Judaism—Visual Art and Architecture

Author(s):  
Edward van Voolen
2021 ◽  
pp. 3-24
Author(s):  
Brent Auerbach

Chapter 1 of Musical Motives provides a general introduction to the topic of motives. The etymology and origins of the word “motive” are briefly considered, along with its parallels to the “motifs” of visual art and architecture. A working definition for “motive” from Arnold Schoenberg (“the smallest part of a piece or section of a piece that, despite change and repetition, is recognizable as present throughout”) is presented in advance of more formal definitions to be presented in chapters 4–7. For the purposes of this study, motives are required “to move” and “to move listeners.” Analyses of excerpts from Sousa, Beethoven, and Mozart introduce readers to proper motivic identification and labeling technique.


PeerJ ◽  
2019 ◽  
Vol 7 ◽  
pp. e7078 ◽  
Author(s):  
Marco Bertamini ◽  
Giulia Rampone ◽  
Alexis D.J. Makin ◽  
Andrew Jessop

Most people like symmetry, and symmetry has been extensively used in visual art and architecture. In this study, we compared preference for images of abstract and familiar objects in the original format or when containing perfect bilateral symmetry. We created pairs of images for different categories: male faces, female faces, polygons, smoothed version of the polygons, flowers, and landscapes. This design allows us to compare symmetry preference in different domains. Each observer saw all categories randomly interleaved but saw only one of the two images in a pair. After recording preference, we recorded a rating of how salient the symmetry was for each image, and measured how quickly observers could decide which of the two images in a pair was symmetrical. Results reveal a general preference for symmetry in the case of shapes and faces. For landscapes, natural (no perfect symmetry) images were preferred. Correlations with judgments of saliency were present but generally low, and for landscapes the salience of symmetry was negatively related to preference. However, even within the category where symmetry was not liked (landscapes), the separate analysis of original and modified stimuli showed an interesting pattern: Salience of symmetry was correlated positively (artificial) or negatively (original) with preference, suggesting different effects of symmetry within the same class of stimuli based on context and categorization.


2018 ◽  
Vol 73 (1) ◽  
pp. 1-29
Author(s):  
Daniel Clinton

Daniel Clinton, “Line and Lineage: Visual Form in Herman Melville’s Pierre and Timoleon” (pp. 1–29) This essay examines Herman Melville’s reflections on form, line, and perspective in his novel Pierre (1852) and his poems on art and architecture in Timoleon (1891), a late book of verse partly inspired by his tour of the Mediterranean during 1856–57. I argue that Melville arrives at his understanding of literary form through the language of optical perspective, particularly the terms of “foreshortening” and “outline.” I compare Melville’s figurative conception of outline with the artistic theories and practices of William Blake, George Cumberland, John Ruskin, and the artist John Flaxman, whose illustrations of Homer and Dante feature prominently in Pierre. Widely circulated as engravings by Tommaso Piroli and others, Flaxman’s clean-lined drawings fascinate Melville because they emphasize implied narrative rather than optical verisimilitude. Melville responds to a romantic discourse that positions “outline” on the conceptual boundary between sense-perception and free-floating thought, as a mediating term between competing notions of art’s truth. In both his fiction and poetry, Melville’s reflection on the materiality of pictures doubles as a reflection on the materiality of thought. The formal features of visual art suggest the workings of the mind as it flattens unconscious possibilities and disparate truths into a manageable picture of the world.


2021 ◽  
Author(s):  
Roope Oskari Kaaronen ◽  
Erik Rietveld

Radical collective behavior change is required to develop sustainable forms of urban life. This demands redesign of everyday environments. However, the ways in which our material world shape our behaviors are still understudied and underappreciated. Not much is known about how collective behaviors are facilitated through infrastructural or material interventions. Here, we draw upon 15 years of experience at RAAAF, an Amsterdam-based collective for visual art and architecture, to introduce ten practical lessons for developing strategic design interventions for affordance-based behavior change in urban environments. Affordances are the possibilities for action provided by the environment. Strategic design interventions aim to set collective social change in motion by developing sustainable affordances and dismantling unsustainable behavioral constraints. Strategic design interventions seek to inspire policies and public imagination. Whereas scientific studies aim to describe reality as it is, RAAAF’s material interventions help imagine how the shared urban environment could be in the future.


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