scholarly journals Form as an expression of function

2010 ◽  
Vol 53 (4) ◽  
pp. 73-86
Author(s):  
Iva Draskic-Vicanovic
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
New Name ◽  
The Aesthetic ◽  
Concept Of Beauty ◽  
Contemporary Architecture ◽  
Common Function

The paper offers an analysis of the aesthetic category to prepon, suitability, from an early antique period to contemporary revitalization of the same notion under the new name - function. The twentieth century architecture is the place of rebirth of the aesthetic category that gave intonation to the concept of beauty in pre - philosophical antique Greece, as well as to the philosophy of Socrates, Plato and Xenophon. Author's main theses are that the architecture is natural and logical birthplace of to prepon, that two main streams in contemporary architecture: organicism and geometrical rationalism have the same key notion in common - function and that suitability, or function as aesthetic category can be treated as a prysm for the central currents in contemporary art.

scholarly journals Architettura nel farsi delle cose

ARCHALP ◽  
2021 ◽  
Author(s):  
Keyword(s):  
Twentieth Century ◽  
Working Condition ◽  
Radical Change ◽  
Landscape History ◽  
Western Alps ◽  
Local Dimension ◽  
Formal Aspect ◽  
Central Eastern ◽  
The Aesthetic ◽  
Contemporary Architecture

When compared with the central-eastern ones, the Western Alps have experienced a growing marginality in the new century. After all, getting out of the heavy legacy left by twentieth-century modernisation – abandonment of territories and tourism – is not easy. Today, however, there seems to be some evidence of a radical change in sensitivity, characterised by an awareness of the potential and limits of the contemporary architecture in relation to local dimension. This is how environment, landscape, history, traditions, heritage are no longer just a “fetish” to be exhibited for the mountain users, but become the threads with which contemporaneity tries to mend the ties interrupted with the territories. Quality architecture no longer seems to be just a self-referential exercise of composition, but a conscious opportunity to translate the demands, imaginaries, expectations, identities of the territories, in physical projects. Projects that are within the processes and that necessarily respond to compromises, in which sometimes the aesthetic-formal aspect is only one among all that control the project, that become the result of extremely diversified and contrasting questions. This working condition, always at the edge of the processes, inevitably also affects the forms of architecture, in which the difficulties and precariousness of the operational context become a prerequisite for the characterisation of the figurative and architectural aspects.

The Labour of Laziness in Twentieth-Century American Literature

2019 ◽  
Author(s):  
Zuzanna Ladyga
Keyword(s):  
Twentieth Century ◽  
American Literature ◽  
Ernest Hemingway ◽  
Gertrude Stein ◽  
Value System ◽  
John Barth ◽  
The Status ◽  
Twentieth Century American Literature ◽  
The Aesthetic ◽  
Historical Moment

The Labour of Laziness in Twentieth-Century American Literature focuses on the issue of productivity, using the figure of laziness to negotiate the relation between the ethical and the aesthetic. This book argues that major twentieth-century American writers such as Gertrude Stein, Ernest Hemingway, John Barth, Donald Barthelme and David Foster Wallace provocatively challenge the ethos of productivity by filtering their ethical interventions through culturally stigmatised imagery of laziness. Ladyga argues that when the motif of laziness appears, it invariably reveals the underpinnings of an emerging value system at a given historical moment, while at the same time offering a glimpse into the strategies of rebelling against the status quo

scholarly journals Mundane beauty in art and architecture

2017 ◽  
Vol 11 ◽  
pp. 196-201
Author(s):  
Angela Juarranz
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Design Process ◽  
Specific Kind ◽  
Mies Van Der Rohe ◽  
Art And Architecture

In the twentieth century a specific kind of beauty emerged from art: the increased value of the mundane. Contemporary art shows that common situations have an aesthetic significance. But architecture does not pay any attention to this scope. What is more, it tries to deny it. Nor the design process nor the architectural photography show the presence of mundane things. Fortunately, we have some works to go in depth into this day-to-day issue. Let’s analyze the photograph Morning Cleaning, Mies van der Rohe Foundation, Barcelona, (Jeff Wall, 1999), the intervention Phantom, Mies as Rendered Society (Andrés Jaque, 2012) and the film Koolhaas Houselife (Ila Bêka and Louise Lemoine, 2008). By considering the visual and spatial value of these cases, we reconsider them as an experimental space. What if architecture starts looking at its surroundings?

scholarly journals Where is the authenticity of the contemporary art?

2017 ◽  
Vol 11 ◽  
pp. 214-218
Author(s):  
Carlota Santabárbara Morera
Keyword(s):  
Contemporary Art ◽  
Aesthetic Value ◽  
The Aesthetic ◽  
Historic Document

In the contemporary art, the conservation of the original matter is not as important as the conservation of the authenticity of the work, because of this it is very important to know the artist and his work, to be able to conserve the most important values. In this process it is very important the documentation and the research. Therefore the criteria of restoration has changed, we can not conserve the patina of the contemporary art as a historic document, if this means the loss of the aesthetic value of the work. Nowadays the art is different, and therefore its conservation is different too.

scholarly journals Serbian music criticism in the first half of the twentieth century: Its canon, its method and its educational role

Muzikologija ◽  
2008 ◽  
pp. 185-202
Author(s):  
Aleksandar Vasic
Keyword(s):  
Twentieth Century ◽  
Negative Attitude ◽  
Music Criticism ◽  
Educational Mission ◽  
Violin Concerto ◽  
The Public ◽  
Educational Role ◽  
And Performance ◽  
The Aesthetic ◽  
Professional Critics

Serbian music criticism became a subject of professional music critics at the beginning of the twentieth century, after being developed by music amateurs throughout the whole previous century. The Serbian Literary Magazine (1901- 1914, 1920-1941), the forum of the Serbian modernist writers in the early 1900s, had a crucial role in shaping the Serbian music criticism and essayistics of the modern era. The Serbian elite musicians wrote for the SLM and therefore it reflects the most important issues of the early twentieth century Serbian music. The SLM undertook the mission of educating its readers. The music culture of the Serbian public was only recently developed. The public needed an introduction into the most important features of the European music, as well as developing its own taste in music. This paper deals with two aspects of the music criticism in the SLM, in view of its educational role: the problem of virtuosity and the method used by music critics in this magazine. The aesthetic canon of the SLM was marked by decisively negative attitude towards the virtuosity. Mainly concerned by educating the Serbian music public in the spirit of the highest music achievements in Europe, the music writers of the SLM criticized both domestic and foreign performers who favoured virtuosity over the 'essence' of music. Therefore, Niccol? Paganini, Franz Liszt, and even Peter Tchaikowsky with his Violin concerto became the subject of the magazine's criticism. However their attitude towards the interpreters with both musicality and virtuoso technique was always positive. That was evident in the writings on Jan Kubel?k. This educational mission also had its effect on the structure of critique writings in the SLM. In their wish to inform the Serbian public on the European music (which they did very professionally), the critics gave much more information on biographies, bibliographies and style of the European composers, than they valued the interpretation itself. That was by far the weakest aspect of music criticism in the SLM. Although the music criticism in the SLM was professional and analytic one, it often used the literary style and sometimes even profane expressions in describing the artistic value and performance, more than it was necessary for the genre of music criticism. The music critics of the SLM set high aesthetic standards before the Serbian music public, and therefore the virtuosity was rejected by them. At the same time, these highly professional critics did not possess a certain level of introspection that would allow them to abstain from using sometimes empty and unconvincing phrases instead of exact formulations suitable for the professional music criticism. In that respect, music critics in the SLM did not match the standards they themselves set before both the performers and the public in Serbia.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

scholarly journals SOM E FÉ: DA PRÁTICA COMUNITÁRIA RELIGIOSA PARA A COMPLEXIDADE DO PENSAMENTO MUSICAL ERUDITO DO ÚLTIMO QUARTEL DO SÉC. XX

2020 ◽  
Vol 13 (1) ◽  
pp. 23
Author(s):  
José Luís Postiga
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Religious Practices ◽  
The West ◽  
Communicative Practice ◽  
Musical Concepts ◽  
Musical Works ◽  
The Aesthetic ◽  
Different Cultures ◽  
Western Classical Music

When faced with the artistic-musical concepts developed in the second half of the twentieth century, it is common to observe them from the perspective of the scientific advances they have promoted or resulted from, the abstract organizations in which they are based, the aesthetic principles they create or and almost always fall within the individuality of the interpretation present in the creative act and its representativeness, regardless of the support in which it presents itself. Paradoxically, some of the main classical musical works written in the last quarter of the twentieth century resulted from the musicological study and/or musical representation of concepts, rites, religious practices representative of different cultures of the West and especially the East. In this sense, throughout the present article will be addressed works by composers of Western classical music, such as the case of Jonathan Harvey and Tristan Murail, characteristics of the musical currents that fit, from serialism to spectralism, as well as acoustic and electronic casts, which result. reinterpretations of religious practices of Hinduism and Buddhism, as well as sound behaviors of the communicative practice of peoples, such as the songs and instruments of Tibet and Mongolia.

scholarly journals MYSTERY AS A META-GENRE IN THE DRAMA OF THE TWENTIETH CENTURY

2021 ◽  
pp. 18-26
Author(s):  
K. Oliinyk
Keyword(s):  
Twentieth Century ◽  
World Order ◽  
Semantic Content ◽  
Point Of View ◽  
Dramatic Works ◽  
Life And Death ◽  
The Matrix ◽  
General Feeling ◽  
The Aesthetic ◽  
Definition Of

The article examines the specificity of existence of the renewed mystery genre as a meta genre in the twentieth century. The main literary study views on the definition of ancient and medieval / Christian ritual mystery are analyzed. The beginning of the twentieth century was full of a general feeling of catastrophe and tragic hopelessness. In artistic terms, the consequence of this was the activation of Christian issues, motives, plots, religious genres (miracles, morality and mystery). The most universal from the point of view of the ideological message and content for the writers of the twentieth century. was the matrix of the medieval mystery, which retained the ritual basis in its primary structure. This made it possible for the multilevel organization of the action and the space for it. The genre of medieval mystery is being modified, it ceases to be a purely form of religious action and acquires the quality of a meta genre. There is a transition from the religious sphere to the secular one, and the aesthetic one is replacing the didactic load. Mystery begins to exist on the edge of genres as a synthetic formation, showing intentions to “help” other genres. A large number of dramatic works of the twentieth century. ("Forest Song" by Lesia Ukrainka, "Iconostasis of Ukraine" by Vіra Vovk) comes close to the mystery, using its archetypal components: the ideas of faith in the absolute beginning, governing the eternal rotation of life and death, world order and harmony, death and rebirth, transformations of the human soul, chosenness and initiation associated with trials, sacrifice, deepening into mysticism. Such works are a certain imitation with elements of mythological or religious subjects. So, the twentieth century, actualizes a certain involvement of the semantic content of dramas to the mysteries, bringing the mystery to the level of the meta genre.

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