Author(s):  
Mark Kingwell
Keyword(s):  
Architectural History ◽  
Close Connection ◽  
Work Of Art ◽  
Good Design ◽  
Do So

Ethics and aesthetics are not always conjoined, but this chapter argues for a close connection between. Good design is its own kind of responsibility: to the norms of architectural history, but also to the possibility of elegant innovations that can, just a revolutionary work of art in another medium, alter the conversation. Some architects do not consider themselves artist, but the greats ones did and do so still.

Tracing the Rift: Heidegger, Hölderlin, and “The Origin of the Work of Art”

2019 ◽  
Vol 53 ◽  
pp. 295-307
Author(s):  
Will McNeill ◽  
Keyword(s):  
Central Concept ◽  
Work Of Art ◽  
The Real ◽  
Philosophical Significance ◽  
To Come ◽  
Central Claim ◽  
Do So

Heidegger’s 1936 essay “The Origin of the Work of Art” is notoriously dense and difficult. In part this is because it appears to come almost from nowhere, given that Heidegger has relatively little to say about art in his earlier work. Yet the essay can only be adequately understood, I would argue, in concert with Heidegger’s essay on Hölderlin from the same year, “Hölderlin and the Essence of Poetizing.” Without the Hölderlin essay, for instance, the central claim of “The Origin of the Work of Art” to the effect that all art is in essence poetizing, Dichtung, can hardly be appreciated in its philosophical significance without the discussions of both essence and poetizing that appear in the Hölderlin essay. This is true of other concepts also. The central concept of the rift (Riß)—the fissure or tear—that appears in “The Origin of the Work of Art” might readily be assumed to be adopted from Albrecht Dürer, whose use of the term Heidegger cites at a key point in the 1936 essay. Here, however, I argue that the real source of the concept for Heidegger is Hölderlin, and that the Riß is, moreover—quite literally—an inscription of originary, ekstatic temporality; that is, of temporality as the “origin” of Being and as the poetic or poetizing essence of art. I do so, first, by briefly considering Heidegger’s references to Dürer in “The Origin of the Work of Art” and other texts from the period, as well as his understanding of the Riß and of the tearing of the Riß in that essay and in its two earlier versions. I then turn to Heidegger’s 1936 Rome lecture “Hölderlin and the Essence of Poetizing,” in order to show the Hölderlinian origins of this concept for Heidegger.

scholarly journals Cultural Materialism in Lorca’s Poetry

2020 ◽  
Vol 3 (2) ◽  
pp. 682-691
Author(s):  
Mahnaz Soqandi ◽  
Fatemeh Sadat Basirizadeh
Keyword(s):  
Ethnic Studies ◽  
Fine Arts ◽  
Point Of View ◽  
Cultural Materialism ◽  
Social Mechanism ◽  
Work Of Art ◽  
External Point ◽  
Language And Politics ◽  
Mechanism Function ◽  
Do So

The aim of the present research is to investigate Lorca’s poem from cultural materialist point of view. To do so, the researcher investigates how culture and social mechanism function in the context in which the poems have been written. Cultural materialism attempts to investigate different aspects of society, art, economy, language, and politics from an external point of view and analyze them to find out how identity and self are shaped accordingly. Cultural materialism is demonstrated in different categories including gender, ethnic studies, postmodernism, postcolonialism, and other fields. Cultural materialism highlights the relation between a work of art and the ideological system in which it has been created. In other words, cultural, social, religious and several other factors must be accounted for while interpreting a work of art. Consequently, how cultural dogma functions within fine arts in order to produce the internal textures is uncovered through cultural materialism. In Lorca’s poems, the contents have symbolic and metaphoric mechanisms which can be interpreted through material analysis.

scholarly journals Sh. Murtazanyń «Tamuq» shyǵarmasyndaǵy Turar obrazy [The Image of Turar in the Work «Hell» by Sh. Murtaza]

2020 ◽  
Vol 3 (117) ◽  
pp. 91-99
Author(s):  
Nýsýpova A.J. Sh. ◽  
Keyword(s):  
20Th Century ◽  
Social World ◽  
Close Connection ◽  
Theoretical Knowledge ◽  
Work Of Art ◽  
New Approach ◽  
The Social ◽  
Literary Process ◽  
New Research

The article examines a work based on the fate of the historical personality of Turar Ryskulov, a complex and full of struggle. We are also talking about the artistic and creative sphere of the writer, the essence of worldview and theoretical knowledge, methods and principles of the analysis of a work of art. Using a new approach, an overview of the life and creative path of T. Ryskulov, who lived and worked in the 20th century in the social world of Kazakhstan, is made. The article reveals the artistic solution of the work «Tamuk» («Underworld») by the writer who introduced a new trend in Kazakh literature, including Kazakh prose, sh. Murtaza. In addition, the formation of a writer as a writer and his new research in this direction, thematic-ideological, stylistic-linguistic, genre characteristics are considered in close connection with the literary process. The work «Tamuk» extensively analyzes the worldview of T. Ryskulov, his deep thoughts. В статье рассматривается произведение, в основе которого лежит судьба исторической личности Турара Рыскулова, сложная и полная борьбы. Речь идет также о художественно-творческой сфере писателя, сущности мировоззрения и теоретических знаний, способах и принципах анализа художественного произведения. Используя новый подход, сделан обзор жизненного и творческого пути Т. Рыскулова, жившего и творившего в 20 веке в общественном мире Казахстана. В статье раскрывается художественное решение произведения «Тамук» («Преисподняя») писателя, внесшего новое направление в казахскую литературу, в том числе и в казахскую прозу, Ш. Муртазы. Кроме того, становление писателя как писателя и его новые исследования в этом направлении, тематико-идеологические, стилистико-лингвистические, жанровые характеристики рассматриваются в тесной связи с литературным процессом. В произведении «Тамук» подробно анализируется мировоззрение Т. Рыскулова, его глубокие мысли.

A Reply To Miss Smith

Philosophy ◽  
1958 ◽  
Vol 33 (124) ◽  
pp. 57-57
Author(s):  
W. D. Glasgow
Keyword(s):  
Work Of Art ◽  
Works Of Art ◽  
The Subject ◽  
Spiritual Reality ◽  
Objective Reference ◽  
Do So

The word “objective” is of course the trouble–maker here, Miss Smith assumes that if an aesthetic statement is held to be objective (or to have an objective reference) then it is the physical existence of the work of art (the picture or the sound of the music) that constitutes the objectivity: i.e. if a work of art is exteroceptively perceivable, then an aesthetic statement involving it is objective. Some writers, however (usually philosophical idealists) have held that in genuine works of art there is manifested an ultimate spiritual Reality (it might be called God) which we apprehend when we appreciate such works. On this theory, an aesthetic statement (“This picture is beautiful”) has an objective reference if the subject of it (the work of art) succeeds in expressing or communicating such a supersensible Reality: if it fails to do so, then the statement is subjective, i.e. it can be analysed completely into a statement about our feelings or emotions (e.g. “I like this picture”).

Concentric Pedagogy: Toward an ethics of the Observer

October ◽  
2019 ◽  
Vol 168 ◽  
pp. 43-46
Author(s):  
Mary Kelly
Keyword(s):  
Institutional Context ◽  
Studio Art ◽  
Work Of Art ◽  
Specific Content ◽  
Critical Pedagogies ◽  
Do So ◽  
Mary Kelly

Critical pedagogies have been informed by feminism since the 1970s, but artist Mary Kelly considers what this means as a tactic rather than a specific content. Focusing on one of the central curricular components of studio art in an institutional context, the critique, she argues that the work of art is a visual proposition, legible on its own terms, and that the artist's verbal defense does not necessarily give him/her a voice. Instead, the process of deciphering must begin with looking and understanding this as a form of listening to the artist through the work. Moreover, Kelly suggests that not to do so is, in some sense, unethical.

scholarly journals O cristal em decomposição em Morte em Veneza de Luchino Visconti

2020 ◽  
Author(s):  
Veronica Miranda Damasceno
Keyword(s):  
Gilles Deleuze ◽  
The Other ◽  
Fundamental Operation ◽  
Work Of Art ◽  
Past Time ◽  
The Past ◽  
Death In Venice ◽  
The One ◽  
Luchino Visconti ◽  
Do So

The constitution of the crystal image corresponds to the most fundamental operation of time. In order to do so, it is necessary for time to separate, arise or happen, in two decimetric spurts, of which one of them makes pass the whole present and the other conserves all the past. Time consists precisely in this split, it is the one we see in a crystal. Crystal is the perpetual foundation of time. According to the perspective of the French thinker Gilles Deleuze, in Death in Venice, Luchino Visconti gives us to see the crystalline images according to their own decomposition. This is present throughout his work. In this film, we can see this decomposition, for example, through the plague that devastates Venice or even through the revelation that something arrived too late. When the character of the musician sees the young Tadzio, he has the vision of what lacked in his work: sensual beauty. The too late conditions the work of art and conditions its success, for the sensuous and sensual unity of nature with man is the essence of art par excellence, inasmuch as it is of its nature to occur too late!

THE PROBLEM OF LONELINESS IN THE UZBEK NOVEL OF THE INDEPENDENCE PERIOD: ON THE EXAMPLE OF THE ANALYSIS OF TOGAY MURAD'S WORK "YOU CAN'T DIE IN THIS WORLD"

2020 ◽  
Vol 5 (3) ◽  
pp. 174-179
Author(s):  
Bibi Robia Saidova ◽  
Keyword(s):  
Close Connection ◽  
Work Of Art ◽  
Rules Changes

The article reflects the close connection between the author's psyche and the psyche of the work of art. As the system subject to certain rules changes, some aspects of society also change, but the evolution of the heroic psyche, which has struggled to get out of the mold of the environment in which it has lived for most of its life, has been interpreted

scholarly journals Perceptions. The Unbuilt Synagogue in Buda through Controversial Architectural Tenders (1912–1914)

Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 149
Author(s):  
Éva Lovra
Keyword(s):  
World War I ◽  
Urban Design ◽  
20Th Century ◽  
Architectural History ◽  
Early 20Th Century ◽  
World War ◽  
Architectural Styles ◽  
Do So

The unbuilt synagogue in Buda is an almost forgotten chapter in Hungarian architectural history which drew great attention between 1911 and 1914. It was discussed extensively by the contemporary press in the early 20th century and by architects in the Hungarian capital of Austria–Hungary. Between 1912 and 1914 three tenders for the design of the synagogue of Buda were announced, with the participation of well-known (synagogue) architects of Hungary, who represented the diverse architectural styles of the period. The efforts to build the synagogue, including the three failed tenders, the 30 competition designs and the opinions of contemporaries raised, and continue to raise, many provocative questions. The present study is based on the analysis of the designs submitted and criticisms published in official architecture magazines between 1912 and 1914, but not yet studied and published elsewhere. Through these, the study showcases the controversial architectural decisions that could have changed the appearance of a neighbourhood but failed to do so. The study puts the townscape of Széll Kálmán Square in Buda in a new context, revealing another layer of architecture, urban design and architectural-sociology and perception of the capital’s synagogue on the eve of World War I and the dissolution of the Austro-Hungarian Empire.

Aspects of Patronage in Fifteenth- and Sixteenth-Century Venice*

1993 ◽  
Vol 46 (4) ◽  
pp. 712-733 ◽  
Author(s):  
Dennis Romano
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Social Relationship ◽  
Specific Work ◽  
Renaissance Art ◽  
Specific Service ◽  
Work Of Art ◽  
Restricted Sense ◽  
The Relationship ◽  
Do So

Michael Baxandall's Study Painting and Experience in Fifteenth-Century Italy opens with the useful reminder that a “painting is the deposit of a social relationship,” that is, a relationship between patron and client. When Baxandall and other historians of Renaissance art use the term patronage, they generally do so in a restricted sense to indicate the relationship that existed when an individual or an institution such as a guild, confraternity, or monastic establishment commissioned a specific work of art from an artist or artisan. Often formalized through a contract, the relationship between patron and client was essentially a legal one in which the artist agreed to render a specific service in return for a preestablished or a negotiable sum of money. With the completion of the commission, the relationship essentially ended, unless succeeded by another commission.

Artistic style

2018 ◽  
Author(s):  
Jenefer M. Robinson
Keyword(s):  
Subject Matter ◽  
Significant Feature ◽  
Work Of Art ◽  
Cultural Attitudes ◽  
Artistic Style ◽  
Works Of Art ◽  
Period Style ◽  
History Of ◽  
Individual Style ◽  
Do So

Artistic style is a problematic notion in several ways. Sometimes the term refers to style in general, as it does in ‘Good style requires good diction’. Sometimes it refers to style as a particular, as in ‘Van Gogh’s style’ or ‘the Baroque style’. In antiquity, style was a rhetorical concept referring to diction and syntax; consequently style is very often identified with the formal elements of a work of art as opposed to the content. However, the kind of subject matter an artist chooses may itself be a significant feature of style. One way of thinking about style is as a set of recurrent features of works of art that identify them as the product of a particular person, period or place. This may be adequate for some purposes, but it ignores the fact that a style has a unified ‘physiognomy’ or expressive character. The relation between style and expression is complex. A period style is often thought to express the cultural attitudes of the period, but it cannot do so in a very direct way. What a style expresses is a function of where it occurs in the history of style. Similarly, a work of art in an artist’s individual style will be expressive only in the context of the possibilities of that style. According to the Romantic tradition, individual style is a genuine expression of the artist’s self. But according to others, style is simply a construction by readers, viewers and listeners.

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