scholarly journals Transforming Students’ Knowledge about Democracy and Citizenship through Art and the Use of Educational Media

2021 ◽  
Vol 3 (2) ◽  
pp. p27
Author(s):  
Panagiotis Sfyris ◽  
Spyridon Doukakis
Keyword(s):  
Modern World ◽  
Digital Repository ◽  
Work Of Art ◽  
World Citizenship ◽  
School Year ◽  
Educational Framework ◽  
Works Of Art ◽  
Digital Classroom ◽  
Economic Reality ◽  
Use Of The Internet

Democracy and citizenship are two values that are closely linked to the education of each individual. Most education systems seek to transform attitudes and enhance individuals’ knowledge by offering courses related to citizenship and democracy. In Greece until the school year 2019-2020, the course “Modern World, Citizenship and Democracy” was taught to 11th grade students. In a sample of 76 students, research was conducted to explore how different works of art can contribute to the expected transformation. Students were given a digital list of concepts related to “Democracy” and “Citizenship and Rights” and were asked to choose a concept and link it to a work of art by submitting their project to a digital repository. The concepts that students mostly chose were racism, democracy, and rights (individual, political, social). In addition, projects were recorded, in which the selected work of art referred to two concepts. The works of art they chose were mainly: painting, cinema, photography, and sketch/comics. The use of the internet as a source of artwork was limited. There seems to be a strong correlation between the choice of concepts and socio-economic reality. In addition, the operation of the digital classroom and the dialogue developed in relation to their projects, strengthened the educational framework, created a variety of perspectives, and contributed to the expected transformation.

Why it is Necessary to Revise the Standards of Exhibition Lighting

2019 ◽  
pp. 5-10
Author(s):  
Alexei V. Bogdanov ◽  
Vladimir A. Smirnov
Keyword(s):  
Modern World ◽  
Museum Visitors ◽  
Artificial Lighting ◽  
Works Of Art

In the modern world, one of the main functions of museums is to organize the preservation of pieces of art and arrange their presentation to museum visitors. Since the modern exhibition is based on the artificial lighting, it is necessary to properly arrange this lighting; otherwise, it can negatively affect the safety of museum pieces. The article sets out the views on the criteria of professional lighting of works of art, as it is always a compromise between the custodians and the lighting engineers. The authors also attempt to disclose the processes of organizing museum lighting and give a generalized description of the standards and rules, which serve as a basis to realize this lighting. The main reasons for the need to rethink these standards and rules (and even to revise them), in connection with the emergence of new LED sources, have been outlined.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

scholarly journals Overgangens kunst. Modernitet og skepsis i Richard Wagners æstetik

2011 ◽  
Vol 39 (111) ◽  
pp. 113-125
Author(s):  
Thomas Teilmann Damm
Keyword(s):  
Modern World ◽  
Total Work ◽  
Work Of Art ◽  
Artistic Work ◽  
Creative Artists

TRANSITIONAL ART MODERNITY AND SCEPTICISM IN RICHARD WAGNER’S AESTHETICSRichard Wagner is unique among creative artists in that he published copious volumes of theoretical writings to accompany and explain his artistic work. The present paper probes these writings and asks why Wagner should feel the need to constantly explain and justify himself. The answer is found to lie, not so much in the psychological make-up of the artist, as in the very kernel of his aesthetic impulse: the sceptical rejection of tradition and convention, and the reclaiming of an authentic, “purely human”, artistic form. Wagner inhabits a position of ambivalent modernity: he demands the destruction of old totalities of meaning while simultaneously structuring new ones. Nietzsche branded it “the lie of the great style”, a more recent and sympathetic commentator (Richard Klein) has spoken of Wagner’s “pluralist modernism”. The present paper agrees with Theodor W. Adorno that the “total work of art” is indeed a “phantasmagoria” but finds that Wagner, in his theorizing about it, lays bare certain inescapable conditions, risks as well as possibilities, of art and expression in the modern world.

The Medieval Image, I

2019 ◽  
pp. 196-223
Author(s):  
Thomas Nail
Keyword(s):  
Middle Ages ◽  
Work Of Art ◽  
Works Of Art ◽  
Aesthetic Field ◽  
The Aesthetic ◽  
The Church ◽  
The Middle Ages

Chapter 10 presents a realist aesthetics (versus constructivist) and a kinetic materialism (versus formal idealism) that focuses on the material kinetic structure of the work of art itself, inclusive of milieu and viewer. What the author calls “kinesthetics” is a return to the works of art themselves as fields of images, affects, and sensations. The chapter more specifically offers a focused study of the material kinetic conditions of the dominant aesthetic field of relation during the Middle Ages. The argument here and in the next chapter is that during the Middle Ages, the aesthetic field is defined by a tensional and relational regime of motion. This idea is supported by looking closely at three major arts of the Middle Ages: glassworks, the church, and distillation. The next chapter likewise considers perspective, the keyboard, and epistolography.

1. What is art history?

2020 ◽  
pp. 1-30
Author(s):  
Dana Arnold
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Art Appreciation ◽  
Cultural Issues ◽  
Work Of Art ◽  
Works Of Art ◽  
The Social ◽  
Over Time

‘What is art history?’ discusses the term art history and draws distinctions between it and art appreciation and art criticism. It also considers the range of artefacts included in the discipline and how these have changed over time. The work of art is our primary evidence, and it is our interaction between this evidence and methods of enquiry that forms art history. Art appreciation and criticism are also linked to connoisseurship. Although art is a visual subject, we learn about it through reading and we convey our ideas about it mostly in writing. The social and cultural issues articulated by art history are examined through an analysis of four very different works of art.

Seduction in Works of Art

2017 ◽  
pp. 165-187
Author(s):  
Laura González
Keyword(s):  
Jean Baudrillard ◽  
Work Of Art ◽  
Academic Knowledge ◽  
The Core ◽  
Works Of Art

What is it about certain things that occupy our thought until we get hold of them, until we somehow possess them? Why is it that we hopelessly, predictably, inevitably fall for certain works of art? What is it about certain objects that seduce us? This chapter seeks to study the seductiveness of objects, something that also preoccupied Jean Baudrillard and is found at the core of his thinking. The work studies a very particular kind of object: the work of art, although consumption and captology, designed objects and other types of objecthood are also used as examples. The perspective adopted here, however, is not related to the historical or economic contexts of the objects. The truth about seduction will not be sought (it would deceive, anyway); or, indeed, an interpretation for the purposes of academic knowledge, which would kill it; or, again, its representation, which would be a flawed and false undertaking, if not impossible.

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”).

Larger Manners and Events: Sallust and Virgil in Absalom and Achitophel

PMLA ◽  
1967 ◽  
Vol 82 (2) ◽  
pp. 236-244
Author(s):  
R. G. Peterson
Keyword(s):  
Classical Tradition ◽  
Basic Element ◽  
Modern World ◽  
Work Of Art ◽  
Active Pressure ◽  
The Past

John Dryden's work is part of that great stylistic synthesis called neo-classicism; and in it the classical, particularly the Roman, past finds a new relevance to the modern world. The classical tradition not only remains a constant presence but also (in Reuben A. Brower's metaphor) exerts an “active pressure.” Awareness of this basic element, this Roman posture, in Dryden's art shows signs of disappearing behind the varied ingenuities of our own age of criticism. Since A. W. Verrall's lectures were first published in 1914, Dryden's work has been studied extensively and, we may say, has been looked at with new eyes. His great poem, Absalom and Achitophel (1681), has been recognized as a complex and highly sophisticated work of art. The past five years have brought (not to mention the reprinting of Verrall's lectures and the publication of many articles) three important books on Dryden's poetry. One is about Absalom and Achitophel; two others devote many pages of discussion to this poem. Each of these books reminds us, in a slightly different way, that when we have supplied the English equivalents for Biblical persons, institutions, and events we have scarcely begun to read Absalom and Achitophel.

Essay. Cultural property: a museum director's perspective

1998 ◽  
Vol 7 (2) ◽  
pp. 438-445 ◽  
Author(s):  
GD Lowry
Keyword(s):  
Cultural Property ◽  
Property A ◽  
Work Of Art ◽  
Works Of Art ◽  
The Relationship ◽  
The Way

This essay explores a number of issues concerning the relationship between works of art and cultural property. From the perspective of a museum director, it posits an ontological distinction between the idea of a work of art and the concept of cultural property. The essay concludes by arguing that to the extent that nations place restrictions on the export of their art, they inevitably affect the way their culture is understood and perceived abroad and so alter the larger metanarrative of culture.

Mobile objects in Sophie Calle’s Fantômes and Prenez soin de vous

2018 ◽  
Vol 29 (1) ◽  
pp. 70-78 ◽  
Author(s):  
Natalie Edwards
Keyword(s):  
Contemporary Culture ◽  
Work Of Art ◽  
Mobile Objects ◽  
Works Of Art ◽  
The Spectator ◽  
Contemporary Artist

The mobility of people and objects is a central motif in the work of contemporary artist Sophie Calle. In this article, I compare two of Calle’s exhibitions that take a particularly unusual approach to mobility. In Fantômes and Prenez soin de vous, the objects are an email and works of art and their mobility arises from their displacement. In both exhibitions, Calle obliges the spectator to look at other people looking at the artefacts, which I refer to as the ‘double look’. In this article, I analyse how this technique serves to question the notion of a unitary, individual artist behind each work of art, how it questions the parameters of spectatorship, and how it challenges understandings of intimacy in contemporary culture.

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