scholarly journals Temporality as Bergsonian Critique in the Advertising and Visual Art of Bertram Brooker

2014 ◽  
Vol 39 (3) ◽  
Author(s):  
Adam Lauder
Keyword(s):  
Visual Art ◽  
Henri Bergson ◽  
Advertising Strategies ◽  
Time Concepts ◽  
Visual Artist ◽  
Metaphysical Tradition

This article explores time concepts derived from Henri Bergson as adapted by Canadian marketing theorist and visual artist Bertram Brooker (1888–1955) in articles and textbooks published during the 1920s and early 1930s. Inspired by Bergson’s critique of the Western metaphysical tradition, Brooker proposed innovative, participatory advertising strategies based on the French philosopher’s non-rational conception of time and the co-evolution of bodies and media. The author argues that the Toronto artist-advertiser’s descriptions of radio as offering the possibility of an interactive and synesthetic alternative to conventional print-based forms of advertising indirectly influenced Harold Innis’ redemptive gloss on the latent dialogism of radio. A critique of Brooker’s and Innis’ respective articulations of “oral” media as foreshadowing the contemporary economy of televisual “flow” is also posited.Cet article explore les concepts temporels du philosophe français Henri Bergson ainsi qu’ils étaient adaptés par le théoricien du marketing et artiste Bertram Brooker (1888- 1955) dans ses articles et manuels des années 1920 et début des années 1930. La critique de la tradition métaphysique occidental affirmé par Bergson en a inspiré Brooker, qui a proposé des stratégies de publicité participatives fondées sur sa conception non-rationnel de temps aussi que sa conception de la co-évolution des corps et des médias. Cet article propose que la représentation de la radio en tant qu’un objet interactif et synésthetique soutenu par l’artistedirecteur de publicité a influencé indirectement l’interprétation rédemptrice de Harold Innis au sujet du dialogisme de la radio. Une critique des déclarations de Brooker et Innis sur les médias « orale » en tant que préfigurant de l’économie contemporaine de « flux » télévisuel est aussi offert.

scholarly journals Collaged Culture

2017 ◽  
Vol 26 (2) ◽  
pp. 79-89
Author(s):  
Larissa Mellor
Keyword(s):  
United States ◽  
Lived Experience ◽  
Visual Art ◽  
The United States ◽  
Cultural Inheritance ◽  
Work Related ◽  
Current State ◽  
Visual Artist ◽  
The Relationship ◽  
Contemporary Context

This article explores the relationship between my cultural inheritance and its impact on my work as a visual artist. Questions in the work related to language and geography are tied to my lived experience. These themes led me to explore the contemporary context of German clubs in the United States. I found the art process of collage – cutting and pasting to rearrange parts on a surface – to be an apt visual for the position of the German clubs today, arriving at the term ‘collaged culture’. Similarities between visual art and life reveal that both carry histories. By investigating the relationships between these, we can better perceive the current state of the work of art.

Ephemeral Publics and Roy Kiyooka’s StoneDGloves

2017 ◽  
Author(s):  
Christine Kim
Keyword(s):  
Visual Art ◽  
Social Representation ◽  
Visual Artist

This concluding chapter outlines a form of ephemeral intimacy that emerges within racialized publics and that might also potentially be extended to include dominant publics by examining the work of poet and visual artist Roy Kiyooka and his influence on Asian Canadian creative and critical work. Kiyooka's work operates as an Asian Canadian archive for how it historicizes racialized logics that are often at odds with racialized representations. The chapter then focuses on Kiyooka's StoneDGloves (1997), which, as an experimental piece of visual art and poetry, explores the limits of aesthetic and social representation—a concern that is also at the heart of Asian Canadian publics.

scholarly journals De originaliteit van het plagiaat. Gimmick! eigent zich op postmoderne wijze postmoderne beeldende kunst toe

2021 ◽  
pp. 139-158
Author(s):  
Albert Gielen,
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Modern Art ◽  
The Novel ◽  
Visual Artist

Gimmick! written by Joost Zwagerman is a postmodern artist’s novel. The protagonist Walter van Raamsdonk, in short called Raam, is a visual artist, just like his friends Groen and Eckhardt. This article analyzes the novel as a postmodern phenomenon centered on postmodern visual art. Because the novel and the visual arts in the novel can be characterized as postmodern, it is investigated which characteristics of the post­modern can be found in both disciplines. To what extent does the novel reflect post-modern art? Citing in both disciplines has far-reaching consequences for the appearance of visual art and for the novel.

scholarly journals An artist’s narrative self-construction: a conversation with Astrid Salles

2018 ◽  
Vol 23 (38) ◽  
pp. 197
Author(s):  
Ricardo Santhiago ◽  
Astrid Salles
Keyword(s):  
Life History ◽  
Visual Art ◽  
Sao Paulo ◽  
The State ◽  
French Horn ◽  
São Paulo ◽  
Narrative Self ◽  
Artistic Creation ◽  
Visual Artist ◽  
Art Production

In an interview with Ricardo Santhiago, visual artist Astrid Salles revisits aspects of her formation in the field of artistic creation since her youth in the late 1950s, in the state of São Paulo, in order to review important topics of her life history. She graduated in Music and is recognized as the first woman to play the French horn in Brazil. Astrid worked in illustration and landscape representation and now calls herself a painter. In the conversation, she recounts, among other points, her encounter with sertanist Orlando Villas-Bôas, which was crucial for her to dedicate her visual art production to reinterpreting indigenous graphic patterns.

scholarly journals Rosana Paulino and the Art of Refazimento: Reconfigurations of the Black Female Body in the Land of Racial Democracy

2019 ◽  
Vol 8 (1-2) ◽  
pp. 63-90
Author(s):  
Flavia Santos de Araújo
Keyword(s):  
Black Women ◽  
Visual Art ◽  
Female Body ◽  
Black Female ◽  
Historical Narrative ◽  
Digital Printing ◽  
Historical Interpretation ◽  
Racial Democracy ◽  
Historical Archives ◽  
Visual Artist

This essay analyzes the historical and aesthetic significance of the visual art project Assentamento(s) (2012-2013) by Rosana Paulino. Her work re- inscribes the black female body into the historical narrative of Brazil, complicating long-established notions of “Brazilianness”. By using art techniques and materials that combine lithography, digital printing, drawing, sewing, video, and sculpting, Paulino develops a multi-layered artistic assembly that she describes as a process of refazimento (“remaking”). Paulino pushes the boundaries of the historical archives, highlighting both the struggles and agency of black women within Brazilian society. I argue that, as a contemporary black woman visual artist, Paulino engages in a method of historical interpretation that Saidiya Hartman defines as “critical fabulation”. My study explores how Paulino’s refazimento represents a method of inquiry that confronts the legacies of Brazil’s racial democracy and its ideology of mestiçagem. Paulino’s visuality reclaims Afro-Brazilian ancestral memory and black female complex subjectivities.

Emjaroen, Pratuang (1935--)

2018 ◽  
Author(s):  
Thanom Chapakdee
Keyword(s):  
Visual Art ◽  
Social Problems ◽  
Van Gogh ◽  
Traditional Art ◽  
Vincent Van Gogh ◽  
Visual Artist ◽  
Silver Medal

Pratuang Emjaroen is a member of a wave of self-taught artists in Thailand who gained renown in the 1970s. His works are driven by his concerns about the vicissitudes of life, social problems, nature and Buddhism. A prolific artist, he created a large variety of works throughout his career. Pratuang began his career working as a painter of cinema billboards and movie posters. Inspired by the biographic film Lust for Life (1956), about Vincent Van Gogh, Pratuang developed an interest in becoming a visual artist and began studying painting independently. Being a self-taught artist could have been an obstacle to his career in challenging Thailand’s traditional art institutions. Fortunately, Pratuang was able to overcome this in developing his own inimitable style in painting, drawing and poetry. Having struggled to become a renowned artist, Pratuang established the Dhamma Group in 1971, and was able to convince many artists to join, thereby increasing his own reputation. In 1967, he won the Silver Medal from the National Exhibition of Arts, and in 1968, 1974 and 1995 won Bronze Medals. Pratuang received the National Artist of Thailand Award in Visual Art in 2005.

PERMAINAN VISUAL, SIMBOL, DAN PENGHARAPAN DALAM KARTU UNDANGAN PERNIKAHAN DI YOGYAKARTA

DeKaVe ◽  
2013 ◽  
Vol 1 (1) ◽  
Author(s):  
Hesti Rahayu
Keyword(s):  
Creative Process ◽  
Visual Art ◽  
Academic Experience ◽  
Visual Composition ◽  
Graphic Designer ◽  
Culture Transformation ◽  
Symbolic Meanings ◽  
Visual Artist ◽  
The Common ◽  
Made In

This study was designed in order to explain the socio- cultural relationship between the wedding invitation card created by graphic designers in Yogyakarta; to reveal the contained symbolic meanings; and to examine the considerations of which the designers decided to use certain visual composition in creating their artworks and why they did it. Hermeneutic theoretical framework was applied to accomplish the research objectives. The first step done was construing the wedding invitation cards and describing the artists' life and cultural background. The invitations then were studied by exploring its' 'socio historical elements', analyzing it visually and ended by interpreting it. This study found out that wedding invitation cards created by graphic designers in Yogyakarta were works of art that could be distinguished from the common ones which were made in a mass production. Wedding invitation card was an effect of 'inviting culture' transformation in Javanese society, from inviting verbally to inviting by written invitation. However, it did not mean that the verbal invitation tradition was vanishing. The socio- cultural relationship existed in wedding card was due to the changing in the customs and manners of inviting people. In the cards made by graphic designer artists, the socio- cultural relationship is not reflected in its visual aspects. When it does, it would be managed and adapted in such a way to meet the artists' aesthetic base that they mastered from their academic experience, i.e. Western aesthetic. The creation of visual artworks was determined by the creative process undertaken by the designers. Yet, each piece of work of visual art basically was conformed the creator's style as a mean to represent the couple and to represent his own authenticity as a graphic designer. The meaning of representation was not representing the reality but more on representing an ideal or expectation.Keywords : Visual artist - Wedding invitation cards - Simbolic meaning

Das Gedächtnis in den künstlerischen Therapien

2001 ◽  
Vol 12 (1) ◽  
pp. 21-36 ◽  
Author(s):  
Wulf Becker-Glauch
Keyword(s):  
Henri Bergson ◽  
Sich Eine

Zusammenfassung.Nach dem griechischen Mythos ist das Gedächtnis die Mutter der drei Musen. Sie bedenken Vergangenheit, Gegenwart und die Zukunft als “umgekehrtes Gedächtnis“ ( Carus ). Seit der Antike geht es dem Menschen (auch psychotherapeutisch) um das richtige Verhältnis von Erinnern und Vergessen, Vergangenheit und Zukunft für die Gegenwart. Die unterschiedlichen Gewichtungen ergeben Gesichtspunkte für die künstlerische Therapie. Immer spielt das Gedächtnis die Hauptrolle. Die Besinnung auf die “Dialektik des Alten und Neuen“ ( Gadamer ) stellt sich als Aufgabe für jeden weiteren Lebensweg und für die künstlerische Therapie. In allem ist die einmalige Person des Patienten und ihre Zeit zu berücksichtigen, ihre Erfahrung, “die Sinnstruktur des Gedächtnisses“, die auf die Zukunft gerichtet sind ( Pauleikhoff ). Aus dem Gedächtnis und den von ihm vertretenen Werten ergibt sich auch die “Bedeutsamkeit“ dessen, was geschieht, und das Motiv der Kunst ( Dilthey ). Zur lebendigen Quelle von Lebenszeit und von Bewegung (Tanz) wird die Vergangenheit bei Henri Bergson. Das Gedächtnis des alternden Menschen steht nicht nur im Zeichen der Vergeßlichkeit und der Erinnerung an frühere Zeiten, sondern auch der Zukunft. Die Hoffnung hält die Zukunft offen. Die verschiedenen Gedächtnisstörungen, vor allem “die ausgelöschte Vergangenheit“ bei Hirnkrankheiten und “die abgebrochene Vergangenheit“ bei der Schizophrenie, sind in den künstlerischen Therapien entsprechend zu beachten. Aufgrund der Forschungen von J. Bauer stellt sich eine aussichtsreiche Aufgabe in der Aktivierung von Gedächtnis und Gehirn im Alter durch die künstlerischen Therapien.

Violence and Sex as Advertising Strategies in Television Commercials

2010 ◽  
Vol 15 (4) ◽  
pp. 304-311 ◽  
Author(s):  
Christopher J. Ferguson ◽  
Amanda M. Cruz ◽  
Daniel Martinez ◽  
Stephanie M. Rueda ◽  
Diana E. Ferguson
Keyword(s):  
Young Adults ◽  
Sexual Content ◽  
Television Show ◽  
Television Commercials ◽  
Brand Recall ◽  
Violent Content ◽  
Willingness To Buy ◽  
Advertising Strategies ◽  
Television Violence ◽  
The Impact

Despite several studies investigating the impact of sex and violence in television on consumer behavior and memory for products in commercials, results remain inconsistent and debated. The purpose of the current study was to examine the effects of television violence and sex on memory for commercials and willingness to buy products. Two hundred twelve young adults were assigned to watch either a sexual, violent, combined sexual and violent or neutral television show. Within each show were embedded 12 commercials, four violent, four sexual, and four neutral. Results indicated that violent or sexual content of the television show did not impair memory for commercials or willingness to buy products, and that sexual or violent content in the commercials themselves increased memory for those commercials. Implications for the current study are that violent or sexual shows may adequately function in attracting viewers’ attention, with sexual and violent content in the commercials themselves improving viewers memory for products. Use of violent or sexual content in commercials may thus be useful in advertising for brand recall.

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