The Arts We See, a Simplified Introduction to the Visual Arts

Art Education ◽  
1985 ◽  
Vol 38 (3) ◽  
pp. 44 ◽  
Author(s):  
John Keel ◽  
Vincent Lanier
Keyword(s):  
Visual Arts ◽  
The Arts

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light

2014 ◽  
Author(s):  
Ida Bagus Candra Yana*
Keyword(s):  
Visual Arts ◽  
Dance Movement ◽  
Multiple Images ◽  
Strobe Light ◽  
Creative Idea ◽  
The Arts ◽  
Art Works ◽  
Art Photography ◽  
Aesthetic Values ◽  
Aesthetic Expression

Dance  photography  is  a  photo  shoot  on a  dance  movement  which  has  a  characteristic as  it  shows  on  a  particular  movement  with unique costumes. The arts of dance photography specifically describes through a specific thematic effect  with  an  aesthetic  and  creative  oncoming. Based on the photographer experience to capture the  light  together  with  his  aesthetic  expression on  movement  photography,  he  finally  presented the  visual  arts  on  Baris  Tunggal  Dance  in  art photography expressions using strobe light. Basically,  the  creative  works  focused on  the  dancer  movements  and  transformed  into photography  expression  which  blended  with aesthetic  and  creative  idea  (ideational)  also  the technical photo shoot capability (technical) of the photographer. The photo shoots technique chosen through a variety of consideration which oriented on practical implementations possibilities, resulting photographs  in  freeze,  blurred,  and  multiple-images  as  art  photography.  The  art  photograph includes  extrinsic  and  intrinsic  aesthetic  values through photo presentation. With the presence of this photography art works it was not only present Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light in the form of mere documentation but it was the art photography expression on creative and aesthetic level. Keywords:  movements,  Baris  Tunggal  Dance, photography expression, strobo-light * Dosen ISI Denpasar

Developing Craft in the Ballet Class

2021 ◽  
Vol 39 (2) ◽  
pp. 147-157
Author(s):  
Susie Crow
Keyword(s):  
Visual Arts ◽  
Alternative Model ◽  
Embodied Learning ◽  
Sports Science ◽  
The Arts ◽  
Theoretical Investigations ◽  
Attitudes And Perceptions

The ballet class is a complex pedagogical phenomenon in which an embodied tradition is transmitted in practice from one generation to the next, shaping not just the dancing but the attitudes and perceptions of dancers throughout their careers. This paper emerges from observations and experience of recent and current ballet class practice, and theoretical investigations into embodied learning in the arts. It outlines the influential role of large hegemonic institutions in shaping how ballet is currently taught and learned; and the effect of this on the class's evolving relation to ballet's repertoire of old and emerging dances as artworks. It notes the increasing importation into ballet pedagogy of thinking rooted in sports science, engendering the notion of the dancer as athlete; and of historic attitudes which downplay the agency of the dancer. I propose an alternative model for understanding the nature of learning in the ballet class, relating it to what Donald Schön calls ‘deviant traditions of education for practice’ in other performing and visual arts ( Schön 1987 p16). I look at the dancer's absorption via the class of ballet's danse d’école, its core technique of academic dance content. I suggest how this process might more constructively be understood through the lens of craft learning and the development of craftsmanship via apprenticeship, the dancer learning alongside the teacher as experienced artist practitioner who models behaviours that foster creativity.

scholarly journals Turismo na Serenissima entre ficção e realidade: de Morte em Veneza, de Luchino Visconti, à pós-pandemia

2021 ◽  
Vol 12 (1) ◽  
pp. 20
Author(s):  
Claudia Maria Astorino
Keyword(s):  
Comparative Study ◽  
Visual Arts ◽  
Corpus Analysis ◽  
Secondary Sources ◽  
Video Clips ◽  
The Arts ◽  
Qualitative Descriptive ◽  
Geographic Setting ◽  
Luchino Visconti

RESUMO: Ao longo de sua história, Veneza vem atraindo um número considerável de turistas. Incrustrados em tão singular cenário geográfico, seus canais, gôndolas, pontes, campi, tesouros arquitetônicos e artísticos constituem um legado singular e, consequentemente, uma oferta turística inigualável, que tem seduzido o imaginário de turistas potencias das mais distintas procedências. O presente estudo objetivou analisar como a atividade turística em Veneza tem evoluído e de que modo vem sendo ilustrada nas artes, sobretudo, no cinema, na música e nas artes visuais. Nesse sentido, formou-se um corpus de estudo composto por filmes e videoclipes italianos e estrangeiros, além de obras de artes visuais, com a finalidade de confrontá-los com as etapas do turismo no percurso do tempo. Trata-se, portanto, de um estudo qualitativo, descritivo e comparativo. A metodologia constou de pesquisa bibliográfica em fontes secundárias, de forma a traçar a evolução do turismo em Veneza, seguida pela composição do referido corpus de estudo, análise das obras selecionadas para este corpus e, por fim, comparação entre ficção e realidade.Palavras-chave: Veneza. Turismo. Ficção x realidade. Filmes e videoclipes. Artes visuais. ABSTRACT: Nel corso della sua storia, Venezia ha atratto un numero considerevole di turisti. Incastonati in uno scenario unico, i suoi canalli, gondole, ponti, campi, tesori architettonici e artistici costituiscono un patrimonio singolare e di consegenza un’offerta turistica impareggiabile che da sempre ha popolato l’immaginario di potenziali turisti delle più svariate origini. Il presente studio si è proposto ad analizzare come si è evoluta l’attività turistica a Venezia e come à stata illustrata nel campo delle arti, in particolare nel cinema, nella musica e nelle arti visive. Si è dunque formato un corpus di studio, composto da film e da videoclip italiani e stranieri, oltre ad opere di arti visive, per confrontarli con le tappe dello svilupo del turismo nel tempo. Si tratta quindi di uno atudio qualitativo, descrittivo e comparativo. La metodologia è costituita da una ricerca bibliografica su fonti secondarie, al fine di tracciare l’evoluzione del turismo a Venezia, seguita dalla composizione di un corpus di studio, dall’analisi delle opere selezionate per questo corpus ed infine dal confronto tra finzione e realtà.Parole-chiave: Venezia. Turismo. Finzione x realtà. Film e videoclipe. Arti visive. ABSTRACT: Throughout its history, Venice has attracted a considerable number of tourists. Embedded in such a singular geographic setting, its canals, gondolas, campi, architectural and artistic treasures constitute a unique legacy and, consequently, an unparalleled tourist offer that has seduced the imagination of potential tourists from the most diverse origins. The present study aimed to analyze how the tourist activity in Venice has evolved and how it has been illustrated in the arts, especially in cinema, music and visual arts. In this sense, a corpus was formed, composed of Italian and foreign films and video clips, in addition to visual arts works, in order to confront them with the stages of tourism in the course of time. It is, therefore, a qualitative, descriptive and comparative study. The methodology consisted of bibliographic research in secondary sources, in order to trace the evolution of tourism in Venice, followed by the composition of a study corpus, analysis of the works selected for this corpus and, finally, comparison between fiction and reality.Keywords: Venice. Tourism. Fiction x reality. Films and video clips. Visual arts.

The Arts

2019 ◽  
pp. 131-195
Author(s):  
Murray Pittock
Keyword(s):  
Eighteenth Century ◽  
Visual Arts ◽  
Visual Art ◽  
Public Display ◽  
The Arts ◽  
Outdoor Environments ◽  
Indoor And Outdoor Environments ◽  
Indoor And Outdoor

The growing circulation of visual art and its widening appearance in domestic collections and public display is an important moniker of the advance of consumerism, cosmopolitanism and innovation. What once had been (and for much of the eighteenth century still remained) an international aristocratic pastime suffused itself steadily into the houses and purchases of the professional well-to-do, bringing with it variety of origin, variety of subject, and whole new genres which could inflect the manner in which indoor and outdoor environments were represented and understood as they came under the control of society’s elites. Such new images could, in their turn, embed the centrality of questions of landscape, geographical conditions and human societies in the ideas of Enlightenment thinkers who moved in intellectual spheres much removed from the visual arts.

The Generative Image

2019 ◽  
pp. 337-360
Author(s):  
Thomas Nail
Keyword(s):  
Visual Arts ◽  
The Arts ◽  
Digital Or

simply valorize the digital or even the generative The generative arts have invented a new artistic pedesis and laid the ground for a new materialist aesthetics of the image. The chapter discusses the various forms that the generative arts have taken, including the ordered and disordered. In particular, disordered forms of contemporary images discussed here are the visual arts, literary, plastic, and sonic forms. The argument is not that the generative arts are the only or best forms of art. Their function has been to blaze a trail that shows us what all the arts have already been doing, to one degree or another. The challenge now is to unfold the consequences of this discovery in the arts, to draw our attention to what the contemporary image shows us about the image more generally and what it is capable of today.

More than just a pretty interface: three recent projects at the Visual Arts Data Service

2012 ◽  
Vol 37 (3) ◽  
pp. 28-33 ◽  
Author(s):  
Amy Robinson
Keyword(s):  
Visual Arts ◽  
Data Service ◽  
Institutional Repositories ◽  
National Image ◽  
The Arts ◽  
The Difference ◽  
Copy And Paste ◽  
Image Repository ◽  
The Look ◽  
The University

The establishment of the national image repository hosted by the Visual Arts Data Service (VADS) at the University for the Creative Arts was an early pioneering effort in the 1990s to provide shared online access and preservation for digitised visual arts collections. Over the 15 years since the VADS image repository was first launched, and as the internet has rapidly expanded and transformed, the VADS team has also sought project funding to explore and address new themes and issues that have emerged within the arts education sector. Three of these recent collaborative endeavours are detailed in this article: the Kultur II Group which is supporting the development of institutional repositories in the arts; the Spot the Difference project which is researching the emergence and extent of a perceived ‘copy and paste’ culture; and the Look-Here! project, which has worked with ten partners to foster digitisation skills and strategies in the arts.

Historiometric Methods

2020 ◽  
Author(s):  
Dean Keith Simonton
Keyword(s):  
Factor Analysis ◽  
Visual Arts ◽  
Hierarchical Linear Modeling ◽  
Historical Data ◽  
Sociocultural Context ◽  
Linear Modeling ◽  
Units Of Analysis ◽  
The Arts ◽  
Scientific Analysis ◽  
Computerized Content Analysis

Historiometrics is a quantitative and nomothetic method for the study of aesthetic masterpieces, artistic geniuses, and the sociocultural context in which those masterpieces emerge and their creators operate. The technique specifically depends on the scientific analysis of biographical and historical data, including the (often computerized) content analysis of actual works. The units of analysis can range from products to creators to whole eras or periods. Historiometric research can sometimes rely on standard statistical methods, such as factor analysis and multiple regression, but often more advanced techniques are required, such as hierarchical linear modeling. Although historiometric research on the arts has been carried out since 1835, the practice remains less common than other methods used in empirical aesthetics. Even so, it provides the investigator with the unique opportunity to examine the psychological and sociocultural foundations of genuine masterworks in literature, music, the visual arts, and cinema.

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