Hagar and Sarah in Art and Interfaith Dialog

Author(s):  
Aaron Rosen

The “Abrahamic” has become a common touchstone in the theory and practice of interfaith dialog between Jews, Christians, and Muslims. However, there are major issues with this formula. Most of all, it elevates Abraham but marginalizes his wives, Sarah and Hagar, and so the formula sustains a dubious hegemony in which patriarchs matter more than matriarchs. Although their tales are interpreted in divergent ways in Judaism, Christianity, and Islam, related challenges arise in each tradition. In this chapter I unpack some of these issues using works of art by artists including Edmonia Lewis, George Segal, Adi Nes, and Siona Benjamin. The conclusion speculates on the wider possibilities for using the visual arts as a tool for interfaith dialog and feminist critique.

2020 ◽  
Vol 15 (3) ◽  
pp. 106-123
Author(s):  
Sh. N. Khaziev

The article discusses the fundamentals of traceological forensic analysis of visual artworks within both the framework of forensic traceological examination and comprehensive forensic research with the participation of expert-traceologists. Works of art are investigated to identify them, diagnose their condition, and establish the origin of various negative changes. Forensic traceology methods can play an essential role in the controversial attributions of paintings, drawings, and sculptures. The necessity and feasibility of developing a modern forensic traceological research methodology of fine artworks are substantiated.


2021 ◽  
pp. 41-50
Author(s):  
Asmati Chibalashvili

The article considers methods of involving artificial intelligence in artistic practices. Based on the analysis of ways to use this technology in visual arts and music, the basic principles of working with artificial intelligence technology are identified, including: imitation of historical art, implemented in projects The Next Rembrandt and Choral; generative art, which is found in the works “Hyperbolic Composition І” and “Hyperbolic Composition ІІ” of S. Eaton and also in the AIVA program (Artificial Intelligence Virtual Artist). The importance of the mechanisms of neurobiology in the process of working with artificial intelligence on the example of the project “Neural Zoo” of S. Crespo, Iamus program, in which the development of musical material is based on the principle of evolution, is stated. In the application Endel and in the opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera» of E. Perlman, a neural network is used to read information about the human condition and its further processing for modification into a sound landscape or image. The development of artificial intelligence and its use in artistic practices opens up new opportunities, expanding both the field of authors of artistic content and attracting new audience. This phenomenon provokes many issues, including: the ability to think artificially of artificial intelligence, the ability to create works of art without human intervention, as well as issues related to copyright.


Author(s):  
Julia Vassilieva

In this chapter, I explore the relevance of early Russian montage theory and practice to new issues raised by the shift from the essay film to the audiovisual essay. I investigate how, specifically, Sergei Eisenstein’s vision of the new type of cinema of ideas formulated in his project for filming Marx’s Das Kapital, Dziga Vertov’s foregrounding of subjectivity and reflexivity in The Man with a Movie Camera, and Esphir Shub’s practice of ‘compilation film’ contributed to the emergence of the essay film and continue to stimulate the theory and practice of the audiovisual essayism.


Author(s):  
Edward H. Wouk

The artist and polymath Lambert Lombard of Liège developed a radical outlook on the theory and practice of artistic creation that he sought to illustrate in a ‘grammar’ of formal studies. Devised during a period of intense crisis for image-making in northern Europe, this ‘grammar’ offered a means to restore authority to the visual arts by recovering a canon of forms that had been perfected in antiquity yet became diluted over time. The present article examines the development and function of Lombard’s ‘grammar’, focusing on its role in the instruction he provided to a new generation of Netherlandish artists. It explores similarities between Lombard’s project and Aby Warburg’s celebrated Mnemosyne Atlas, compiled between 1924 and 1929. This comparison provides new insights into the visual, material and conceptual strategies through which Lombard’s ‘grammar’ illuminated the entwined properties of motion and emotion that he defined as the essence of perfect art.


2016 ◽  
Vol 25 (2) ◽  
pp. 60
Author(s):  
Douglas Colaço

Este texto é parte da pesquisa desenvolvida e defendida junto ao Programa de Pós-Graduação Stricto Sensu em Geografia pela Universidade Estadual do Oeste do Paraná. A pesquisa teve o seguinte título: “A unidade de perspectivas entre a geografia e a cartografia medievais: paralelos com as artes visuais”. Contudo, no capítulo I, buscou-se conhecer e compreender a Geografia (e a Cartografia) produzida na Antiguidade Clássica. Desse modo, na integralidade da pesquisa foi possível compreender alguns traços do pensamento geográfico e do cartográfico greco-romano, e comparar as variações conceituais e metodológicas em relação ao conhecimento geográfico e cartográfico produzidos na Idade Média. Sobre a Antiguidade Clássica, evidentemente, os pensadores gregos e romanos não foram os únicos, nem os primeiros, a produzir um conhecimento geográfico (e cartográfico), mas certamente, foram eles os primeiros a melhor sistematizar tais conhecimentos.AbstractThis text is part of the research developed and defended at the Graduate Program Stricto Sensu in Geography from the State University of Western Paraná. The research had the following title: "The unity of outlook between geography and medieval cartography: parallel with the visual arts." However, in Chapter I , I tried to know and understand the geography ( and Cartography ) produced in Classical Antiquity . Thus, in the whole of the research was possible to understand some aspects of geographical thought and the Greco-Roman cartographic, and compare the conceptual and methodological changes in relation to geographic and cartographic knowledge produced in the Middle Ages. On Classical Antiquity, of course, the Greek and Roman thinkers were not the only, nor the first, producing a geographical knowledge (and mapping), but certainly they were the first ones to better systematize such knowledge.  


Author(s):  
LIZA MARZIANA MOHAMMAD NOH ◽  
HAMDZUN HARON ◽  
JASNI DOLAH

Untuk menghayati sesebuah karya seni pokok persoalan yang hendak dikaji bukanlah keindahan sematamata tetapi unsur yang menyebabkan sesuatu simbol itu terjelma. Subjek, bentuk dan makna adalahtiga aspek dalam simbol yang menjadi asas kepada penghayatan sesebuah seni. Ketiga-tiganya salingberhubungan dan tidak boleh di pisahkan kerana daripadanya kesatuan karya terbentuk seterusnyamenjelaskan gagasan seniman. Demikian dalam memaknai karya, unsur seni adalah penting untuk dikajisebagai data fizikal yang bertindak dalam menghubungkan konteks sesuatu karya itu. Kertas kerja inimenerangkan penggunaan unsur-unsur formalistik untuk menganalisa data bagi memaknai simbol budayaMelayu dalam karya seni catan moden Malaysia. Dengan menjadikan Balai Seni Visual Negara sebagailokasi kajian, kertas kerja ini merujuk buku himpunan warisan tampak negara 1958-2003 terbitan BalaiSeni Visual Negara. Sebanyak empat karya di tahun 1970an sehingga 2000 dipilih bagi menyiasat bentukdan maknanya. Sebagai kesimpulan, kertas kerja ini diharapkan dapat mendedahkan kepada masyarakatumum dan peminat seni khususnya mengenai analisis formalistik sebagai satu cara menganalisa karyaseni. In appreciate of a work of art the fundamental question to be examined is not the sheer beauty but anelement that causes a transformed symbol. Subject, form and meaning in symbols are three aspects thatare fundamental to the appreciation of art. All three are interconnected and cannot be separated to formthe whole aert work and subsequently to define the notion of artistism. Thus in defining an art work, artis an important element to be studied as the physical data in relating the context of the piece of artwork.This paper describes the use of formalistic elements to analyze data to interpret the symbol of Malayculture in Malaysian modern art paintings. By making the National Visual Arts Gallery as the locationfor research, this paper refers to the compilation books of national heritage published in 1958-2003 byNational Visual Arts Gallery. A total of four works from 1970s up to 2000 are selected to investigatethe forms and meanings. In conclusion, this paper is expected to disclose to the general public and artenthusiasts in particular on formalistic analysis as a means of analyzing works of art.


Author(s):  
Anastasia Marinopoulou

This chapter focuses mostly on the epistemological thought of Pierre Bourdieu and Gilles Deleuze in terms of their persistence in constructing an epistemological understanding of social practice that is free from the burdens of dialectics, reason and rationality.The main bone of contention for structuralism, and soon afterwards, if not concurrently, for poststructuralism, remains the understanding of theory as the bearer of practice or the prioritization of practice instead of theory.In this chapter, I argue that no matter how hard the structuralists and poststructuralists try to avoid dealing with scientific dialectics, or as much as they merely reject it, their thinking still remains within the confines of dialectics. This is especially the case with regard to theory and practice, or the potential of the sciences to realize truth and adopt a certain methodology that relates scientific work to truth.Following parallel lines of evolution, structuralism and poststructuralism relate to a phenomenological perspective on the sciences that intends to reveal a more rigorous science, which is achieved either a priori, as in Husserl, or a posteriori, as in ethnomethodology. Furthermore, structuralism emphasizes the relations of structural elements within a systemic formation, be that of a social, political or scientific nature.


Author(s):  
Lucia Floridi

Chapter 18 explores the interaction of skoptic epigram with the ecphrastic subgenre and the visual arts. It argues that skoptic epigram satirizes unskilled artists or the subject of their works of art, reversing ecphrastic topoi; sometimes motifs and devices closely tied with specific works of art or iconographic motifs are adapted, altering the role that they hold in ecphrastic models. In spite of its jocular character, skoptic epigram thus elicits the same kind of response prompted by an actual ecphrastic epigram, since it implicitly requests its audience to supplement the poet’s words with mental images of specific iconographic models. Such a visualisation serves the purpose of enhancing the effect of the joke.


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