The Choreography of the Creative process: Drawing in Time and Space

Leonardo ◽  
2020 ◽  
pp. 1-13
Author(s):  
Amit Raphael Zoran ◽  
Nir Dick ◽  
Naama Glaube
Keyword(s):  
Motor Performance ◽  
Visual Art ◽  
Computer Graphic ◽  
Artistic Practice ◽  
Physical Product ◽  
Expressive Performance ◽  
Innovative Potential ◽  
New Perspective ◽  
The Aesthetic ◽  
Digital Tracking

This paper provokes a new perspective on the contribution of computers to visual art, questioning how both the aesthetic qualities of the visual product and the making process itself can render a hybrid artistic outcome. We advocate for a medium that unifies the physical product with the spirit of the making process, as a territory with extensive innovative potential for computational artistic practice. The paper demonstrates various techniques to visualize the motor performance of artists in activities such as drawing and carving. We rely on digital tracking of the artists’ movements and computer graphic tools to expose the expressive performance of artists, highlight their working style, and bring the hidden paths of their strokes to the front of the artwork. Furthermore, we discuss the contextual implication of this form of visualization to new domains of visual art.

scholarly journals Media archaeology-based Visual Music

2021 ◽  
pp. 7-30
Author(s):  
Alberto Novello
Keyword(s):  
Frame Rate ◽  
Artistic Practice ◽  
Media Archaeology ◽  
Strong Connection ◽  
Geometric Properties ◽  
Visual Music ◽  
The Aesthetic ◽  
Beam Movement

This article describes the intersection of Media Archaeology and Visual Music in my artistic practice that repurposes obsolete devices to investigate new connections between light and sound. I revive and hack tools from our analogue past: oscilloscopes, early game consoles, and lasers. I am attracted to their aesthetic difference from the ubiquitous digital projections: fluid beam movement, vibrant light, infinite resolution, absence of frame rate, and line-based image. The premise behind all my work is the synthesis of both image and sound from the same signal. This strong connection envelopes the audience in synchronous audiovisual information that reveals underlying geometric properties of sound. In this text I describe the practice and the aesthetic potentials connected to few analog and digital hybridized systems to generate new sonic and visual experiences.

Materialities of Abstraction

2021 ◽  
Vol 67 (2) ◽  
pp. 191-214
Author(s):  
Brandon Truett
Keyword(s):  
Material Culture ◽  
Virginia Woolf ◽  
Literary History ◽  
Abstract Art ◽  
Artistic Practice ◽  
Material World ◽  
Bloomsbury Group ◽  
Art Object ◽  
Visual Artist ◽  
The Aesthetic

This article recovers the 1918 chapbook that the understudied Vorticist poet and visual artist Jessie Dismorr composed for the American sculptor John Storrs and his wife Marguerite. It examines the ways the chapbook reorients the aesthetic criteria by which we recognize abstraction in the early twentieth century. Studying how Dismorr’s divergent and feminist approach to Vorticist practice exploits “the materialities of abstraction,” or the traces of the material world that evince the outside of the abstract art object, it suggests that these material traces lead us to reimagine the boundary between inside and outside, and thus the way an art object indexes and interacts with the material world. Proposing that the recovery of an object as seemingly inconsequential as an individual chapbook in fact raises questions about how we construct the literary- and art-historical field of modernism, the article situates Dismorr’s work in relation to other feminist understandings in British modernism of the socialized space of artistic practice across media exemplified by Virginia Woolf ’s account of sociability within the Bloomsbury Group, and argues for the importance of such unique objects as chapbooks to the study of material culture within literary history and within art history as well.

Choreographies of the Living

2018 ◽  
Author(s):  
Carrie Rohman
Keyword(s):  
Visual Art ◽  
Contemporary Literature ◽  
Natural World ◽  
Felix Guattari ◽  
Avant Garde ◽  
Human Endeavor ◽  
Theatrical Performance ◽  
Aesthetic Practice ◽  
And Performance ◽  
The Aesthetic

Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.

A Queer Sequence: Comics as a Disruptive Medium

PMLA ◽  
2019 ◽  
Vol 134 (3) ◽  
pp. 588-594 ◽  
Author(s):  
Ramzi Fawaz
Keyword(s):  
Family History ◽  
Physical Disability ◽  
Visual Art ◽  
First Century ◽  
Art Spiegelman ◽  
Graphic Narratives ◽  
Long Form ◽  
The Aesthetic ◽  
Teenage Sexuality ◽  
The Way

At first glance, Hillary Chute's Why Comics? presents itself as a chronicle of the heroic deeds of a Pantheon of creative gods. Across ten chapters, Chute tracks the aesthetic achievements of more than twelve world-renowned comics artists whose innovations in sequential visual art represent a range of human experiences, from wartime violence to teenage sexuality to queer family history to living with cognitive and physical disability. In Chute's narrative, such luminaries as Alison Bechdel, Art Spiegelman, Daniel Clowes, Joe Sacco, Lynda Barry, and Marjane Satrapi rise up from the vast landscape of comics production as artists whose bodies of work testify to comics's aesthetic diversity and sophistication. These typically erudite cartoonists work at a distance from mainstream comics and produce adult-oriented, long-form graphic narratives considered aesthetic masterpieces. “Although comics of all kinds are flourishing in the twenty-first century,” Chute explains early on in Why Comics?, “there has been a dramatic uptick” in the kind of “auteurist comics” produced by these cartoonists (18), who relish, in Clowes's words, the way the medium allows them to “control absolutely everything and make it … exactly what you're seeing in your own head” (qtd. in Why? 18). For Chute, it is this “singular intimacy of one person's vision”—best displayed in comics produced by sophisticated adult cartoonists writing and drawing for other adults–that underscores that comics are also for grown-ups (18). By now, we all should know this, but we have not learned the lesson well enough (or perhaps some just refuse to listen).

‘Salute to Radio’: The self-reflexive artistry of Betty Comden and Adolph Green in Fun with the Revuers

2020 ◽  
Vol 14 (2) ◽  
pp. 149-161 ◽  
Author(s):  
Sahoko Tsuji
Keyword(s):  
The Self ◽  
Linguistic Expression ◽  
Verbal Expression ◽  
Sound Recordings ◽  
Artistic Style ◽  
New Perspective ◽  
The Aesthetic

Betty Comden and Adolph Green are well-known librettists and lyricists of stage musicals and musical films; their artistic style and verbal expression are considered to bear urban witness to a period understanding of the 1940s and 1950s. Nonetheless, previous studies have scarcely investigated the aesthetic features of their dramaturgy, especially with regard to linguistic expression. This article focuses on the radio comedy Fun with the Revuers, for which they wrote scripts and lyrics. Through a close look at the scripts and sound recordings, it analyses the ‘interruptive sound and voice’ functions that construct the show, and examines how these satirize the conventions of the format, as well as the essential features of the medium. This article will offer a new perspective on the generational dynamics of Comden and Green’s artistry.

Precarious Resistance: Weaving Opposition in the Poetry of Cecilia Vicuña

PMLA ◽  
2005 ◽  
Vol 120 (5) ◽  
pp. 1588-1607 ◽  
Author(s):  
Juliet Lynd
Keyword(s):  
Cultural Memory ◽  
Visual Art ◽  
Aesthetics And Politics ◽  
Neoliberal Globalization ◽  
Complex Relation ◽  
History Of ◽  
The Aesthetic

Woven through the threads of the poetry, performance, and visual art of Cecilia Vicuña are the image and metaphor of weaving itself, a visual and cultural reminder of an other—indigenous and feminine—form of forging cultural memory. Ever committed to using the aesthetic both to remember the violent exclusions of history and to explore the perpetuation and transformation of the marginalizing structures of power in the present, Vicuña's multigenre work spans over thirty years of Chile's turbulent history of struggle with dictatorship and toward democracy. This essay analyzes the interlacing of textile and text in quipoem, a collection of the poetry and visual art of this author-artist that re-presents a constantly evolving theorization of the complex relation between aesthetics and politics, writing and difference, and memory and power in the postcolonial, postdictatorship context of the Americas in the age of neoliberal globalization.

scholarly journals The Visual Economy of “Precious Books”

2020 ◽  
Vol 40 (1) ◽  
pp. 95-114
Author(s):  
Zeina Maasri
Keyword(s):  
Political Economy ◽  
Print Culture ◽  
Visual Arts ◽  
Modern Art ◽  
Book Publishing ◽  
The Political ◽  
Artistic Practice ◽  
Capitalist Economy ◽  
Art Object ◽  
The Aesthetic

Abstract Shedding light on the postcolonial Arabic book, this article expands the literary and art historical fields of inquiry by bringing into play the translocal design and visual economy of modern art books. It is focused on the short-lived Silsilat al-Nafa'is (Precious Books series, 1967–70), published in Beirut by Dar an-Nahar and edited by modernist poet Yusuf al-Khal (1917–87). The series engaged prominent Arab artists and foregrounded the aesthetic dimension of the printed Arabic book as a “precious” art object. Situated historically at the threshold of contemporary globalization, this publishing endeavor formed a node connecting transnational modernist art and literary circuits with book publishing and was thus paradigmatic of new forms of visuality of the Arabic book. This materiality was enabled by a network of changes in the visual arts, printing technologies, and the political economy of transnational Arabic publishing in late 1960s Beirut. Relations between these three fields are analyzed through a multifaceted lens, focusing on the book as at once a product of intellectual and artistic practice, a commodity in a capitalist economy of publishing, and a translocal artifact of visual and print culture.

scholarly journals Ocena sztuki osób z niepełnosprawnością wzroku przez dzieci i dorosłych

2018 ◽  
pp. 167-183
Author(s):  
MAGDALENA SZUBIELSKA ◽  
KATARZYNA PASTERNAK ◽  
MARZENA WÓJTOWICZ ◽  
ANNA SZYMAŃSKA
Keyword(s):  
Visual Impairment ◽  
Age Differences ◽  
Picture Books ◽  
Visual Art ◽  
Low Vision ◽  
Point Scale ◽  
Art Gallery ◽  
Line Drawings ◽  
The Aesthetic ◽  
Aesthetic Preferences

Magdalena Szubielska, Katarzyna Pasternak, Marzena Wójtowicz, Anna Szymańska, Ocena sztuki osób z niepełnosprawnością wzroku przez dzieci i dorosłych [Evaluation of art of people with visual impairment by children and adults]. Interdyscyplinarne Konteksty Pedagogiki Specjalnej, nr 22, Poznań 2018. Pp. 167-183. Adam Mickiewicz University Press. ISSN 2300-391X. DOI: https://doi.org/10.14746/ikps.2018.22.10 The aim of the study was to determine whether the age of the audience of the exhibition influences the assessment of aesthetic preferences of artistic products made up by people with visual impairment. The research was conducted to give an answer if there are differences in the preferences of different categories of artworks created by artists who are blind or low vision. The research consisted in the evaluation of raised-line drawings, photographs, sculptures and the tactile picturebook. These artistic products were presented in the art gallery. The assessments were made on a 5-point scale, where the respondents indicated how much they liked the artworks they were watching. In the study participated 118 people, including 80 children and 38 adults. It turned out that age and type of art had an interactive impact on the aesthetic assessment. Age differences in aesthetic preference werefound in reference to drawings and picture books. The visual art created by people with sight impairment was evaluated very positively.

scholarly journals Specimen Poetics

2017 ◽  
Vol 139 (1) ◽  
pp. 60-94 ◽  
Author(s):  
Dahlia Porter
Keyword(s):  
Eighteenth Century ◽  
Visual Art ◽  
Charlotte Smith ◽  
Botanic Garden ◽  
Literary Value ◽  
Robert Southey ◽  
Representational Practices ◽  
The Aesthetic ◽  
Botanical Illustrations ◽  
Historical Model

This essay argues that the modern literary anthology—and specifically its aspiration to delimit both aesthetic merit and historical representativeness—emerged as a response to changes in eighteenth-century botanical collecting, description, and illustration. A dramatic upsurge in botanical metaphors for poetic collections around 1800 was triggered by shifts in the geographies, aims, and representational practices of botany in the previous century. Yoking Linnaean taxonomy and Buffonian vitalism to Hogarth’s line of beauty, late eighteenth-century botanical illustrations imbued plucked, pressed specimens with a new vitality. Erasmus Darwin’s Botanic Garden (1789, 1791) translated the aesthetic reanimations of visual art into a collection of poetic specimens, spurring compilations that promote a vitalist standard of literary value. By rejecting aesthetic reanimation as the figurative ground for poetic collecting, Charlotte Smith and Robert Southey forward an alternative historical model of literary merit, one grounded in the succession and continuity of representative literary types. These competing metrics for selection and valuation underwrite the anthology as we know it today.

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