scholarly journals Computer Games in Art History. Traditional architecture and painting presented in virtual reality

E-methodology ◽  
2019 ◽  
Vol 5 (5) ◽  
pp. 84-99
Author(s):  
Michał Szymański
Keyword(s):  
Computer Games ◽  
Visual Analysis ◽  
Complex Structure ◽  
Visual Complexity ◽  
Historical Context ◽  
Visual Object ◽  
History Of Art ◽  
History Of ◽  
The Rich ◽  
Game Developers

Aim. The aim of the research is to show the applications of art reception in computer games. Moreover  it is important  to show  the game as a visual object worth to analysis for art historian, because of complex structure and relations with traditional artistic media like architecture and painting. Many disciplines, like ludology, narratology and culture study research computer games, but we can see a  large lack in the  state of research in visual aspects of games, which should be supplemented.  Methods. The subject of study are five games belonging to different game genres. The first, Assasin’s Creed II is set in a  historical context, the next Witcher III and Dark Souls embedded in the realities of fantasy and finally, two games  in an  independent games category. The basic method is iconographic identification of  the object and comparative difference and similarity between original source of inspiration and transposition of  this in computer media. Therefore basic tools gained from history of art are used, which are necessary for visual analysis of a  piece of art. Also important is notion of  a commonplace forming a frame for images from different media.  Results. Indicated examples show that classic art has a strong influence on numerous computer games. The citations and allusions from art brings an additional narration completing the story in the game. Objects of architecture or paintings  also give  symbolic meanings, influencing the interpretation of the whole game. Game developers oscillate between education in the history of art and the use of these references to create your own world.  Conclusion. The examples presented in the article are only part of the rich area of art inspirations that can be found in many games. This should become a contribution to further research, not only taking into account the indicated types of references, but also the visuality of the games themselves The visual complexity of the games would require separate, more extensive research that would bring a lot into the perception of games and researching them

Allusions to the Victim and Sacrifice in the Andrey Kurbsky’s History and Reception of the 17th — Early 18th Centuries

2021 ◽  
pp. 186-207
Author(s):  
Alexey I. Popovich ◽  
Keyword(s):  
18Th Century ◽  
Historical Context ◽  
Transitional Period ◽  
Literary Context ◽  
History Of ◽  
Interpretation Process ◽  
The Rich ◽  
Ivan The Terrible ◽  
Definition Of

The literary topoi and allusions to the victim and sacrifice in the biblical and historical context at the same time played a great role for Andrey Kurbsky as a traditionalist and innovator writer in the embodiment of the complex author’s intention of the History of the Grand Prince of Moscow (the second half of the 16th century). The article notes that the writer distinguishes, as opposites, the axiology of sacrificial feat for power doer and persecuted heroes. The article reveals the diverse reception of the author’s interpretation by readers and scribes of History. Kurbsky’s contemporaries and readers of the late 17th — early 18th century had different attitudes toward Kurbsky’s definition of the personality of Ivan the Terrible who makes unrighteous victims and the characterization of people affected by him as new martyrs. The rich handwritten tradition of History, including as part of the Kurbsky Collections, contributed to the emergence of new reader’s interpretations based on literary topoi and allusions used by Kurbsky. The intellectuals of the ‘transitional’ period A.S. Matveev, Evfimy Chudovsky, A.I. Lyzlov, V.V. Golitsyn and others were involved in this process. Textological and typological comparisons of certain monuments and Kurbsky’s History contributed to a deeper understanding of the literary context of the time when the prince’s writings spread. The study also helped to determine which Kurbsky’s ideas about the victim and sacrifice remained relevant for members of different class groups, and which were leveled out and outdated in the text interpretation process.

The Link between Empirical Aesthetics and Philosophy

2019 ◽  
Author(s):  
William P. Seeley
Keyword(s):  
Social Contexts ◽  
Psychological Responses ◽  
Affective Stimuli ◽  
Content Understanding ◽  
History Of Art ◽  
History Of ◽  
The Rich ◽  
Collective Capacity

This chapter explores the complementary roles that philosophers and psychologists play in the study of art. Psychology provides a natural lens through which to interpret the history of art. Artworks are communicative events. They are cognitive, perceptual, and affective stimuli intentionally designed to express a point or purpose, articulate an idea, or convey some socially embedded meaning. Methodological progress in art is progress in a collective capacity to shape psychological responses in consumers germane to recovering this content. Understanding art in all of its variance is simply a process of tracking how artworks have been used as communicative devices within different social contexts. Philosophers and psychologists study complementary aspects of these communicative exchanges. Despite entrenched philosophical skepticism, the rich, longstanding, albeit often tacit, rapprochement between these two fields should therefore come as no surprise.

scholarly journals The Semi-Nude and Collapsing Female Figure: Sexuality in the Aesthetic Paintings of Albert Moore and Edward Burne-Jones

2021 ◽  
Author(s):  
Meaghan Collins
Keyword(s):  
Visual Analysis ◽  
Body Language ◽  
Female Figure ◽  
Female Nude ◽  
Victorian Period ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Pre Raphaelites ◽  
The Aesthetic

The female nude has been researched extensively over the history of Art, and continues to fascinate researchers and art enthusiasts alike. However it is difficult to find information on female figures who are semi-nude: one who is not fully clothed nor entirely nude. The Victorian period in England was a very conservative time, especially for women. Influenced by the Pre-Raphaelites, Aesthetic painters Albert Moore and Edward Burne-Jones depicted women in a peculiarly sexual manner, one that encapsulates the struggle with sexual acceptance of the era. Women are often shown wearing loose, transparent fabric and often asleep or in languid, weary poses. These weary poses are what I refer to as “collapsing women.” In this visual analysis I take a close look at these female figures, and examine them using the terms “semi-nude” and “collapsing female,” in order to determine the meaning behind their dress and body language.

scholarly journals The Semi-Nude and Collapsing Female Figure: Sexuality in the Aesthetic Paintings of Albert Moore and Edward Burne-Jones

2021 ◽  
Author(s):  
Meaghan Collins
Keyword(s):  
Visual Analysis ◽  
Body Language ◽  
Female Figure ◽  
Female Nude ◽  
Victorian Period ◽  
History Of Art ◽  
Female Figures ◽  
History Of ◽  
Pre Raphaelites ◽  
The Aesthetic

The female nude has been researched extensively over the history of Art, and continues to fascinate researchers and art enthusiasts alike. However it is difficult to find information on female figures who are semi-nude: one who is not fully clothed nor entirely nude. The Victorian period in England was a very conservative time, especially for women. Influenced by the Pre-Raphaelites, Aesthetic painters Albert Moore and Edward Burne-Jones depicted women in a peculiarly sexual manner, one that encapsulates the struggle with sexual acceptance of the era. Women are often shown wearing loose, transparent fabric and often asleep or in languid, weary poses. These weary poses are what I refer to as “collapsing women.” In this visual analysis I take a close look at these female figures, and examine them using the terms “semi-nude” and “collapsing female,” in order to determine the meaning behind their dress and body language.

scholarly journals Recreando artefactos digitales: del archivo de ATA a la curaduría de metadATA

2019 ◽  
pp. 130-141
Author(s):  
José-Carlos Mariátegui ◽  
Nataly Montes Becerra
Keyword(s):  
Historical Context ◽  
Exhibition Design ◽  
City Council ◽  
Art And Technology ◽  
Palabras Clave ◽  
History Of Art ◽  
History Of ◽  
Work Done

Este artículo intenta describir críticamente la exhibición metadATA: 20 años de cultura, arte y tecnología, muestra antológica de la organización Alta Tecnología Andina (ATA), presentada del 3 al 30 de junio del 2016 en el Centro Cultural Ricardo Palma de la Municipalidad de Miraflores. Este proyecto buscaba decantar, a partir de seis hitos temáticos en su historia desde su fundación, en los años noventa, una parte importante de la historia del arte y la tecnología en el Perú. En primer lugar, presentamos una breve historia del contexto histórico y la necesidad de producir esta muestra. Luego analizamos el concepto curatorial, así como las seis cápsulas de información propuestas. Posteriormente, incidimos sobre la museografía y el diseño de la exhibición, y los dispositivos tecnológicos empleados. Concluimos con un análisis sobre la complejidad conceptual en relación con la práctica curatorial en archivos y su nivel de objetividad en el presente.  Palabras clave: curaduría, archivos, museografía, Perú, exhibición, arte, tecnología   AbstractThis article tries to critically review the exhibition “metadATA: 20 years of culture, art and technology”, an anthological exhibition of the work done by Alta Tecnología Andina (ATA). It was showed from the 3rd to 30th of June 2016 at the Centro Cultural Ricardo Palma of the Miraflores City Council. This exhibition sought to showcase, from six thematic milestones, a relevant part of the history of art and technology in Peru since the 1990s. First we give a brief history on the historical context and the need to present such exhibition. Then we analyze the curatorial concept as well as the organization of the six information capsules. Subsequently, we focus on the museography and the exhibition design as well as the importance of the technological devices. We conclude with an analysis the philosophical complexity of the producing curatorial work of previously curated work and the relevance in the present. Keywords: Curating, archives, museography, Peru, exhibition, art, technology

Philosophy of Boredom

2021 ◽  
Keyword(s):  
18Th Century ◽  
Affective State ◽  
Historical Context ◽  
Scientific Texts ◽  
American Philosophy ◽  
History Of ◽  
Anglo American ◽  
The Rich ◽  
Rich History ◽  
Empty Time

Even the most cursory of glances at the history of boredom reveals that boredom has been a topic of immense discussion. That same glance also reveals that there is not just one kind of boredom. There is the fastidium of Seneca, the horror loci of Lucretius, and the religious boredom of acedia. There is the sadness and listlessness of tristesse and melancholy, the void of Pascal, and the emptiness of La Rochefoucauld and of 18th-century Versailles. There is the ennui of Mme Du Deffand, of Chateubriand’s René, and of Goethe’s Werther. There is the despair of Schopenhauer, the monotony of factory workers, the empty time of leisure, the existential meaninglessness of Sartre’s Roquentin, and the profound attunement of Heidegger. And, of course, there is the simple and democratic boredom of the rest of us—that ubiquitous affective state that permeates and colors our everyday existence. The aim of this entry is to provide the reader with a philosophical map of the progression of the concept and experience of boredom throughout the Western tradition—from antiquity to current work in Anglo-American philosophy. By focusing primarily on key philosophical works on boredom, but also often discussing important literary and scientific texts, the entry exposes the reader to the rich history of boredom and illustrates how the different manifestations of boredom—idleness, horror loci, acedia, sloth, mal du siècle, melancholy, ennui, monotony, and emptiness—are grounded in the historical context in which they arise.

scholarly journals Exploiting the Legacy of the Arbovirus Hunters

Viruses ◽  
2019 ◽  
Vol 11 (5) ◽  
pp. 471 ◽  
Author(s):  
Nikos Vasilakis ◽  
Robert B. Tesh ◽  
Vsevolod L. Popov ◽  
Steve G. Widen ◽  
Thomas G. Wood ◽  
...  
Keyword(s):  
New Technologies ◽  
Scientific Discovery ◽  
Historical Context ◽  
The Other ◽  
Evolutionary Relationships ◽  
Virus Discovery ◽  
History Of ◽  
New Challenges ◽  
The Rich ◽  
Rich History

In recent years, it has become evident that a generational gap has developed in the community of arbovirus research. This apparent gap is due to the dis-investment of training for the next generation of arbovirologists, which threatens to derail the rich history of virus discovery, field epidemiology, and understanding of the richness of diversity that surrounds us. On the other hand, new technologies have resulted in an explosion of virus discovery that is constantly redefining the virosphere and the evolutionary relationships between viruses. This paradox presents new challenges that may have immediate and disastrous consequences for public health when yet to be discovered arboviruses emerge. In this review we endeavor to bridge this gap by providing a historical context for the work being conducted today and provide continuity between the generations. To this end, we will provide a narrative of the thrill of scientific discovery and excitement and the challenges lying ahead.

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

A Qualified Assertion Database for the History of Places

2019 ◽  
Vol 13 (1-2) ◽  
pp. 95-115
Author(s):  
Brandon Plewe
Keyword(s):  
Data Model ◽  
Temporal Change ◽  
Religious Congregations ◽  
Historical Gis ◽  
The Past ◽  
Model Based ◽  
Complex Information ◽  
Invaluable Tool ◽  
History Of ◽  
The Rich

Historical place databases can be an invaluable tool for capturing the rich meaning of past places. However, this richness presents obstacles to success: the daunting need to simultaneously represent complex information such as temporal change, uncertainty, relationships, and thorough sourcing has been an obstacle to historical GIS in the past. The Qualified Assertion Model developed in this paper can represent a variety of historical complexities using a single, simple, flexible data model based on a) documenting assertions of the past world rather than claiming to know the exact truth, and b) qualifying the scope, provenance, quality, and syntactics of those assertions. This model was successfully implemented in a production-strength historical gazetteer of religious congregations, demonstrating its effectiveness and some challenges.

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